>>14813 I don't wanna be cunt, yo, but do any of you guys wanna revisit this? I have and it's still incredible. I don't get how it implies I'm easily impressed.
Sans blood for the blood god you could party this with your kids, it's great.
>>15437 Six minutes is a bit long and I want to go to bed, but yes, I've watched a couple of minutes so far and this certainly does seem pretty much tailor-made for me personally.
>>15437 1, the baby has tits.
2, the story only connected with me at the end, after I realised the characters were siblings.
3, I think the end would have been stronger without the baby bonus high score.
The music didn't catch me at first but I'm down for a rewatch n' listen.
Pat’s Soundhouse is instrumentally great and makes a good album for working to - he uses the khaen which ends up reminding me a lot of Penguin Cafe Orchestra. Here's the sound of a car alarm turned into a song:
There are also vocals but it's a bit 'eh' when he tries to make a song:
Indigo De Souza's new album is worth a listen as well, not least to pick up the influences:
Obviously, I'm posting this because it's a bizarre cultural artifact, not because it's even remotely listenable. Lyrically though it isn't dismiliar at all from a lot "hyper-pop" I've heard, so maybe someone should remix/cover it. Then again, what's the point in covering music no one on Earth remembers?
Boys of Summer won Best Video at the 1985 MTV Video Music Awards. To which Don Henley famously quipped that he essentially got paid to ride around Los Angeles in the back of a pickup truck.
I bought some loafers today and this has been on repeat in my head ever since. I don't know why "loafers" set this off. I own suits, vests and hats, but only the shoes set it off.
Blues is the root and origin of hard rock. Any good rock guitarist worth their salt should be able to play a passable blues, at least. And I would argue the same is still true right up to the most modern forms of extreme heavy metal. The soulless and sterile sounding stuff is because it's made by riff robots who never went back to the basics of how to improvise over a standard 12 bar blues progression.
Some of the best blues playing is from that grey area of deep cuts on 70s hard rock albums. This one is one of the funkiest tracks ever committed to tape and I challenge anyone to listen to it without biting your lip and bopping your head back and forth at some point.
For how lazy and formulaic their songwriting became later on in their career, this is an early gem from AC/DC that shows they really could do subtlety when they wanted. It is also notable for Malcolm playing most of the lead.
And from Gary himself, this version of Don't Believe A Word is just sensational. Supposedly this is more what Lynott had in mind when he originally wrote the song.
That's a classic, great track. The Shencker era of UFO is a big influence on Iron Maiden and a lot of the early 80s heavy metal era, in fact they open all of their live shows with that track. My favourite on that album is:
Got that kind of freewheeling addictive riff that just keeps driving on through most of the song, but then a great bridge section that gets quite spacey and peels back the elements, then builds up in intensity and pace as it all comes back in.
I think what you mean by feeling something is missing may just down to the production, it only has a single centred rhythm guitar instead of double tracked and hard panned, that became standard for most of this type of music.
I bought Metallica's latest album over a year ago, and never listened to it because modern consumption is so immediate that I never felt any need to put in a physical CD to listen to it, even though they're one of my favourite bands in history. Anyway, I finally listened to it today.
I'm in two minds: the title song is excellent, and every other song on the album is completely identical to it. So that should be 12 excellent songs, right? But when you've got the sort of terminally-online attention span that I've got, it all feels so samey. And the songs are all so long - only one song on the entire album is under four minutes in length, and most are six or seven minutes of interminable tuneless groove metal, segueing into another seven minutes of groove metal immediately afterwards. It's a very soul-destroying type of enjoyment. I read some reviews of the album, and most people seem to agree with me on this. The entire album clocks in at 77 minutes, which feels to me like they only stopped playing because the CD ran out of space. And yet this song is good, and a couple of the others are even better. Among the new Metallica albums that nobody cares about, I would say this is definitely better than Hardwired To Self-Destruct, but still not a patch on Death Magnetic.
It's a problem they have had since the 90s, and I chiefly blame it on Bob Rock, who they worked with on Black Album, Load, Re-Load and St Anger. He encouraged them to adopt the approach of writing shitloads of songs, they'd write up to 30 sometimes, and then chop it down to the "good ones" out of that. But I feel that approach just means you spread your ideas too thinly, and end up with an entire album of filler. As a musician, or any kind of artist, I really think the approach should always be quality over quantity, and don't waste time persevering on an idea that isn't working out. Just scrap it and move onto something better.
Then again the issue shows itself even on their early work, if you ask me, where they repeat the same bland as fuck riff several times more than they need to; I think the first song in their catalogue you can accuse of it is Disposable Heroes. Duggaduggadun duggadun dun dun dun duggaduggadun duggadun dun dun dun ad nauseum. In the song you linked, they could have done with about 75% less of the da na NA, da na NA, da na NA NA NA NAA riff, for instance.
The solo section is where it gets good. Kirk is still getting mileage out of that one lick he's been using since Hit The Lights and Seek and Destroy, and power to him, it's a great lick and one that I've shamelessly copied many a time. But what really does it is that the song suddenly has a bit more memorable of a chord progression, a bit more of a gripping melody to grab you, not just another one of James Hetfield's open-E string discount specials. But of course then it goes right back to that, doesn't it.
As much as I do love Metallica, and I want anyone reading to know my harshness on their stuff sometimes comes from a place of genuine love from a long term fanboy, you have to wonder where they'd be if they never had Diamond Head to rip off for their early stuff. Listen to Lightning to the Nations back to back with Kill 'Em All and a lot falls into place.
>Then again the issue shows itself even on their early work, if you ask me, where they repeat the same bland as fuck riff several times more than they need to;
A friend in my younglad days, a true metalhead, was a big fan of And Justice For All, but I guess my main gripe with that album even back then was that it was just some lads shredding their guitars, doing their thing, but sounding a bit repetitive from one song to the next. It had no memorable, sing-along songs, anthems or the like. Even "One", which was probably the standout track and which I actually like to this day, was more a tractate in bleakness than a genuinely good song.
The Black Album made Metallica accessible to audiences who, up to that point, were struggling to get into the band. The song structures became more "radio playable" and you had people liking them who weren't even normally into metal. While true fans who had been with the band from the beginning were crying foul.
Load and ReLoad then largely followed the Black Album's blueprint, and sold quite respectably, again, to the masses. While not few original fans felt all the more betrayed.
If you look at songs like The Memory Remains, it had strong songwriting, and got Metallica top spots in pop music charts the world over. But at its heart, it was commercial metal. It had nothing more to do with the kind of musical niche that (most of) metal always wanted to be.
>>15474 >Disposable Heroes
I went back and listened to that again, because I love it, and even that has a bit which sounds exactly like one part of 72 Seasons. Around the 5:00 mark, when I was listening to it yesterday, I almost instinctively started singing along, "21, only son, but he served us well...".
I also looked up that Diamond Head album you mentioned, because I don't know much about Diamond Head (turns out they're not the same as King Diamond!), and you are absolutely right. The influence on Metallica is unmistakable. I would defend Metallica by saying they only really came into their own with Ride the Lightning, which sounds very different, but you're spot-on with Lightning to the Nations and Kill 'Em All.
What's funny is that it's come full circle, and the Diamond Head re-recording sounds exactly like a Metallica b-side. Shows you how much of a difference production makes to metal*. Compare and contrast:
For what it's worth though, I do consider this Metallica version of Am I Evil to be one of the all time best cover songs, one of the rare ones that tops the original, up there with Hendrix's version of All Along The Watchtower, Soft Cell's Tainted Love, or Johnny Cash's Hurt.
*And on that note, I've probably posted it before, but to me this is pretty mind blowing to hear. Ride the Lightning is the one I like the most and subconsciously that sound has always been what I have been aiming at with my own recordings, but what if it's also the reason I like that album the most, independently of the actual songs?
>Finn Keane USA
The vocal work in this is gorgeous. What I'm gonna call 'the mid ranges' were clear PC music, but the slap bass sounds like it came from a Sega Megadrive. Not necessarily a bad thing of itself, just felt the base sections could have been developed more.
PC Music must have been incredible to listen to at a club. Imagine the atmosphere, it must have felt great. It's one of the only musics I know that actually feels physically sensational.
I like to think that listening with better headphones would make my soul tingle.
>>15482 I feel likewise about PC music. Obviously the track were a bit of a pisstake, because I can't imagine anyone having their first dance at a wedding to them, but I feel things. I've got depth, and those three tracks prove it.
Bryan Ferry and Roxy Music are often credited with a seminal influence on 1980s sophisti-pop. While Ferry's album Boys and Girls wasn't the de-facto starting point, many acts subsequently tried to sound like it.
Y'all probably heard this already but here, have a listen to Grimes. I half expect the corus to break into Cool For Cats. I can't make much sense of Grimes lyrics but wikipedia suggests they share similar lyrical themes.
