Mondo Bungle

Talking about the little moments in a track that are so short, so so huge for your ears. The moments you anticipate the whole time, ti

ny moments that may even define a song for you. The three second instance of bliss.

Examples.

The super warm and beyond comfortable guitar feedback dynamic shift to a dreamy landscape at 1:57


The psychedelic electro flourish at 1:56


The strange churning at 1:39


The delay on the vocals as they softly fade at 6:49

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Zhanteimi

The beacon throughout this song...

bob_32_116

Brian Wilson - "In Blue Hawaii"; at the beginning of the song, following the slow intro, that unexpected chord as the word "pink" is sung, leading into the song proper.

Mike + the Mechanics - "Nobody's Perfect"; the third time Paul Young sings "It must be hard", a deep bass note comes in on the word "hard" and always gives me chills. There is a similar moment in the verse of the song "Ripples" by Genesis.

Jimmy Webb - "Asleep On the Wind"; the last word of the song is sung, unexpectedly, by Joni Mitchell, who takes it up an octave and gives the song a kind of ethereal ending.

Stephen

The crescendo from 15:58 to 16:32 gives me goosebumps every single time I hear it.

Ilistentoeverything

Minute 2:01 love that clean slow sounding guitar.


Minute 6:08 that subtle movevment of the whammy bar, sounds like a scream (or whatever it is). It really does make it sound like it's 'The End'.

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Frownland

The blender (?) and glass shattering at 0:58.



Those two short bass lines at the beginning of the bass solo at 3:08-3:15

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Mondo Bungle

It repeats the same bassline for the duration, but there is a single tiny bass bridge, before getting back to the line

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Frownland

This whole thread could be about Beefheart songs.

Not sure if this counts as a micro moment, but I love the part that starts at 1:45 where they transition from one theme to the next. It sounds like studio editing, but the members of the band are switching to the closing theme one by one and it's ****ing awesome.



The part where Beefheart says "when they could be filled with light and back with wings" because it sounds like he's a really wasted priest or something who just doesn't give a ****. Maybe I just say priest because he's a god to me.


Two parts for this one. The first is after the breakdown at 1:04 when the detuned guitar becomes way more apparent. The second is at 1:42 when he says "and laugh at your tire tracks if you get up" because it adds a lot of depth to the song that I didn't pick up on for a while and the way he sings it is awesome.



Lastly, at 1:10 "black lady black leather lady black lady black leather lady don't have a white white white poor son."

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Neapolitan

The song has two parts. The first part has low-key vocals, it builds up for the change around 3:00 and the instrumental starts ~ 3:18. The outro starts off with a break beat and the deepest bass sound, Then around 4:52 it takes another turn with the introduction of power tools(?) which totally takes over. It's the middle (3:18 to 4:52) that's my favorite part, where the bass & break-beat kicks in.

The Chemical Brothers-Where Do I Begin

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Plankton

1:57 That sweet milky tone, then again at 3:00

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