The ideologies of musical acts mostly exist to sell the band as a unique product. Black metal is a weird beast because people are so ingrained in the culture of it that they start to force themselves to believe that "true" black metal sounds like X, or that they're supposed to be leaning hard into the aesthetics because that's what they've grown up with. From my experience though, these people aren't extraordinarily common in music. Tons of really young people who are just into playing music will keep their aesthetics because, hey why not? It's fun, admittedly.
Others believe that [insert example] ideology is the basis of the music they play when in reality it's the basis of the music they like and loved as kids, and since they grew up playing that and loving it they adopt the styles and aesthetics. The music isn't necessarily defined by the culture of its bands and fans so much as it's entrenched in it just sort of de facto.
The more sensible, pared down version of that: ideology begat sensibility begat adherence.
Holy ballsack! Slay is still alive! I haven't seen you post here in ages man, where have you been?
Doing something so apparently great that I decided to post here again
In reality, domesticity is boring as a mother****er and all that. Decided to hit up that school thing again, but considering dropping it again because it's just a waste of money for me at this point. Can't be putting myself too into debt or anything, and I have about as close to zero money as is possible.
You people and your philosophy. I feel like I should have studied less of that and more computer science nowadays, but dumbs is dumbs and decisions were made. I can't even remember half the crap I read, let alone use it.
Quote by The Virtuoso
I started posting on this site when I was about 15. I am 23 now. Don't worry about it man. You'll meet someone soon enough. You're still very young.
2007 doesn't even mean anything to me as a year anymore.
I normally hate this kind of thing, but I have to post this.
Child's Play is, if you don't know, an amazing charity. It donates money to children's hospitals all over, giving sick kids toys, books, games, and generally bringing light into a dark place - and the best part is that there is little to no overhead (meaning, they use almost 0% of the money to sustain the charity).
I'm saying this because tomorrow at 6PM PDT, Tested.com's very own Will Smith (not that one), Norman Chan, and Gary Whitta (yes, that one) are going to be doing a 24-hour livestream/podcast in order to help raise money... for the kids! They've done it before, last year, and this year's Octoberkast, as it's called, is looking to be even more amazing.
Go to Tested.com tomorrow to witness the greatest things human can do: help other humans. And, of course, you might get to see Jeff Green create a vulgar mad-lib. Or Dave Snider might accuse a Frenchman of being a dragon, who knows?
All I know is that you should really, at the very lest, donate because... hey, it's for the kids. Seriously guys, do it for the kids because it's the right thing to do. Even donating $1 would be amazing, because those dollars add up. They add up real fast.
That is some seriously sick shit. Back when I had a lineup of non-asshats I managed to get one of the dudes from Severe Torture (Martin, I think? The 'new' guy) to listen to a very cheap demo I'd made back then and got a text later saying that the 'shit was cash'.
Almost fucking killed my girl and I on the drive back.
Diggin' the demo, man. That first riff after the break in Rescinded Paradise is pretty damn killer. The sound overall reminds me of early Deeds of Flesh, very killer. Vocals are throaty, early Ross Dolan-esque too which is always a winner.
Name is alright, but trying to fight against BDM band names is a losing battle. Just have to learn to deal with some of the nonsense is all.
Very work in progress, but I like the riffs so I thought I'd post it. Very modern Cannibal Corpse sounding, looking back on it but I came up with this on the spot in a jam, so I'll be modifying the riffs a lot. And that intro solo, which is actually just wanking and the tapping bit is the only truly 'written' part, needs to be looked at again. Or I might just say 'fuck it'
Either way, enjoy. C4C as always, but please drop a link in here or I'll probably never get around to returning a crit
EDIT: She be done. Or, at least, I'm done writing the riff salad. As always, any trem bar writing is total improv and I am not beholden to how one part sounds at any time.
Under the Sign of Hell is infinitely better than either of those two records or any of Gorgoroth's other albums really.
Like, literally so much better that it pretty much renders those two null and void. Not to mention Hat sounds like a fucking assclown on those. The riffs are better, the production is better (but not in a necessarily cleaner way, just more fitting to the atmosphere) even if the snare sounds like a jackhammer would sound like if it were made of particle board.
Y'know, with all your "qualms" in Opeth's music, one could easily think that you're not a fan of their music at all. You never point out good transitions, or what makes you like their music, or what made you a fan of them in the 1st place. Even in this post, you counter a positive thing you said about the song with a negative comment.
The reason I bring this all up is, why bother? If you don't like their transitions/songwriting in general, why spend the time tearing it apart? I know the thread doesn't have to be a complete fellatio-fest, it's just that you seem more interested in tearing down the music more than anything else. I mean, whatever suits ya, just seems like a waste.
I don't ever really say this, but since you seem to know all the improvements Opeth can make with their music...
let's hear what you got!
I'm entirely too invested in Opeth to just sit back and listen to the music idly, so I naturally comment. The fellatio has gone on for quite a few years - even from me - so seeing some level of criticism is super fresh. If I were Mike, I would want 100% of any and all criticisms (constructive) that I could get because the fanboys would be overwhelming and entirely un-helpful as a songwriter.
I got into them because I had very little interest in metal anymore and I heard Damnation, thinking it was some smooth prock band, so I checked out the rest of their catalog (plus, Steven Wilson was credited on that record so I naturally had to magnetize to it). I'm saying that their modern stuff has far too many misses to make up for the hits, which the older stuff had in spades. The problems I have are because the transitional issues are (like ctfod said) huge shifts in atmosphere, where Orchid->DD's never really had the same level of issues.
I'm not claiming to know how to fix the problem, only that there is a problem. That's the first step to critical analysis, but certainly not the last. I'll never profess to knowing how a band should write their music, only how I react to it. Besides, that is a very flawed argument; I could tell you how bad it looks when a building falls apart at its foundation, but I'm not an architect so asking me to build the building is just a kneejerk 'nuh-uh!'.
My perspective on the "awkward transitions" is this:
better to have unexpected transitions that don't make sense 100% of the time, rather than have totally predictable, generic, run-of-the-mill transitions to every riff in every song. You know those songs that you hear and 30 seconds in your thinkin' "I know how this one goes, I don't even need to listen to the rest of this."
Opeth is like, the exact opposite of that.
So having nonsense transitions well over half of the time is okay? There are ways to play with subtleties (drum dynamics, passing notes, etc) and have unexpected transitions without just piling everything together like a riff mish mash.
I would prefer solidly constructed music over the nightmare that is Opeth 2005 onward. It's just grating to people that understand (or pretend to, i.e. me) how song flow and structure should work, when they miss perfectly awesome transitions to go and play in an acoustic daisy patch for the next eleven minutes.
One thing that perturbs me to no end is that Mike thought the transition at ~2:30 of heavy riff to acoustic bit was fine with a spastic full set fill from Axe.
I mean, what? I'm re-listening to this to try and pinpoint all of the problems, and holy shit. That fade-in lead after the solo vocal track makes me want to shove an ice pick in my forehead, not to mention the sudden break from the big build-up to a solo clean guitar.
I've been complaining about PH since day one, that song is so fucking bad man. Watershed boils down to one or two good songs and a bunch of mediocre shit stapled together. Still haven't listened to Heritage. Just can't be bothered right now with all this good music to catch up on.
Quote by darkstar2466
I bumped BRI today - still hold it to be one of the finest cut&paste pieces of all time. It shouldn't make sense a song, because it's not really a song but rather a collection of tunes in the same key, but it's still one of the best damn songs. That last scream...
I should hate BRI. Every inch of me should be screaming out against the 'transitions' in that song, but it is just too damn enjoyable. I could sit and complain about it all day, but listening to it I can't. It's so incredibly stupid, but I love it.
So the song I wrote over the last couple of days (some kind of nonsense) ended up being kind of weird, and I sat down with that in mind for this song.
Has a later-era Gorguts vibe with the major thirds and the high strings, but overall I'd like to think it's relatively original. Then again, it's probably a Suffocation clone in structure . Big ol' WIP as well, so expect on-the-fly transitions for now. Overdub might be used for a solo, who knows?
Enjoy. c4c as always.
EDIT: One step closer to finishing. Probably going to end on a stupid flashy solo, but I've been learning Hour of Penance tunes and my fingers are fucked.
I've only listened to B(Drum Track 2) but I like it. It's a well-written song without any major flaws, but a few disappointments.
- Like Ometh said, it's a pretty standard track with quite a few generic ideas. - That solo is begging for something more. I harmonized the sweeps and the octaves, put a little flair and added delay on the two-string pattern. I attached the overdub, but you can always ignore that . Watch out for using straight up/down arpeggios like that, because they can make your solos sound so boring. Cutting halfway through a sweep into a slidey bit/tapping/sliding into another chord can liven up a pattern like that without making it very difficult at all. Plus, it makes you sound like Guthrie Govan without having to break your fingers.
I will say that the lack of a breakdown helped this from being drearily generic, but working your way out of that minor pattern will help your songs. Start playing around with your chord progressions. I recommend looking at how open strings (especially the high E and B) can make your sound bigger without making the chords stupid fingering-wise.
Started out as a regular jammy brutal death song but the transition from the chaos to the melody at the end made me want to finish this weirdness.
By weird I mean that it suddenly becomes really melodic but I don't think it's as jarring as I expected, but it's still a bit whack. There's no way I could revisit the brutal part, but tell me how this thing turned out as it is.
If it's more jarring than what I'm hearing, I'll split the song. But I really want to keep it as this sort of contrasting bit.
EDIT: and yes, I know 6/4-4/4 is just 5/4, but I rewrote that riff and I couldn't be bothered to do a meter change at the time and it's just snowballing.
EDIT2: Finite. Except maybe for the transition to clean?
"Learn this in the future?" Oh, you wrote this in GP?
The hardcore 3/4 beatdown riff at 71 was great, but I think you overused the double tap bass just because of how brief that section is. Accenting with it rather than building the whole beat off of it made it sound less random, but only because the section was really short and never gets revisited. If it popped up again, it'd be fine.
I think recycling the song in its entirety after 103 was kind of disappointing since the transition from earlier at 126 is BEGGING for a slam or a breakdown. But, that's what I'm hearing and my brain hears quite a few slams nowadays .
Other than that, I think it's a good tune with some really sick riffs.
I'm not familiar with the Kirby theme, but I'm very familiar with CT.
I've not got much to say other than you blended the two well without losing the essence of either (well, what I'm assuming that MetaKnight theme is), which is pretty damn important to these kinds of arrangements.
Now, I'm going to attempt that opening sweep pattern. Either way, this is a cool backing track to have as well
I've had this thing for ages, but I never posted it. Still haven't gotten an ending for it after the second bridge, but a key change chorus might do the trick. Or take that final chord progression into the chorus
Posting this now, but I'm too tired to think of an outro. Oh, and ignore the vocal track.
Yeah that's the same guitar rhythm now that I listen back to it but (most of) the notes are different. The second half of that intro is all fourths, for starters. Whatever, I'm on the fence about that song anyways.
I guess I'm more confused on why I shouldn't post here JUST because I don't like vocals? If again, I just said I like the instruments? Errr... Hmm?
Because people on music forums, especially metal ones, are the worst when it comes to the whole 'vocals suck but i like the instruments' thing. I'm not trying to act like some super internet Hitler, just passing on some advice so this thread doesn't turn into what's happening between strychnia and these others.
Thankfully (?), that argument kind of overshadowed yours
You don't like the vocals, and vocals are apparently pretty important to you, so why post here? All you're going to get is people flaming you, and that just leads to an obnoxious page. Unless you have something constructive to say, it'd be in everyone's best interest to leave.