The KING of Badassness:
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What song are you playing right now?
- Thread starter No Ash More Cash
- Start date
I was watching teevee when all this shit was happening...
It features Man-Bear-Pig and Mrs Man-Bear-Pig.
It features Man-Bear-Pig and Mrs Man-Bear-Pig.
Uncle Frank took all of the BS home and sampled it on his SynclavierII. A digital instrument that in 1984 sold for 60 to120 thousand bux.
What happens next is rock history.
Here is what Frank did with the 1984 Senate hearing on "porn rock".
Everybody DANCE!
What happens next is rock history.
Here is what Frank did with the 1984 Senate hearing on "porn rock".
Everybody DANCE!
summertime (doin time) - sublime
The Unforgiven - Metallica
KayOhBe
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Protest the Hero - Mist:
This song was written while the band was partying in my little corner of the world known as Newfoundland. We were all sitting down and having a great time (this was their 2ᶮᵈ visit here) when they decided as a group to tell the world about their times here in good ol Newfoundland via the method they utilize best: their music
At one point a friend of mine was asked to produce a word known only to Newfie's for it to be tossed into a song to which he responded: friggered (as in gettin friggered aka getting messed up either through adrenaline, toxins, or just shared hype and energy) not much of a common word but definitely one which came from here
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This song was written while the band was partying in my little corner of the world known as Newfoundland. We were all sitting down and having a great time (this was their 2ᶮᵈ visit here) when they decided as a group to tell the world about their times here in good ol Newfoundland via the method they utilize best: their music
At one point a friend of mine was asked to produce a word known only to Newfie's for it to be tossed into a song to which he responded: friggered (as in gettin friggered aka getting messed up either through adrenaline, toxins, or just shared hype and energy) not much of a common word but definitely one which came from here
Sent from my CM 12.One using Tapatalk [:=
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Hell yeah, Trivium rule! I never understood the hate people gave them in their hayday. I listened to Ascendancy and Ember to Inferno nearly every day on the bus ride to school for two years straight.
I'm not sure what his real name is, but Plini mostly operates as a solo artist and session player in collaborative efforts with other similarly-minded prog dudes. His solo stuff is probably a good place to start. Very technicality-heavy, yet tasteful and genuinely-musical stuff. It's mellow and introspective. Epic and cinematic. He's really all about atmosphere when you get down to it. https://plini.bandcamp.com/
Sithu is more of a solo artist than Plini and takes a more upbeat approach to the same blend of genres and techniques that Plini uses. Not as versatile a composer as Plini, imo, but still pretty awesome. https://sithuayemusic.bandcamp.com/
Check em out! They've both produced a lot of incredible and unique music over these past few years.
It's a collab between two guitarist/producers, Plini and Sithu Aye.
I'm not sure what his real name is, but Plini mostly operates as a solo artist and session player in collaborative efforts with other similarly-minded prog dudes. His solo stuff is probably a good place to start. Very technicality-heavy, yet tasteful and genuinely-musical stuff. It's mellow and introspective. Epic and cinematic. He's really all about atmosphere when you get down to it. https://plini.bandcamp.com/
Sithu is more of a solo artist than Plini and takes a more upbeat approach to the same blend of genres and techniques that Plini uses. Not as versatile a composer as Plini, imo, but still pretty awesome. https://sithuayemusic.bandcamp.com/
Check em out! They've both produced a lot of incredible and unique music over these past few years.
KayOhBe
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Jeezuhss! Thank you so muchly fer the recommendation - wicked stuffs brotatoe, I'll be sure to add these guys to my work playlist
I've been following trivium since around 2004-2005ish. They've actually got an album coming out in 4 days entitled Silence in the Snow
Also, this:
Lamb of God - The Passing (short 2 minute instrumental opening to their album Wrath)
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I've been following trivium since around 2004-2005ish. They've actually got an album coming out in 4 days entitled Silence in the Snow
Also, this:
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love PTH.
Near and dear to my heart! Mike Vallely sings for Black Flag now. He was my HERO as a skateboarder growing up, and he did a great job singing for Black Flag. I got to meet him at a concert and he signed my Mike Vallely pro model board. My 40th birthday! My wife put it all together. I'll never forget it.
Thanks for posting that!
Dude, that's fuckin' awesome!!!
WooHoo!!!!
Huh? my audio rig done blowed up real good.
No audio for me!
HUH???
Check this out:
No audio for me!
HUH???
Check this out:
KayOhBe
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Orangedust - Glitchcraft
I knew of this song long before I discovered the video - video just makes it hilarious in a twisted sort of way.
I love when videos do things to mimic the unusual sounds produced by the composer (seen frequently in Aphex Twin's music videos)
I beseech you to attentively watch the video in it's entirety
Btw, Mike Vallely = über awesome
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I love when videos do things to mimic the unusual sounds produced by the composer (seen frequently in Aphex Twin's music videos)
I beseech you to attentively watch the video in it's entirety
Btw, Mike Vallely = über awesome
Sent from my CM 12.One using Tapatalk [:=
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When they were announced to come up on stage there was dead silence, which went on even as they took the stage and prepared to start. Me and a few friends started cheering and clapping from where we were in the back and everybody else in the room looked at each other like "Uhhh, yeah... ScaletheSummitIguess?" before getting nice and loud.
And then they proceeded to play really chill, weird prog metal to a room full of core, tech, and math kids, who mostly stood vacantly, waiting for the breakdown signal, not sure what to do... ...probably trying to figure out if they could find a way to dance to this. A couple of people tried, probably in jest - it was awkward.
It was just very surreal to me... ...like some sort of unintentional cultural study on the over-mind of the moshing crowd. I think some of them liked it but couldn't quite figure out how to express that through their movements and reactions. Or maybe they just didn't want to embarrass themselves in front of their friends.
I always have and still do think the lead guitarist's phrasing is really weird, but it does have a whimsical quality about it. Plus they were chill guys when I met them outside of the venue by their van... ...they seemed pretty beat, probably just glad that at least a few small groups out of the whole 200 or so who stuck it out had genuinely enjoyed the performance.
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Hank F. Spankman
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It's stuck in my head. I'll bet it's stuck in your head now. 
Hank F. Spankman
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My retortIt's stuck in my head. I'll bet it's stuck in your head now.
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Hank F. Spankman
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Hank F. Spankman
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Hank F. Spankman
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Hank F. Spankman
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Hank F. Spankman
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Hank F. Spankman
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It is October, no?
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He wrote Periphery I, got his dream team together, started touring and became an international sensation. Everyone in metal was talking about Periphery and friends. It really was an awesome album, too. I listened to it obsessively, as did many others. It was around this time that I would say "Djent" was in bloom as a genre. It was a time when lots of other dudes were coming out of the woodwork with somewhat similar ideas, each with their own distinctive approaches and compositional quirks/tics. They had their own goals for their music and it could be heard in the quality of their efforts. They were ambitious and well-honed compositions. These people used the style as a vessel to create something truly unique... ...something completely different from what metal fans were used to at the time.
And the whole scene ate it alive. By the time Periphery II came out, they were old hat, but a new audience was busy making it the only significant thing to happen in metal at the time. Metal became over-saturated with shitty Djent bands that people thought were good because they sounded like that one awesome thing that one guy did. Every metal kid out there wanted to be like them. There are probably 1000's of bands all doing the same thing nowadays, just to be that... ...artists with no real sense of identity trying to make names for themselves by doing what's cool. They're the same people who used to be into canned and pressed chugga-chugga y-core bands before they learned to play their instruments well.
They took elements of what was a new iteration of progressive music and rendered it in the form of everything that progressive music is not. They have no vision or sense of musical exploration... ...no original output and no push for innovation. They simply go through the motions. They're stuck on a trend that should have died a few years ago, while most everyone else has moved on. 90% of Djent bands today sound like every Djent song ever.
It's basically metalcore all over again. It suffered from a failure to evolve. Only a few really good bands came out of that movement in one piece. And don't get me wrong, I love me some good old-fashioned metalcore. I just hate most of it.
The original forerunners in the genre went on to do their own things and are still putting out kickass music that pushes the boundaries of everything they've done before. They've managed to overcome the stagnation of the aftermath and carve out their own musical niches. Others quit while they were ahead, which is unfortunate, but they at least left some good music behind for us. Meanwhile, new bands have cropped up and taken up a more honest and true-to-form approach by picking up where those guys left off and pushing onward with their own ideas. It's still a really great era for progressive rock and metal. The future is now.
Periphery has grown a lot as well (I actually think they're better than ever before now,) but because they are basically the archetype of this huge stylistic trend that they themselves played a major role in galvanizing to the point of stagnation that it's reached now, I find it hard to enjoy their newest material. It's stuff that I feel like I should enjoy, but can't because I've heard it done half-assedly too many times. The state of the whole scene has left a bad taste in my mouth.
Sorry to make a blog post in the music thread. It's just that hearing this particular song makes me bitterly nostalgic for a time when this sort of material was totally new to me and deeply impacted my thinking on approaching composition as a musician. It inspired me to try different things and opened me up to the idea of approaching one genre from the mindset of others. To hear all of these musicians take it and bastardize it really gets me down. It's like they completely missed the point that the guys they imitate were trying to convey.
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This is going to sound weird, but I didn't like that album much when it came out. I listened to it twice and decided to put it away. It was only after The Joy of Motion came out that I gave it a second chance. The third album made me come to recognize the prominence of Javier Reyes' contributions to the second one. You can hear lots of Javier in the composition and atmosphere of the second and third albums, while Tosin has his hallmark lead work intertwined with that. Without Javier's sense of balance and finesse, the things Tosin came up with wouldn't have worked.
It's sort of like how Misha Mansoor's influence has a dominant presence all over the first album. Tosin's playing simply brings another dimension to the stuff Misha added and makes it shimmer. It sounds more like a reinvention of things that Misha had been working on before that than something that exists entirely within its own space.
By the time I heard their third album and after hearing Weightless, Javier had launched his solo project, Mestis, which I must admit made me a much bigger fan of him than I had been of Tosin. Javier has much more musicality in his playing... ....it seems much more rooted in traditional Spanish classical and Jazz of both American and Brazilian varieties.
I think I just wasn't expecting the musicality that Javier brought to the table on Weightless, which I believe was the first AAL album that he contributed material to. I wanted more crazy Tosin stuff back then. Now, I'm realizing that I'm not as much a fan of Tosin's playing as I am the stuff that the people he's worked with have done to incorporate his unusual approach into something that sounds complete.
Tosin Abasi has crazy and innovative singular ideas. They convey odd combinations of emotions... ...there's an ambivalence about his lead work that very "him," but he doesn't seem particularly interested in providing context for them. He's got shredder's plight. He has innovative and immensely skillful playing, but no ability to sense when his compositions are hokey. Lot's of shredders are like this. They play very intricate and technically magnificent things, but couldn't write a meaningful song to save their lives.
Misha and Javier, on the other hand, take more traditional approaches as far evoking flow and emotion goes, but put a lot of emphasis on placing them into unconventional contexts. I'm all about that, myself. It adds a sense of purpose to the technical haberdashery.
By the way, since you like AAL, have you ever heard Javier Reyes' solo stuff? It's quite nice.
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Robot Z, you my friend, have perty good musical taste....
A little wordy, but you're kewl.
Here's some roots for y'all:
mmmmm Uncle Stan and Astrud....
A little wordy, but you're kewl.
Here's some roots for y'all:
mmmmm Uncle Stan and Astrud....
Listen: