What makes "Graveyard mountain home" such a different album?

[krav]

I mean compared to the first two CK records. I've been wondering this recently, is it because the album has more of a thematic approach, because it's a concept album? Could it be the different change in sounds? Whereas this album is more acoustic based meanwhile the other two where more keyboard oriented? Or could it be the change of drummers, where Mark Zonder is absent from the recording of this album? 

Let me know your thoughts!

[Nefazodona]

I think the asnwer you're looking for is in the concept of the album. It's not a concept in the way of a story between songs that are interconnected, but it's a soundtrack to a small -movie "Age 13" wich is a education guide in public domain, but is slowed 2x (i believe). The voices you can hear in the songs actually is voices from the movie.

I trully believe you can learn more abou in the wikipedia page (it's pretty reliable cause of its sources).

[vivace]

Good question. I listened to the CK back catalog for the first time in a decade yesterday. So many brilliant moments. Today I feel frustrated for some reason, which I struggle to explain. I think it’s relevant to your question here.

I mean, this is all just my impression, but DAFR was like ok f** you DT , Space Dye Vest should have been on it, but it feels like it’s that effort which is being extended. Then YGN gets more electronic and it’s getting really quite interesting. Somehow there’s not that radio friendly hit though, even though we are still in this post grunge alternative era late 90s/00s. But I do think there are multiple songs that could easily have been. The problem, and I think Kevin must have realized this was more about marketing. The Tori Amos, Mark Hollis, alternative post punk crowd just turn off when they hear “prog metal dream theater keyboard player”. He’s making beautiful new music that pushes boundaries but coming from the wrong side of the tracks. (Kinda like how Killers by Iron Maiden could be considered an amazing punk song but people who listen to punk will never play it or admit this). I think it was expensive to hire the likes of Zonder and Tushar. And they got him cred with the prog metal scene, that wasn’t the cred he really wanted, because anyone who wanted DT or FW isn’t going to be happy with CK…
So, I’m rambling a bit but, I feel like GMH was the start of a more scaled back art house departure. I see these efforts as Kevin pursuing interesting ideas for their own sake, without hiring big names.
OSI always felt a bit like a step back. Something maybe to pay the bills.. I always suspected that most of the songwriting originated with Jim. Yet those albums were so enticing because they seemingly had all the ingredients. Well, except for the KM compositions! Can you imagine an OSI version of Mouse?

I guess I was always looking for that indisputable banger from him. Then I could selfishly say — see I knew he was an amazing songwriter/composer all along. We have so many professionals in this world, and I know it’s really impossible for musicians these days, but I hate to see him turn his back on it.