But then then there were the tracks that made you believe that Trent knew something about sequencing that nobody else knew. How he'd lay the tracks down during the climaxes of Ringfinger and Closer... you were sure there was some genius going on... first he'd get the track about as crunk as any other electronic music that ever came before it.. then he'd start fucking it up even worse.. he'd drop a track here add one there, fade some other shit in and out.. and go on for a few minutes just straight fuckin it up. The first time you heard these sequences it changed your whole perception of what's possible in music. It brought us hope that there was still some unchartered territory in music theory that he was touching upon. Where is that shit now?
He's right about those old tracks. But if he's asking where that is now, he needs to re-listen to the end of "Vessel" off this album. On the other hand, when I heard end of "The Great Destroyer", I couldn't help thinking he'd gotten ahold of "You Can't Escape Sex". (Composed by yours truly :D )