Tiesto - Red Lights
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What song are you playing right now?
- Thread starter No Ash More Cash
- Start date
Now I am playing it again!
Also, his titles often read like something a teenage wannabe indigo child would come up with. He tries so hard to come up with deep titles for his instrumental tracks... ...and yeah, the music itself can sound incredibly deep, but the titles make him come off like a try-hard. I'm sure he's a really nice guy in person, but he doesn't strike me as being very self-aware.
He's a very talented engineer and often a very tactful composer. It's just that sometimes I think he has skill-blindness. Sometimes he puts so much effort into honing the intricacies and perfecting sound palettes that he doesn't realize he's creating something that just so incredibly cheesy.
Like, he's the kinda guy who spends days perfecting a single pad. And to be sure, his pads and synths are always to perfection (the undisputed master of synth design in his arena, imo,) but sometimes, I don't think he makes the best creative decisions with them... ...I feel like he tries too hard to cram them into certain compositional spaces. Sometimes it works, and I mean... ...it REALLY works. Other times, it really just doesn't, heh.
...but I digress, this one's always just sounded so perfect to me. Not really one of his better tracks, but definitely one of my favorites. The guy makes some of the prettiest, most nuanced IDM you'll ever hear. You can tell he spends a lot of time working with... ...sounds. Everything he does is perfectly stitched together. Nothing out of place is left that way... ...ever. His music has a very detailed, lush, and lively soundstage, and yet everything is so clean and musical. Can't begin to describe the experience of hearing it through a good headphone/amp setup.
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Perfect Match - DeV
that I have to agree on - like, you want so badly for your favorite underground band to be out there and everyone to love it as much as you do and then sometimes they do get that big and the mainstream takes over and then the new music they put out isn't as good anymore and then you're like "ah, I'm such a purist I want the old way they made music back" and LMAO it's always like that. But, I'm glad that some of my favorite bands never made it big like that or to the point where they went so big, they went mainstream and not so good at their craft anymore.
I'm lucky my kid isn't an indoor kid. She would be outside 24/7 if we let her but with cold Canadian winters and a southern US raised wife who thinks anything below 32F is un-survivable, some time on devices isn't all that bad
.Ah I can see how that would prevent the whole being outside thing. I used to go outside and even when I had no friends, it was a short 8 blocks to the library and about 100 books later I had a stash just in case the weather took a turn for the nasty and going outside was a no go. Living in Northern Ohio, that happens sometimes. Like we can have a good spread of warm sunny days and then BOOM - like a giant Hiroshima bomb, it just starts snowing. In May. It happens. It's true.
SO, I used to always have my books ready - I stopped enjoying being in the house when I was homeschooled and essentially chained to a computer all day to do homework. Not the most fun in the world but without it, I wouldn't have discovered anime or all the other things I know now!
Howdy RZ! Settle down there buddy! This stuff is okay.
Huh? What?
Vapin_4_Real
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Rage Against the Machine - Bulls on Parade
RIP Lemmy....
If you squeeze my lizard
I'll put my snake on you
I'm a romantic adventure
And I'm a reptile too
But it don't make no difference
'Cos I ain't gonna be, easy, easy
the only time I'm easy's when I'm
Killed by death, Killed by death
Killed by death, Come on!
I'm a lone wolf ligger
But I ain't no pretty boy
I'm a backbone shiver
And I'm a bundle of joy
But it don't make no difference
'Cos I ain't gonna be, easy, easy
The only time I'm easy's when I'm
Killed by death, Killed by death
Killed by death, Come on!
Killed by death, Killed by death
Killed by death, Come on!
Come on!
Killed by death
Killed by death
Killed by death
Songwriters: IAN KILMISTER, MICHAEL BURSTON, PETER GILL, PHILIP CAMPBELL
If you squeeze my lizard
I'll put my snake on you
I'm a romantic adventure
And I'm a reptile too
But it don't make no difference
'Cos I ain't gonna be, easy, easy
the only time I'm easy's when I'm
Killed by death, Killed by death
Killed by death, Come on!
I'm a lone wolf ligger
But I ain't no pretty boy
I'm a backbone shiver
And I'm a bundle of joy
But it don't make no difference
'Cos I ain't gonna be, easy, easy
The only time I'm easy's when I'm
Killed by death, Killed by death
Killed by death, Come on!
Killed by death, Killed by death
Killed by death, Come on!
Come on!
Killed by death
Killed by death
Killed by death
Songwriters: IAN KILMISTER, MICHAEL BURSTON, PETER GILL, PHILIP CAMPBELL
Reptile - Skrillex
Ahh, see, but sometimes I wonder if that's just inevitable. All artists have their peaks. Sometimes looking out at the crowd obfuscates creative intent, but sometimes, I think that perception is simply casual. Maybe not as many mainstream artists as we tend to think decline because they went mainstream and rather because the stuff that got them there marked their peak. You have maybe a few years of being at your best... ...doesn't matter what kind of artist you are. Perhaps once many of these newly-mainstream artists hit that peak, they simply didn't have the motivation to create anymore, but pressed on for the sake of their own livelihood. Going mainstream is a symptom rather than a cause.
Some of it comes back to whole talent vs. skill debate.
A proficient artist can consistently put out work that is definitively theirs in that their specifically honed skill-set is shown in all that they do. It defines the character of their music. With enough dedication, literally anybody can acquire skill. Whether or not the product is intrinsically unique or particularly enjoyable is irrelevant when your skill-set is sufficient enough to carry your music. This is usually done by acquiring a skill that only you have... ...or using skills that others have in ways that nobody else ever does.
Every time those people put something out, it leaves the same impression on people and they go in for that... ...especially those who are intimately familiar with their work and appreciate the display of skills. Since they can go on and on that way, they can obtain popularity just by way of exposure. The appeal of skill-born music is easy to grok. It's something that people can immediately recognize and appreciate, even if the melodies themselves are nothing special. I think a lot of mainstream artists are this way. Something that is merely the product of a skill is repeatable - that is extremely important when it comes to longevity.
Talent, like genius, is fleeting. Artists themselves do not posses it anymore than they have any control over it. They merely walk alongside of it from time to time. It's not something that can be taught. You can acquire a deep understanding the logic of music and how to apply it practically to get musical results every time, but that doesn't mean you can cultivate a sound that that taps into people's emotions or string together uniquely compelling arrangements. Take the videos of kids playing, note-for-note, very difficult and iconic songs... ...stuff that moves nations. It gets a lot of attention, but at the end of the day, it has no soul.
Or maybe children of musicians, who under the wing of their parents, have amassed immense amounts of skill, but fall short because they have no sense of individuality - no voice of their own. They don't stand out from other musicians, who have also been similarly influenced to acquire the same skills, but perhaps have more identity. That is the difference between talent and skill.
Unfortunately, talent tends to be limited. Many underground artists are more on the "talent" end of the spectrum, which makes them too inconsistent to gather a broad appeal. That's not to say they can't be very skilled... ...it just isn't the main selling point. People tend not to notice them because they don't necessarily hear what they've come to expect from more popular, by-the-book musicians. But every now and again, they'll strike a very special chord with people and gather a dedicated audience. But since they can't maintain that creative output, their success is limited to that audience. Even the audience they do have may turn around and hate their next album, yanno? Rely too much on your talent and you'll never burst through. I don't really see it as a positive or negative thing. Just differences in attitudes among artists.
I dunno, the two aren't mutually exclusive... ...just something I'm coming to notice about different artists. Obviously there's a lot more to it than that. A lot of times, I notice that it tends to shake down like this.
1. Talented underground artist produces ground breaking work.
2. Inspired by the results, they delve deeper and in doing so, amass a following.
3. The ride the wave following for a while and either
a. stagnate/run out of material to appease their audience and die underground with a handful of die-hard fans preserving the legacy.
b. rest on the laurels of skills acquired through the endeavor and produce music with wider appeal using the existing fanbase as a platform
'sup Hypno! It's been a minute. Good to see you here again!
"Settle down!" he says... ...sir, I do not own a ranch, so I couldn't - even if I wanted to. I enjoy the guy's music... ...that doesn't stop me from criticizing him as an artist, though. When you listen to anything enough, you're going to find things you dislike about it. That's the price of figuring out what makes you like it!
I get it though... ...I never shut up, do I?
No my friend, I don't think you git it....Ahh, see, but sometimes I wonder if that's just inevitable. All artists have their peaks. Sometimes looking out at the crowd obfuscates creative intent, but sometimes, I think that perception is simply casual. Maybe not as many mainstream artists as we tend to think decline because they went mainstream and rather because the stuff that got them there marked their peak. You have maybe a few years of being at your best... ...doesn't matter what kind of artist you are. Perhaps once many of these newly-mainstream artists hit that peak, they simply didn't have the motivation to create anymore, but pressed on for the sake of their own livelihood. Going mainstream is a symptom rather than a cause.
Some of it comes back to whole talent vs. skill debate.
A proficient artist can consistently put out work that is definitively theirs in that their specifically honed skill-set is shown in all that they do. It defines the character of their music. With enough dedication, literally anybody can acquire skill. Whether or not the product is intrinsically unique or particularly enjoyable is irrelevant when your skill-set is sufficient enough to carry your music. This is usually done by acquiring a skill that only you have... ...or using skills that others have in ways that nobody else ever does.
Every time those people put something out, it leaves the same impression on people and they go in for that... ...especially those who are intimately familiar with their work and appreciate the display of skills. Since they can go on and on that way, they can obtain popularity just by way of exposure. The appeal of skill-born music is easy to grok. It's something that people can immediately recognize and appreciate, even if the melodies themselves are nothing special. I think a lot of mainstream artists are this way. Something that is merely the product of a skill is repeatable - that is extremely important when it comes to longevity.
Talent, like genius, is fleeting. Artists themselves do not posses it anymore than they have any control over it. They merely walk alongside of it from time to time. It's not something that can be taught. You can acquire a deep understanding the logic of music and how to apply it practically to get musical results every time, but that doesn't mean you can cultivate a sound that that taps into people's emotions or string together uniquely compelling arrangements. Take the videos of kids playing, note-for-note, very difficult and iconic songs... ...stuff that moves nations. It gets a lot of attention, but at the end of the day, it has no soul.
Or maybe children of musicians, who under the wing of their parents, have amassed immense amounts of skill, but fall short because they have no sense of individuality - no voice of their own. They don't stand out from other musicians, who have also been similarly influenced to acquire the same skills, but perhaps have more identity. That is the difference between talent and skill.
Unfortunately, talent tends to be limited. Many underground artists are more on the "talent" end of the spectrum, which makes them too inconsistent to gather a broad appeal. That's not to say they can't be very skilled... ...it just isn't the main selling point. People tend not to notice them because they don't necessarily hear what they've come to expect from more popular, by-the-book musicians. But every now and again, they'll strike a very special chord with people and gather a dedicated audience. But since they can't maintain that creative output, their success is limited to that audience. Even the audience they do have may turn around and hate their next album, yanno? Rely too much on your talent and you'll never burst through. I don't really see it as a positive or negative thing. Just differences in attitudes among artists.
I dunno, the two aren't mutually exclusive... ...just something I'm coming to notice about different artists. Obviously there's a lot more to it than that. A lot of times, I notice that it tends to shake down like this.
1. Talented underground artist produces ground breaking work.
2. Inspired by the results, they delve deeper and in doing so, amass a following.
3. The ride the wave following for a while and either
a. stagnate/run out of material to appease their audience and die underground with a handful of die-hard fans preserving the legacy.
b. rest on the laurels of skills acquired through the endeavor and produce music with wider appeal using the existing fanbase as a platform
'sup Hypno! It's been a minute. Good to see you here again!
"Settle down!" he says... ...sir, I do not own a ranch, so I couldn't - even if I wanted to. I enjoy the guy's music... ...that doesn't stop me from criticizing him as an artist, though. When you listen to anything enough, you're going to find things you dislike about it. That's the price of figuring out what makes you like it!
I get it though... ...I never shut up, do I?
It's Otay. You can ramble on......
Goddamn, You are the wordiest mofo ever. More wordy than my late keyboardist!
You win!
Now, huh?
You know, there may be lyric-writing skills there....
RZ, here ya go buddy:
Stop.... been wrong so many times before
I was always laying down the law
and all attractions were a bore
they led me back to you
Uniforms were an allergy
they never felt quite right to me
they conjured wartime Germany
and God knows we need that
Temptation boundaries will never know
the time when my morale was low
the circumstances always show
the place was yours or mine
Carrying no cross before me
with no prize to idolize.... no story
to tell of adolescent glory... just void
Empty spaces nothing to show
no point of reference or place to go
but one thing I'd ignored and so
the light came shining through
** INSTRUMENTAL **
I've been wrong so many times before
was always laying down the law
one thing you cannot ignore
Bad boys can come clean
Emotions I could not control
Illuminate my heart and soul
I saw a light, I scored a goal
and what price peace of mind?
Writer(s): John Kenneth Wetton, Edwin Jobson
Stop.... been wrong so many times before
I was always laying down the law
and all attractions were a bore
they led me back to you
Uniforms were an allergy
they never felt quite right to me
they conjured wartime Germany
and God knows we need that
Temptation boundaries will never know
the time when my morale was low
the circumstances always show
the place was yours or mine
Carrying no cross before me
with no prize to idolize.... no story
to tell of adolescent glory... just void
Empty spaces nothing to show
no point of reference or place to go
but one thing I'd ignored and so
the light came shining through
** INSTRUMENTAL **
I've been wrong so many times before
was always laying down the law
one thing you cannot ignore
Bad boys can come clean
Emotions I could not control
Illuminate my heart and soul
I saw a light, I scored a goal
and what price peace of mind?
Writer(s): John Kenneth Wetton, Edwin Jobson
I could babble on, but I won't.
...It's not Crimson. It's Hackett, Wetton, and other guys than than actually pull this off...
...It's not Crimson. It's Hackett, Wetton, and other guys than than actually pull this off...
Wow! I think it was time for a Flashback!
Uncle Steve:
Uncle Steve decided to record and play the Genesis material.
This is what happened:
This is what happened:
Dark and grey, an English film, the Wednesday play
We always watch the Queen on Christmas Day
Won't you stay?
Though your eyes see shipwrecked sailors you're still dry
The outlook's fine though Wales might have some rain
Saved again.
Let's skip the news boy (I'll go and make some tea)
Arabs and Jews boy (too much for me)
They get me confused boy (puts me off to sleep)
And the thing I hate, oh Lord!
Is staying up late, to watch some debate, on some nation's fate.
Hypnotized by Batman, Tarzan, still surprised!
You've won the West in time to be our guest
Name your prize!
Drop of wine, a glass of beer dear what's the time?
The grime on the Tyne is mine all mine all mine
Five past nine.
Blood on the rooftops, Venice in the spring
The Streets of San Francisco, a word from Peking
The trouble was started, by a young Errol Flynn
Better in my day, oh Lord!
For when we got bored, we'd have a world war, happy but poor
So let's skip the news boy (I'll go and make some tea)
Blood on the rooftops (too much for me)
When old Mother Goose stops, and they're out for twenty three
Then the rain at Lords stopped play
Seems Helen of Troy has found a new face again.
Songwriters: PHIL COLLINS, STEVE HACKETT