I've been working on this piece for a good month and a half, if not more.
I wanted to start out on a straight forward thrash song that would be simple to play and I ended up with a labyrithyn (sp?) of riffs and such.
I consider this the antithesis to Creepypasta.

As usual, this is a stream of conciousness composition and it's difficult to latch onto.
I would say there's little bits of melo-death and post-hardcore in there as well, but it can mainly be catagorized as mathcore.
Oh yeah, the Tux link.
Almost forgot.

I like this song, and I do like your use of chaoticness(?) I'll call it that because it just seems that way. Listening to parts of this song actually upsets my stomach, I wonder how it can do that when I have a song that's the king of dissonance (ICSWYDUTS)

Anyway, I'll try to crit each individual bar/section. But first some things I noticed, bass was playing chords on the low strings (it sounds dirty and bad) and the drum patterns weren't very good. Anyway on to the detailed review:

(1-2) This is good, but somewhat generic. It gives a somewhat epic opening to the song.

(3-4) I don't like this change-up, and the drums should just do straight hi-hat. That would make this better.

(5-6) I can't describe my opinion of this part, but I think the drums should stay to hi hats instead of toms.

(7) Not a transition, you better hope the vocals provide the tempo change here, else it sounds completely off and probably very easy to screw up live.

(8-9) Even though this is completely unexpected (In a bad way) I like this riff, and I like the bass here, it really makes the riff. But the drums sound a bit odd.

(10-13) I think this should repeat twice instead of four times. Pretty good section.

(14) Drums would be awesome here, doing something that goes with the guitar

(15-16) I think measure 16 should be in 4/4, it would sound better, the 3/4 on it gives it an incomplete feel that's very underwhelming, along with a change in drums, they somewhat ruin the feel and are one of the reasons it sounds incomplete.

(17-20) Nice transition.

(21-23) I like this part, nothing wrong with it.

(24-26) A good transition into dissonance, although I would have liked a continuation of (21-23) but with drums and bass before here, otherwise this is a pretty good section.

(27) The pattern of five gives it a nice disjointed feel, but I still don't like the drums here.

(28) Nice use of (26).

(29-38) This is pretty good, I like how you used the minor scale (I think) like in a lot of metalcore but made it seem evil.

(39-49) Somewhat generic sounding, but I can't much describe the mood I get here.

(50-71) This is a pretty good sounding, although it doesn't seem to have much 'meat' in it (hard to describe) The change-ups on the second repeat of this part (starting at 61) are good. I like the run at (70-71). It goes well into the next part.

(71-74) Pretty good, I like how everything but one guitar stops at (74), makes it go well into the next part.

(75-81) This part is OK, doesn't seem to accomplish much. 5/4+3/4 = 8/4 = 4/4. I don't like how dissonant the backing chords are, it just doesn't serve a purpose in my opinion. Also guitar 2's extra note doesn't get played in (77) because of that whole 3/4 time thing. I love the backing chords at (79). Very creative chord.

(82) Drums should have went along with the guitar at this part, just some simple bass drum plus crash cymbal.

(83) A good transition into this part, congratulations.

(84-85) I still like this riff.

(87-96) Already stated my feelings about this section.

(97) I like this riff, but I think the drums should have lead the tempo change here, in the form of a fill covering an entire 4/4 measure. Sounds too sudden right now, and that kind of underwhelms it. I don't like the drums here.

(98) Not too sure...

(101-103) Good buildup into (104)

(104) Pretty good part, don't like the drums here.

(105) Guitar should have started this part out, then the drums come in

(106-112) This whole section reminds me of Behold... the Arctopus, it's pretty good and somewhat depressing. (112) is a cool measure, has a nice feel to it.

(113-114) Both pretty good measures, (114) is a nice evolution of (113).

(115-116) It's a transition (duh)

(117-120) I hate these measures, it's somewhat generic and the accented note is in the wrong place, making it pretty much impossible to play.

(121-128) I have mixed feelings towards the solo, some parts sound great but some parts just sound off and the mixture leads me to believe it is not intentional, although I may very well be wrong.

(129) It's a transition (Duh...)

(130-132) I like this riff, nice evil sounding tremolo picking in 5/4. (132) flows pretty well into (133), although the triplets are a bit faster than the 8ths at (133), not sure if intended.

(133-135) This part flows well and builds tension, but I don't think I like (135)

(136) Guitar or drums must start this tempo change, not both.

(137-144) Pretty good section. I like the dissonant sound chords at that one part.

(145-147) I don't like this section much.

(148-151) Definitely needs to be a bass drum hit here.

(152-153) I like how a drum fill leads the tempo change, then a guitar comes in and does a run, very nice.

(154-155) OK riff, the bass provides some unnecessary dissonance. Drums didn't sound right here.

(156-157) Continuation of old riff plus pause....

(158-164) This part makes me sick listening to it, it's not really bad it just literally makes me sick.

(165-172) I think the whole band should have been playing during this part, it's a nice outro tho, unexpected niceness after such meanness from the last riff though.

(173-174) This builds more tension than it release in the GP, but it may sound better on an actual recording.

Overall I give this a 7/10, but easily with some fixes to problems that I pointed out it could be 8/10.
This was basically an unintentional Car Bomb piece.


It was an experiment in extreme copypasta. It was way more discordant then in it's original form, while my beginning intention was to right a straight forward thrash song.
This is it's most condensed form without losing too much of the original riffs.

I realized I should have kept the drums the same though. That main riff (3-6), where you state that the hi-hats should stay. I gotta say that I wholeheartedly agree.
If anywhere you should say that I'm doing something different only for the sake of being non-conformist, is that part. There was no artistic value or merit to the drumming in this. That was complete copypasta.

Also, I used no key for this. I was plugging in random riffs every couple days from teh real guitar onto this program. The solo was completely out of my ass though.
That's pretty much why this song is called Metalpasta. Oh damn, that gave me a badass idea for a concept album. Or at least a story behind this piece.
This is a piece of true surrealist/satire art.
Your repulsion adds to it this.

But as a true artist, I must leave this up to intrepretation. Although all the clues are up there.