In my recent years, it has become clear to me that my favorite band is Neurosis. Though many other bands will often capture my spirit for a time, Neurosis has become a group I feel I am almost soulbound to. There is a connection I have with their music, and their being, that I cannot resist or deny.
I remember when I first listened to Neurosis, about two or three years ago. I was horrified, in the most exciting and enjoyable way a person could feel. I remember saying to my friend, with the utmost admiration and praise, "They are the most unpleasant sounding band I've ever heard!"
With my musical taste and background at the time, I was certainly more receiving of the somber and melodic albums of recent years, than the more raw, harsh, and violent nature of the earlier ones. But as I explored, and grew throughout the years, I slowly began to understand the music if their younger years. In my time listening to Neurosis, I came to find that the same spirit has always existed in their music, since the very beginning.
I will be the first to admit that I exhibit many "fan boy"-esque qualities on the subject of Neurosis. Were I ever to meet any of them, I would certainly be nervously excited. But it is not without good reason. Neurosis is a group that has approached creating music and existing as a band in much the same way that I have attempted to in my years. They have made a continuous effort to remain independent from genres, industry, cliche, premeditated musical design, and all other things in music and art that become otherwise dry and soulless. They've kept a constant emphasis on emotion, DIY, originality, soul, and creativity, for their entire career. And I am sure they have sacrificed more for it than most would for anything. Their discography is like a timeline, with each album symbolizing an era, a plane of existance which they once stood, for that very moment. Their visiual artwork is their own, their record label is their own, their roadies and soundpeople, merch people, their families... all Neurosis; one big family creating it all.
Neurosis is a band that I cannot help but have the highest respect for, almost solely on the fact that it is entirely genuine and personal to them. Now I can certainly comment on aspects of their being that I do not enjoy. The exhaustingly repetative nature of many of their riffs, the fizzy tones of the early albums, Dave Edwardsons' strangely deep and almost goofy sounding yell/growls, many of the disappointingly awkward progressions on the later albums, and the sort of busy and messy metal-esque artwork of some of the older albums are examples of these. But these are not elements brought into their world ingenuinely. Even if they released something seemingly ridiculous and nonesensical, I would never thing that it was something that didn't come from a very real and honest place within them.
Neurosis has a quality about their music that speaks to me deeply. It is as if listening to them summons a piece of me that is often otherwise lost, or caged. When I saw them live, the entire set had me in a sort of a trance. Listening to them is such a personal experience to me that I almost prefer to listen to them alone. While there is quite a large cult following of Neurosis, I do not see myself as part of that. I found their music and listened to them on my own, with only the help of references in various web documents guiding me to them. I have few friends who enjoy their music as much as I do, and many of the ones that do found their music later on. When I trudged through a dark era of my life, Neurosis was the anthem, the soundtrack that tied it all together, and motivated me to march willfully through. I have a personal relationship with their music.
Neurosis has truly been influential to me, in so many ways. Although there are so many others who feel the same, so many other fan boys and copycat bands, I can understand their efforts to pay homage to such a powerful group. And though I would suggest them to anyone who finds themselves with even similar perspectives and feelings on music and art as myself, I would never ask or expect anyone to enjoy it like I do. For Neurosis' own intent in their quest pays no mind to the listener, to the fans, or otherwise. It is entirely to create music that is true to them, to apease the relentless calling that many musicians have. And it just so happens that their music is as mighty as the universe itself, in my eyes.
I could never hope to create music as profound as theirs. I only wish that I will feel the same level of accomplishment, the same fulfillment in releasing my own soul through the medium of music, as they have in their years, in my time to come.
Tuesday, September 8, 2009
Sunday, May 17, 2009
Thursday, May 7, 2009
Frustration
This will probably become a rant.
Every musician that intends to make their art public must face the battle of "booking shows". In my experience, this has been, for reasons I cannot understand, very difficult. It feels as though there is some sort of secret language, or code, or WAY of communicating to someone else that you would like to set up a show, be it with them, or at their venue, or what have you. Normally in the instance of contact via the internet, I would write to someone like so:
Hey ******,
So, we're lookin to set up a show in ***** on the **th of *****. We were thinkin that we could have *** ***** and **** ***** **** play as well. You think you guys would be down with that? Let us know what you think
Thanks dudes!
Topher<
I usually get ignored. It is as if I am speaking to them in some way that does not make any sort of sense to them? I try to be very clear, and in some cases rather articulate. Apparelty you have to sound stupid, and write things like u instead of you, use a lot of slang, and act like it's no big deal anyway. But it seems that even that does not work...
Is it that I am addressing them the wrong way? Am I being pushy, or overbearing? Am I asking the wrong people? Are people just lazy?
Maybe it is just that we aren't IN on the cliques. We're that band that those bands played with once; those young kids that were good, but were outsiders nonetheless. We aren't trendy, we aren't the crowd drawers, we don't bring the mosh, we don't get trashed before we play. It also doesn't help that we don't get to play often, because we're busy a lot of the time.
I'm tired of the sort of catch that is the underground music scene. You can't get shows unless you're a good band, and IN with everyone else. So let's say your music is good; you still can't get shows, because you aren't in. But how do you gain respect from the cliques? I guess that's the mystery. If your band doesn't totally suck, your friends will love your shit. But if you don't have a whole lot of friends, I guess maybe you're just dead in the water......
Maybe being involved with music is really just the same as being involved with people. If you don't bring the party, you aren't worth anyone's time, no one cares, and that's the end of it...
Every musician that intends to make their art public must face the battle of "booking shows". In my experience, this has been, for reasons I cannot understand, very difficult. It feels as though there is some sort of secret language, or code, or WAY of communicating to someone else that you would like to set up a show, be it with them, or at their venue, or what have you. Normally in the instance of contact via the internet, I would write to someone like so:
Hey ******,
So, we're lookin to set up a show in ***** on the **th of *****. We were thinkin that we could have *** ***** and **** ***** **** play as well. You think you guys would be down with that? Let us know what you think
Thanks dudes!
Topher<
I usually get ignored. It is as if I am speaking to them in some way that does not make any sort of sense to them? I try to be very clear, and in some cases rather articulate. Apparelty you have to sound stupid, and write things like u instead of you, use a lot of slang, and act like it's no big deal anyway. But it seems that even that does not work...
Is it that I am addressing them the wrong way? Am I being pushy, or overbearing? Am I asking the wrong people? Are people just lazy?
Maybe it is just that we aren't IN on the cliques. We're that band that those bands played with once; those young kids that were good, but were outsiders nonetheless. We aren't trendy, we aren't the crowd drawers, we don't bring the mosh, we don't get trashed before we play. It also doesn't help that we don't get to play often, because we're busy a lot of the time.
I'm tired of the sort of catch that is the underground music scene. You can't get shows unless you're a good band, and IN with everyone else. So let's say your music is good; you still can't get shows, because you aren't in. But how do you gain respect from the cliques? I guess that's the mystery. If your band doesn't totally suck, your friends will love your shit. But if you don't have a whole lot of friends, I guess maybe you're just dead in the water......
Maybe being involved with music is really just the same as being involved with people. If you don't bring the party, you aren't worth anyone's time, no one cares, and that's the end of it...
Sunday, March 15, 2009
Lonely
There are many songs, many bands, many types of music that just seem to convey a strong feeling of being alone. This music so often will be what you evidently listen to whilst you remain by yourself. And perhaps this music causes you to feel quite lonely, just from hearing it. Some music reminds you of the past, and through nostalgia, you begin to feel alone.
Tarentel is a group who tends to create a particular lonely feeling; one that feels almost like an introspective moment, staring at the ceiling while laying on your bed on some Sunday afternoon. The sound it has just makes you want to be by yourself, forgetting all responsibilities, thinking about some long lost person, some great day all those years ago that you forgot about.
Music is powerful.
Tarentel is a group who tends to create a particular lonely feeling; one that feels almost like an introspective moment, staring at the ceiling while laying on your bed on some Sunday afternoon. The sound it has just makes you want to be by yourself, forgetting all responsibilities, thinking about some long lost person, some great day all those years ago that you forgot about.
Music is powerful.
Thursday, March 5, 2009
among the ethereal periphary of sound
There is something truly spiritual about music, or at least the most sincere and untainted forms of it. In my relations with fellow musicians, there is an understanding which we all share, that this plane of existence is sacred to us. Though many of us have different goals, or different approaches as members of the music world, all of us who hold a sincere dedication to music have a sense of unity between us, through what almost feels like a secret language.
In listening to certain bands, certain records, certain genres, I cannot help but feel a direct connection to the (metaphorical) souls of those who wrote and performed the music. People I have never met seem to feel like dear friends, through a sort of sonic communication. Harmonies convey a feeling, or tell a story, or awaken an otherwise unknown perspective. It is as though music is a link to a separate dimension, a ghostly world of lingering emotions and messages. And it is truly inspiring.
Music has been the only thing that has ever made me consider the existence of the soul, in a literal sense, and of a life, or world outside of this one. Whether music is a door to the outer realm of the universe is beyond me, but at least I know that we as humans are bound to each other, and to the earth, through this part of life we call music.
Next time you hear a bird sing, stop and listen. You might hear more than you'd expect...
In listening to certain bands, certain records, certain genres, I cannot help but feel a direct connection to the (metaphorical) souls of those who wrote and performed the music. People I have never met seem to feel like dear friends, through a sort of sonic communication. Harmonies convey a feeling, or tell a story, or awaken an otherwise unknown perspective. It is as though music is a link to a separate dimension, a ghostly world of lingering emotions and messages. And it is truly inspiring.
Music has been the only thing that has ever made me consider the existence of the soul, in a literal sense, and of a life, or world outside of this one. Whether music is a door to the outer realm of the universe is beyond me, but at least I know that we as humans are bound to each other, and to the earth, through this part of life we call music.
Next time you hear a bird sing, stop and listen. You might hear more than you'd expect...
Monday, March 2, 2009
You aren't cool unless you have a GIBSON LES PAUL!
I spend a fair share of my time looking at, reading up on, web browser window shopping, and quite simply THINKING about music gear. This is an addiction, or at least a strong interest that many musicians have. But in terms of how important it is to music itself is a topic to be explored. Many will say that it isn’t necessary, and that whatever spirit within you that yearns to escape will be enough to inspire, or at least to satisfy. Others will say that not using the good stuff will only lead to a mess of bad tone, regardless of how well you play. But what these two opposite spectrums fail to account is the point I mean to drive home; with the almost infinitely variable aspects of musical equipment, understanding what you want out of your instrument, and what items can achieve your goals is the most important thing when it comes to gear in music. With my experiences in mind, I will discuss just how important the musicians’ choice of equipment is to the realm of music.
When I was young, I made it a point to myself never to get too caught up in what sort of guitar (acoustic or electric) I was using to write music with. I felt that if it sounded good on an acoustic, it would undoubtedly be pleasing in any other circumstance. I was mostly right; however, as I delved into the exciting, and quite confusing world of guitar pedals, I began to realize how much more there was to do with just the sounds that you can make with a musical instrument, whether it be a song or just some nonsense. Pieces that I had written before became far more flavorful, or more spaced out, as many might put it. What might have been a simple and sort of boring riff became a very compelling piece, just with the addition of the right effect(s). It was in this discovery that I found the beauty of music gear as a subject of it’s own.
Many will argue that pedals are merely fancy extensions of an amplified instruments natural tone, and will usually just distract the user and the listener from the music’s integrity. But what they do not realize is that on most albums they’ve ever listened to, there has been a plethora of effects used, either during or after the initial tracking process. Effects are a staple in a lot of musical genres, from basic compressing and equalization, to very thick and psychedelic phasers, to ambient delays, and probably most commonly in the tracking process, distortion. Sure, when used too much, these little metal boxes, or plugins on computers, etc. can make a mess of the sound, but when one understands how to use them, they can make the difference between a stale and familiar sounding tone or piece of music, and a rather original sound that could captivate listeners from a wide variety of backgrounds.
While it is certainly appreciated that there are people out there that wish to keep their set up simple, one cannot be so unwilling to explore the possibilities of electronic assistance (in certain circumstances, of course). It is definitely unnecessary for a drummer to mic their entire drum set at a show that is taking place inside a person’s living room. But when playing on some enormous stage in a big theater, micing a drum set only make sense, and there’s no doubt that the person running the PA is going to do some adjustments to the volumes and the EQ on them. Using the concept of obtaining optimal sound in mind, we can discuss things like guitar amps with the same perspective. Many will talk about how awesome their 150 watt guitar amp with three channels on it, and all kinds of switches to create various tones, but how practical is a loud guitar amp with a million switches for a guitarist that is playing house shows? And, if they don’t understand how to use it, how good is the sound going to be? With some research, a guitarist with such a rig could certainly end up ditching their super fancy amp for something far more simple, and maybe more inexpensive. Using the knowledge of, say, guitar amps and their various tones and features, a guitarist could make a somewhat precise decision on an amp, and be satisfied for maybe the rest of their life as a guitarist. But what many people get caught up in, which is perhaps the biggest determinating factor in music gear choices, is trends.
Music gear trends is actually the biggest factor of musicians’ choices in gear. People have been chasing the tones of various instruments from albums of the past for years. Van Halen impressed every guitarist with his “brown sound” back in the 80's, Hendrix launched the fuzz tone into the public ear, Pete Townshend from The Who brought Sunn amps into popularity (not to mention Sunn O))) bringing them back into popularity), all of which were simply personal choices made by these musicians who felt like doing something a little different. For maybe the last century, people have been trying to mimic the sounds of the past, or at least of their favorite bands, and with the help of scummy salespeople, misleading ads, and inexpensive versions of nice equipment, musicians have been sounding terrible for quite a long time. What these musicians need is a little knowledge.
We have all seen plenty of bands with shit equipment that blew us away, as well as plenty of fully armed bands with music that we could not even force ourselves to listen to and watch for more than thirty seconds. Many of us musicians have been surprised at how good a cheap and usually bad sounding piece of equipment has made us feel when listening to someone play through it. But what set apart those that sounded good from those that didn’t (aside from our own musical tastes) was their understanding of their equipment. Maybe the guitarist knew he’d get more sustain out of his guitar if he set the action higher. Maybe the drummer knew a small bass drum would give him the tone he wanted. Maybe the band used four amps because they really just wanted to upset people a little bit with how loud they were. Maybe they wanted to nail the Led Zepplin sound. Whatever the case, the musician will never be satisfied with their sound unless they understand how to achieve it.
When I was young, I made it a point to myself never to get too caught up in what sort of guitar (acoustic or electric) I was using to write music with. I felt that if it sounded good on an acoustic, it would undoubtedly be pleasing in any other circumstance. I was mostly right; however, as I delved into the exciting, and quite confusing world of guitar pedals, I began to realize how much more there was to do with just the sounds that you can make with a musical instrument, whether it be a song or just some nonsense. Pieces that I had written before became far more flavorful, or more spaced out, as many might put it. What might have been a simple and sort of boring riff became a very compelling piece, just with the addition of the right effect(s). It was in this discovery that I found the beauty of music gear as a subject of it’s own.
Many will argue that pedals are merely fancy extensions of an amplified instruments natural tone, and will usually just distract the user and the listener from the music’s integrity. But what they do not realize is that on most albums they’ve ever listened to, there has been a plethora of effects used, either during or after the initial tracking process. Effects are a staple in a lot of musical genres, from basic compressing and equalization, to very thick and psychedelic phasers, to ambient delays, and probably most commonly in the tracking process, distortion. Sure, when used too much, these little metal boxes, or plugins on computers, etc. can make a mess of the sound, but when one understands how to use them, they can make the difference between a stale and familiar sounding tone or piece of music, and a rather original sound that could captivate listeners from a wide variety of backgrounds.
While it is certainly appreciated that there are people out there that wish to keep their set up simple, one cannot be so unwilling to explore the possibilities of electronic assistance (in certain circumstances, of course). It is definitely unnecessary for a drummer to mic their entire drum set at a show that is taking place inside a person’s living room. But when playing on some enormous stage in a big theater, micing a drum set only make sense, and there’s no doubt that the person running the PA is going to do some adjustments to the volumes and the EQ on them. Using the concept of obtaining optimal sound in mind, we can discuss things like guitar amps with the same perspective. Many will talk about how awesome their 150 watt guitar amp with three channels on it, and all kinds of switches to create various tones, but how practical is a loud guitar amp with a million switches for a guitarist that is playing house shows? And, if they don’t understand how to use it, how good is the sound going to be? With some research, a guitarist with such a rig could certainly end up ditching their super fancy amp for something far more simple, and maybe more inexpensive. Using the knowledge of, say, guitar amps and their various tones and features, a guitarist could make a somewhat precise decision on an amp, and be satisfied for maybe the rest of their life as a guitarist. But what many people get caught up in, which is perhaps the biggest determinating factor in music gear choices, is trends.
Music gear trends is actually the biggest factor of musicians’ choices in gear. People have been chasing the tones of various instruments from albums of the past for years. Van Halen impressed every guitarist with his “brown sound” back in the 80's, Hendrix launched the fuzz tone into the public ear, Pete Townshend from The Who brought Sunn amps into popularity (not to mention Sunn O))) bringing them back into popularity), all of which were simply personal choices made by these musicians who felt like doing something a little different. For maybe the last century, people have been trying to mimic the sounds of the past, or at least of their favorite bands, and with the help of scummy salespeople, misleading ads, and inexpensive versions of nice equipment, musicians have been sounding terrible for quite a long time. What these musicians need is a little knowledge.
We have all seen plenty of bands with shit equipment that blew us away, as well as plenty of fully armed bands with music that we could not even force ourselves to listen to and watch for more than thirty seconds. Many of us musicians have been surprised at how good a cheap and usually bad sounding piece of equipment has made us feel when listening to someone play through it. But what set apart those that sounded good from those that didn’t (aside from our own musical tastes) was their understanding of their equipment. Maybe the guitarist knew he’d get more sustain out of his guitar if he set the action higher. Maybe the drummer knew a small bass drum would give him the tone he wanted. Maybe the band used four amps because they really just wanted to upset people a little bit with how loud they were. Maybe they wanted to nail the Led Zepplin sound. Whatever the case, the musician will never be satisfied with their sound unless they understand how to achieve it.
Thursday, February 12, 2009
Hectapus
If you haven't yet, you should check out my solo work, Hectapus, unless you don't like songs without drums. I've added three new songs as of late.
I'm also working on a musical project as Hectapus with some folks on a forum called Doom Forever, Forever Doomed. We are collaborating and putting together some tracks for an album. It is likely going to be primarly drone, although we are trying to make it a little more diverse. The intent is for us to be done with it by the end of February.
As for this very moment, I'm listening to a peculiar but awesome band called It's a Lunken. Check 'em out!
I'm also working on a musical project as Hectapus with some folks on a forum called Doom Forever, Forever Doomed. We are collaborating and putting together some tracks for an album. It is likely going to be primarly drone, although we are trying to make it a little more diverse. The intent is for us to be done with it by the end of February.
As for this very moment, I'm listening to a peculiar but awesome band called It's a Lunken. Check 'em out!
Monday, February 9, 2009
Let the notes speak
Upon several attempts to write something worth reading, I'm stumped....
So put on one of your favorite albums, listen through some headphones (unless your speakers are better), take your favorite (safe) substance, if that's what you're into, and LISTEN........
What are your thoughts?
So put on one of your favorite albums, listen through some headphones (unless your speakers are better), take your favorite (safe) substance, if that's what you're into, and LISTEN........
What are your thoughts?
Saturday, January 10, 2009
Albums that kick so much asss
I always listen to entire albums when I listen to music. I can't just listen to a mix of songs, if I'm in control of the music. I think these albums have been some of the most memorable and influential to me...
Neurosis - Times of Grace
Mono - You Are There
Mouth of the Architect - Quietly
DJ Shadow - Entroducing
Cult of Luna - Somewhere Along The Highway
Pelican - The Fire in our Throats Will Beckon the Thaw
Mogwai - Come On Die Young People
Mos Def - Black On Both Sides
Converge - Jane Doe (it's just that good...)
Cursed - III
The Roots - DO YOU WANT MORE?!?!
Eluvium - When I Live By The Garden And The Sea
Nas - Illmatic
Pink Floyd - Dark Side of the Moon
Envy - Insomniac Doze
Hopesfall - Satellite Years
Common - Resurrection
MF Doom - Danger Doom
Mineral - End Serenading
Thursday - Full Collapse
Thrice - The Artist in the Ambulance
Forstella Ford - Queitus
Del - Deltron 3030
Planes Mistaken for Stars - Fuck With Fire
Cave In - Jupiter
Kaospilot - self titled
Neil Perry - Lineage
Orchid - "gatefold"
Explosions In The Sky - The World is Not A Cold Dead Place
Refused - The Shape of Punk to Come
Sigur Ros - untitled
Skycamefalling - 10.21
Snapcase - End Transmission
Sunn O))) - Black One
Takaru - There Can Only Be None
Wolves in the Throne Room - Two Hunters
Worker Bee - Divorce Your Legs
I'm sure I missed some...
Neurosis - Times of Grace
Mono - You Are There
Mouth of the Architect - Quietly
DJ Shadow - Entroducing
Cult of Luna - Somewhere Along The Highway
Pelican - The Fire in our Throats Will Beckon the Thaw
Mogwai - Come On Die Young People
Mos Def - Black On Both Sides
Converge - Jane Doe (it's just that good...)
Cursed - III
The Roots - DO YOU WANT MORE?!?!
Eluvium - When I Live By The Garden And The Sea
Nas - Illmatic
Pink Floyd - Dark Side of the Moon
Envy - Insomniac Doze
Hopesfall - Satellite Years
Common - Resurrection
MF Doom - Danger Doom
Mineral - End Serenading
Thursday - Full Collapse
Thrice - The Artist in the Ambulance
Forstella Ford - Queitus
Del - Deltron 3030
Planes Mistaken for Stars - Fuck With Fire
Cave In - Jupiter
Kaospilot - self titled
Neil Perry - Lineage
Orchid - "gatefold"
Explosions In The Sky - The World is Not A Cold Dead Place
Refused - The Shape of Punk to Come
Sigur Ros - untitled
Skycamefalling - 10.21
Snapcase - End Transmission
Sunn O))) - Black One
Takaru - There Can Only Be None
Wolves in the Throne Room - Two Hunters
Worker Bee - Divorce Your Legs
I'm sure I missed some...
Wednesday, January 7, 2009
I listen to doom metal
I'm freestylin this one. Sorry if it don't come out concise.
It's an odd thing, tracing your footsteps backwards into your past, on the road of music. I have traveled through so many musical tastes, listened to so many bands, and loved them, and maybe later hated them. I have continually progressed into genres that I once thought I'd never like, to my surprise, and it is this fact that has me writing now; to think curiously about my transformation of taste throughout my life. Maybe I will be able to predict my tastes of the future...
I started listening to rock music exclusively at the age of about fourteen, after growing up on hip hop that my older brother introduced me to. I started listening to Nu-Metal, and some more popular "punk" bands. These genres seemed to be enticing to me due to their newness, and sort of defiant nature. Punk has always had the youthful spirit. I think what really grabbed me about those genres though were simply the fact that they were popular among my friends. Fourteen is certainly an age of impressionability.
In my evolving self, I shifted my musical taste away from the more abrasive styles of rock (especially Nu-Metal; I burned that bridge long ago...), and towards the more melodic and emotional sounding varieties. I had always felt a particular fondness to the slow songs, the sad songs, the melodic songs, as a young one, so moving into genres like emo, screamo, and post-rock was quite natural.
Being influenced by the "post-hardcore" bands of the earlier 2000's, such as Thursday, Thrice, Coheed and Cambria, This Day Forward, Hopesfall, Snapcase, Refused, Poison the Well, Sparta, Skycamefalling, and many others, I found what I felt to be a comfortable place in music. These bands held a solid mixture of heaviness and melody, with screaming, clean parts, breakdowns, and epic endings. They had the more attractive elements of punk, metal, and emo. This era had probably the most profound effect on my musical self, and still does to some extent.
Emo; it's a bad word now, but it used to be one of my favorite styles of music. Mineral and Sunny Day Real Estate were the heavyweights to me, holding such a sincere feeling in their music. Being the total romantic that I was at the time, it was perfect. And it was this heartfelt music that opened the door to post-rock for me, thanks to Explosion in the Sky's emotional overtones. But the post-rock door was not the only one to be opened to me.
The sort of "post-hardcore" music that I was so into had a history that I was to learn of. Many of the bands in this category came from the lesser known screamo bands of the times, like The Assistant, Neil Perry, Orchid, Saetia, Circle Takes the Square, etc., having been influenced by these bands, and making music of their own as a result. Having grown a bit tired of the post-hardcore bands I'd listened to so much, I began to venture into this peculiarly intense style of music. The poor quality recordings, quick tempos with unexpected time changes, crusty and mean guitar riffs, and lacking screams from the vocalists was sort of emberassing at first. But I connected to it, in the melodic breakdowns and clean parts. It was always the melodic aspect that I looked for, and connected to...
I remember being about eighteen, and coming to understand my exclusive interest in screamo and post-rock, having been a fan of stuff like Kaospilot, and Mogwai for a while at that point. Those two genres were precisely what I was aspring to capture in my own music, until the next transition came one day. I was at a friend's house one night, and I received a call from my friend Ryan (Ryan introduced me to probably half of the bands that I have for years loved and respected). Ryan informed me of an upcoming show, where Pelican and Mono would both be playing. I responded blankly, having no knowledge of either band. Ryan was shocked, and demanded that I familiarize myself with both bands. I did. Mono was right up my ally, and Pelican was something strange and new almost entirely. It was...heavy; really heavy.
What Pelican had that initially excited me was the dramatic soundscapes, and the melodic and pretty parts in their songs. I started listening to them out of curiosity, wondering what this tramendous, downtuned guitar driven was all about. It was not long before I began to realize that these slow and heavy riffs were really moving, literally! I found myself headbanging constantly. It was at that point that I had sort of realized that I actually liked heavy music, and that while I always preferred the more melodic aspects of music, it was not true to say that I did not also look for the heavy aspects of it. It was at that point, that I realized that there was a style of metal that I actually liked; doom metal.
Ever since, I have only become more fond of doom. From Neurosis, to Cult of Luna, to Buried at Sea, to High on Fire, to the creators of doom, Black Sabbath, all has been neck breakingly good. Looking back, I never would have thought that such a dark and heavy music so influenced by metal would ever be such an exciting genre for me. At sixteen, I would have listened to a doom band for no more than thirty seconds before saying, "this sucks!" I did say that about another genre of music, when I was sixteen. Black metal.
I have recently become quite interested in black metal, as it has become a frontier I've yet to venture. Thanks to more melodic black metal bands like Hecate Enthroned, and Wolves in the Throne Room, I have come to like the sort of speed metal oprah that black metal is. What's interesting, is that I had actually predicted that I would next have an interest in black metal. Perhaps I can predict what will come next.
What I have found is that throughout these years, whatever the genre of music a band is, if it shares the melodic, artful, heavy, and/or epic aspect of music I'm already interested in, I will most certainly like it. But only so much of what I'm really looking for can be pin pointed. Some music connects to me rather mysteriously, sort of spiritually you might say. Some of the most unexpected music has touched me before. Who knows... maybe some day I'll be all about folk music.
It's an odd thing, tracing your footsteps backwards into your past, on the road of music. I have traveled through so many musical tastes, listened to so many bands, and loved them, and maybe later hated them. I have continually progressed into genres that I once thought I'd never like, to my surprise, and it is this fact that has me writing now; to think curiously about my transformation of taste throughout my life. Maybe I will be able to predict my tastes of the future...
I started listening to rock music exclusively at the age of about fourteen, after growing up on hip hop that my older brother introduced me to. I started listening to Nu-Metal, and some more popular "punk" bands. These genres seemed to be enticing to me due to their newness, and sort of defiant nature. Punk has always had the youthful spirit. I think what really grabbed me about those genres though were simply the fact that they were popular among my friends. Fourteen is certainly an age of impressionability.
In my evolving self, I shifted my musical taste away from the more abrasive styles of rock (especially Nu-Metal; I burned that bridge long ago...), and towards the more melodic and emotional sounding varieties. I had always felt a particular fondness to the slow songs, the sad songs, the melodic songs, as a young one, so moving into genres like emo, screamo, and post-rock was quite natural.
Being influenced by the "post-hardcore" bands of the earlier 2000's, such as Thursday, Thrice, Coheed and Cambria, This Day Forward, Hopesfall, Snapcase, Refused, Poison the Well, Sparta, Skycamefalling, and many others, I found what I felt to be a comfortable place in music. These bands held a solid mixture of heaviness and melody, with screaming, clean parts, breakdowns, and epic endings. They had the more attractive elements of punk, metal, and emo. This era had probably the most profound effect on my musical self, and still does to some extent.
Emo; it's a bad word now, but it used to be one of my favorite styles of music. Mineral and Sunny Day Real Estate were the heavyweights to me, holding such a sincere feeling in their music. Being the total romantic that I was at the time, it was perfect. And it was this heartfelt music that opened the door to post-rock for me, thanks to Explosion in the Sky's emotional overtones. But the post-rock door was not the only one to be opened to me.
The sort of "post-hardcore" music that I was so into had a history that I was to learn of. Many of the bands in this category came from the lesser known screamo bands of the times, like The Assistant, Neil Perry, Orchid, Saetia, Circle Takes the Square, etc., having been influenced by these bands, and making music of their own as a result. Having grown a bit tired of the post-hardcore bands I'd listened to so much, I began to venture into this peculiarly intense style of music. The poor quality recordings, quick tempos with unexpected time changes, crusty and mean guitar riffs, and lacking screams from the vocalists was sort of emberassing at first. But I connected to it, in the melodic breakdowns and clean parts. It was always the melodic aspect that I looked for, and connected to...
I remember being about eighteen, and coming to understand my exclusive interest in screamo and post-rock, having been a fan of stuff like Kaospilot, and Mogwai for a while at that point. Those two genres were precisely what I was aspring to capture in my own music, until the next transition came one day. I was at a friend's house one night, and I received a call from my friend Ryan (Ryan introduced me to probably half of the bands that I have for years loved and respected). Ryan informed me of an upcoming show, where Pelican and Mono would both be playing. I responded blankly, having no knowledge of either band. Ryan was shocked, and demanded that I familiarize myself with both bands. I did. Mono was right up my ally, and Pelican was something strange and new almost entirely. It was...heavy; really heavy.
What Pelican had that initially excited me was the dramatic soundscapes, and the melodic and pretty parts in their songs. I started listening to them out of curiosity, wondering what this tramendous, downtuned guitar driven was all about. It was not long before I began to realize that these slow and heavy riffs were really moving, literally! I found myself headbanging constantly. It was at that point that I had sort of realized that I actually liked heavy music, and that while I always preferred the more melodic aspects of music, it was not true to say that I did not also look for the heavy aspects of it. It was at that point, that I realized that there was a style of metal that I actually liked; doom metal.
Ever since, I have only become more fond of doom. From Neurosis, to Cult of Luna, to Buried at Sea, to High on Fire, to the creators of doom, Black Sabbath, all has been neck breakingly good. Looking back, I never would have thought that such a dark and heavy music so influenced by metal would ever be such an exciting genre for me. At sixteen, I would have listened to a doom band for no more than thirty seconds before saying, "this sucks!" I did say that about another genre of music, when I was sixteen. Black metal.
I have recently become quite interested in black metal, as it has become a frontier I've yet to venture. Thanks to more melodic black metal bands like Hecate Enthroned, and Wolves in the Throne Room, I have come to like the sort of speed metal oprah that black metal is. What's interesting, is that I had actually predicted that I would next have an interest in black metal. Perhaps I can predict what will come next.
What I have found is that throughout these years, whatever the genre of music a band is, if it shares the melodic, artful, heavy, and/or epic aspect of music I'm already interested in, I will most certainly like it. But only so much of what I'm really looking for can be pin pointed. Some music connects to me rather mysteriously, sort of spiritually you might say. Some of the most unexpected music has touched me before. Who knows... maybe some day I'll be all about folk music.
Monday, January 5, 2009
Music is more than the thirty seconds you hear on a Myspace page
(Here is a piece I wrote a few weeks ago)
Today we are so overwhelmed by the varieties of musical styles, that we usually try to categorize everything into specific genres and subgenres, in order to understand all of these varying styles of music. In so many cases, we latch onto a specific sound shared by a variety of bands, and use that one commonality to define a particular genre. Even when hearing two distinctly different bands from the same supposed genre, we sometimes disregard the varying aspects of them, and assume, and even expect that they may as well be the same. But even when two bands may quite obviously share remarkably close similarities, be it through song structuring, playing style, tonal approach, or what have you, it cannot and must not be mistaken for any lack of sincerity or originality. If we can look beyond the thirty seconds of one track of some band we listened to on Myspace, then perhaps we can find what is truly special about the art that musicians create.
I’ve recently familiarized myself with a website called Pandora, an online radio station that gives you almost complete control over the playlist, offering you artists and songs similar to whatever artist you were intending to listen to, and responding to your ‘thumbs up’ or ‘down’ upon their suggestions. While listening to the Mono (Japan) radio station, a band called This Will Destroy You was played. Aside from hearing the name tossed around once or twice, I had no knowledge of this band. The song playing was a beautiful piece, with swelling and fading volumes and intensity, sentimental guitars, and far away tones. I was taken. I found myself the entire album, and took a long listen. The album swept me up, and I flew away, through great clouds, over vast stretches of rolling hills. The constant feeling of nostalgia and even love was all encompassing, and almost too much to handle. I must say that I am completely satisfied by what I have heard from This Will Destroy You.
As far as genre goes, it is easy for anyone familiar with lesser known, “indie” genres to identify This Will Destroy You as a ‘post-rock’ band, their strong use of slower marching, or waltz-like tempos, layered guitars, delay and reverb, and dramatically changing volumes giving them away. There has been a great uprising of post-rock in the last five years or so, and it has undoubtedly reached a subtle level of popularity. Many of the biggest acts have made soundtracks to movies, and had tours with countless sold out shows. And, of course, many younger bands have risen out of inspiration by these influential bands to make their own interpretations of such music. I remember a friend of mine on a few occasions speaking sort of disinterestedly about “Explosions In The Sky bands” that he had seen at shows, implying that they were in a sense plagiarizing a genuine act, and recycling an already defined style of music. It’s easy to see this point of view, and it’s certainly true to say that there have been a large list of bands who have opted to play music that is solely inspired by one band. However, it should not be simply said that those who share so many similarities to other bands of a specific genre deserve no credit for their own work.
Even with This Will Destroy You’s generic post-rock sound, I have been moved by their music. I can easily say what sets them apart from Explosions In The Sky, Mono, Sigur Ros, and Mogwai, and what sets all of the listed bands apart from each other. They all have their own flavor, their own technical approach, their own instrument tones, their own note progressions, their own songs. But what really sets them apart is the genuine sound, and the personal connection. The music we really like is the music that speaks to us, the music we connect with ourselves, with a moment in our life, with an idea, a feeling. Sometimes you will find that sensation you look for from thirty seconds on a Myspage page, sometimes you will only find generic music. The important thing is that you understand that it is not just the genre and the formulaic music style that we make our decisions of our musical taste on, but the things that set them apart from the rest.
Today we are so overwhelmed by the varieties of musical styles, that we usually try to categorize everything into specific genres and subgenres, in order to understand all of these varying styles of music. In so many cases, we latch onto a specific sound shared by a variety of bands, and use that one commonality to define a particular genre. Even when hearing two distinctly different bands from the same supposed genre, we sometimes disregard the varying aspects of them, and assume, and even expect that they may as well be the same. But even when two bands may quite obviously share remarkably close similarities, be it through song structuring, playing style, tonal approach, or what have you, it cannot and must not be mistaken for any lack of sincerity or originality. If we can look beyond the thirty seconds of one track of some band we listened to on Myspace, then perhaps we can find what is truly special about the art that musicians create.
I’ve recently familiarized myself with a website called Pandora, an online radio station that gives you almost complete control over the playlist, offering you artists and songs similar to whatever artist you were intending to listen to, and responding to your ‘thumbs up’ or ‘down’ upon their suggestions. While listening to the Mono (Japan) radio station, a band called This Will Destroy You was played. Aside from hearing the name tossed around once or twice, I had no knowledge of this band. The song playing was a beautiful piece, with swelling and fading volumes and intensity, sentimental guitars, and far away tones. I was taken. I found myself the entire album, and took a long listen. The album swept me up, and I flew away, through great clouds, over vast stretches of rolling hills. The constant feeling of nostalgia and even love was all encompassing, and almost too much to handle. I must say that I am completely satisfied by what I have heard from This Will Destroy You.
As far as genre goes, it is easy for anyone familiar with lesser known, “indie” genres to identify This Will Destroy You as a ‘post-rock’ band, their strong use of slower marching, or waltz-like tempos, layered guitars, delay and reverb, and dramatically changing volumes giving them away. There has been a great uprising of post-rock in the last five years or so, and it has undoubtedly reached a subtle level of popularity. Many of the biggest acts have made soundtracks to movies, and had tours with countless sold out shows. And, of course, many younger bands have risen out of inspiration by these influential bands to make their own interpretations of such music. I remember a friend of mine on a few occasions speaking sort of disinterestedly about “Explosions In The Sky bands” that he had seen at shows, implying that they were in a sense plagiarizing a genuine act, and recycling an already defined style of music. It’s easy to see this point of view, and it’s certainly true to say that there have been a large list of bands who have opted to play music that is solely inspired by one band. However, it should not be simply said that those who share so many similarities to other bands of a specific genre deserve no credit for their own work.
Even with This Will Destroy You’s generic post-rock sound, I have been moved by their music. I can easily say what sets them apart from Explosions In The Sky, Mono, Sigur Ros, and Mogwai, and what sets all of the listed bands apart from each other. They all have their own flavor, their own technical approach, their own instrument tones, their own note progressions, their own songs. But what really sets them apart is the genuine sound, and the personal connection. The music we really like is the music that speaks to us, the music we connect with ourselves, with a moment in our life, with an idea, a feeling. Sometimes you will find that sensation you look for from thirty seconds on a Myspage page, sometimes you will only find generic music. The important thing is that you understand that it is not just the genre and the formulaic music style that we make our decisions of our musical taste on, but the things that set them apart from the rest.
What? You don’t have a singer?
(I wrote this a few years ago. It was my first piece, after the initial encouragement from Jakie)
Many of us who play a musical instrument have, at some point in our life, aspired to write music, play in a band, make a demo tape. For those of us who have had the opportunity to pursue this, the concept of having a singer of sorts has been somewhat instinctive. But who among your friends knew how to sing? Most people are rather bashful when it comes to such a thing as singing, or even playing an instrument in front of others. Music is a big deal to many, and is an art that faces some of the harshest criticism. So you and your band mates would just push the singer idea aside, while you wrote a set list of songs. For some bands, the writing process brings forth a rather solid formulation of music, that maintained itself quite easily, without the vocals. But even with a strong, instrumental set list, many bands refuse to take the instrumental path. Of course, no one wants to see an INSTRUMENTAL band... right?
What is it that makes us insist, or assume that the (rock) band is led by a vocalist? Where does this necessity to have a person singing come from? Think back to music before civilization, before agriculture, when humans’ ways were simple and primitive. Even the oldest cultures had music, when rocks, sticks, hands and knees were fine percussive instruments. Even then, a group of people could make an astounding cadence. Is that not music? Were those people not a band, in a sense? Classical music; the intricately woven pages of notes played among an army of strings, horns, and drums, orchestrated to create a storm that was a single song. To write such a piece of music was genius, and most would agree that it is still so. And yet, vocals are rather uncommon in classical. It was only in maybe the beginning of the 20th century that singers in somewhat conventional bands became so common. Of course, vocal artists existed and were in no way rare, an example being opera singers. But in the 20th century something happened that changed the world of music in a gargantuan scale.
As the western world took a step back and marveled at their accomplishments in technology, and further pursuing their methods of business and capitalism, many looked to the arts as a means of advancement. Music concerts were more and more available to the common person, and with the invention of microphones, speakers, and amplifiers, musical performances became quite an experience. And with the new technologies providing the means to record sound, and vinyl albums to play on your record player, emerged product to sell for profit, and the business of distributing such product. In business, selling product inquires the importance of efficiency and specificity. It asks for a keen understanding of what will push and profit, and what will fall into the abyss of the past, reaping no benefits for the company. With this in mind, standards were set.
People respond quite quickly, and strongly to a person singing. It is as a voice, speaking to you, with melodies that please the ear, and the mind. The human voice adds intimacy to the music. Percussion adds a beat to follow, a rhythm to move and dance to, that moves the body and the beat of one’s heart. Melodies must come from an instrument holding the strength that can help carry the vocals, rather than overshadow it, such as a guitar or piano. Record labels could see this, and searched for those that could entice an audience that would undoubtedly purchase their records. We remember the artists of the past, as well as now, that were but a single face and a voice, and yet they were an entire band, an entire set of music. But there were, of course, other members of the band, playing the drums, the melodic instruments.
So now, we know all too well the faces of the singing, and never remember the bassist at all. In any well written song, all parts of the whole band have an important roll to play. And in any well written song, the pieces as a whole can be so strong, so moving, even if it’s but one person on a cheap acoustic guitar. It is so unfortunate that we as musicians must become discouraged from pursuing music out of the impression that we have to have a full band with a singer. Are we just chasing after stardom? A rock star, celebrity, financially comfortable lifestyle? Is music not enough as it is; as art? Isn’t this about self expression? Isn’t this about communication? What’s not conveying enough about powerful music coming from a 4 piece drum set and a guitar plugged into a small amplifier? The best music out there is the kind that sheds from one’s own heart, and shines so bright you can’t look away, regardless of whatever instrument they use.
Many of us who play a musical instrument have, at some point in our life, aspired to write music, play in a band, make a demo tape. For those of us who have had the opportunity to pursue this, the concept of having a singer of sorts has been somewhat instinctive. But who among your friends knew how to sing? Most people are rather bashful when it comes to such a thing as singing, or even playing an instrument in front of others. Music is a big deal to many, and is an art that faces some of the harshest criticism. So you and your band mates would just push the singer idea aside, while you wrote a set list of songs. For some bands, the writing process brings forth a rather solid formulation of music, that maintained itself quite easily, without the vocals. But even with a strong, instrumental set list, many bands refuse to take the instrumental path. Of course, no one wants to see an INSTRUMENTAL band... right?
What is it that makes us insist, or assume that the (rock) band is led by a vocalist? Where does this necessity to have a person singing come from? Think back to music before civilization, before agriculture, when humans’ ways were simple and primitive. Even the oldest cultures had music, when rocks, sticks, hands and knees were fine percussive instruments. Even then, a group of people could make an astounding cadence. Is that not music? Were those people not a band, in a sense? Classical music; the intricately woven pages of notes played among an army of strings, horns, and drums, orchestrated to create a storm that was a single song. To write such a piece of music was genius, and most would agree that it is still so. And yet, vocals are rather uncommon in classical. It was only in maybe the beginning of the 20th century that singers in somewhat conventional bands became so common. Of course, vocal artists existed and were in no way rare, an example being opera singers. But in the 20th century something happened that changed the world of music in a gargantuan scale.
As the western world took a step back and marveled at their accomplishments in technology, and further pursuing their methods of business and capitalism, many looked to the arts as a means of advancement. Music concerts were more and more available to the common person, and with the invention of microphones, speakers, and amplifiers, musical performances became quite an experience. And with the new technologies providing the means to record sound, and vinyl albums to play on your record player, emerged product to sell for profit, and the business of distributing such product. In business, selling product inquires the importance of efficiency and specificity. It asks for a keen understanding of what will push and profit, and what will fall into the abyss of the past, reaping no benefits for the company. With this in mind, standards were set.
People respond quite quickly, and strongly to a person singing. It is as a voice, speaking to you, with melodies that please the ear, and the mind. The human voice adds intimacy to the music. Percussion adds a beat to follow, a rhythm to move and dance to, that moves the body and the beat of one’s heart. Melodies must come from an instrument holding the strength that can help carry the vocals, rather than overshadow it, such as a guitar or piano. Record labels could see this, and searched for those that could entice an audience that would undoubtedly purchase their records. We remember the artists of the past, as well as now, that were but a single face and a voice, and yet they were an entire band, an entire set of music. But there were, of course, other members of the band, playing the drums, the melodic instruments.
So now, we know all too well the faces of the singing, and never remember the bassist at all. In any well written song, all parts of the whole band have an important roll to play. And in any well written song, the pieces as a whole can be so strong, so moving, even if it’s but one person on a cheap acoustic guitar. It is so unfortunate that we as musicians must become discouraged from pursuing music out of the impression that we have to have a full band with a singer. Are we just chasing after stardom? A rock star, celebrity, financially comfortable lifestyle? Is music not enough as it is; as art? Isn’t this about self expression? Isn’t this about communication? What’s not conveying enough about powerful music coming from a 4 piece drum set and a guitar plugged into a small amplifier? The best music out there is the kind that sheds from one’s own heart, and shines so bright you can’t look away, regardless of whatever instrument they use.
Intro
ear⋅nest
–adjective| 1. | serious in intention, purpose, or effort; sincerely zealous: an earnest worker. |
| 2. | showing depth and sincerity of feeling: earnest words; an earnest entreaty. |
| 3. | seriously important; demanding or receiving serious attention. |
| 4. | full seriousness, as of intention or purpose: to speak in earnest. |
A few years ago, back when I was first beginning to get to know Kyle May and Jakie Leiber of The Grand Color Crayon (now of Vitamin Piss, and Body or Brain), I remember having a great deal of conversations relating to music with them, from discussions of bands we liked, to sort of philosophical ideas pertaining to everything that is, as a result of music. Jakie suggested that I write and publish my thoughts on the subjects we had so often talked about, in some form or another. So after something like two years, I have decided that it is time to take this idea more seriously, and go for it. Be this a blog entirely of philosophizing, album reviews, or just aimless pondering, I do not yet know. I only hope that it will be insight worth reading.
"the fingertips of the future that are smart roads"
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