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...
Saturday, January 10, 2009
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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