Wednesday, November 23, 2011

My too most appreciated Too Dark Park songs

Skinny Puppy's Too Dark Park (1990) had a profound impact on me in my developing years. Here are the album's two songs I enjoy most.

Neither are singles. ...which means I'm cool.

"Tormentor"


Movement crosses crimson light
Washes darkened corners gently
Forces open wide and lingering a while
Pouring thoughts electric fingers
Blinding pressure sockets stream
Matter grey the nerve free fall
Safely buried out behind a face
Let it out
Be careful watching living masks misshapen
Tumors ride the pressing tinted nightmare breeze
"Morpheus Laughing"

Album version:

An extreme solution
No fossil fuels mimicking exhaust rattles
Troublesome
A madman's vast, direct, iron-grooved world
Primary state average distance closer to the sun
Draws a comet nearer to a complex destruction
The well-established greed and pain inflicted on the animal model
Still nothing no cure
The ravaged instincts' silent waking to a chemical perversion
Wartime underground
Imperfect plotting grows the seeds of time
Imperfect plotting grows the seeds of time
2010 live version:



2009 live version:

Thursday, November 17, 2011

What Spotify has taught me today

WowOverrated
Drake and Gym Class Heroes are annoying and they suck.

victim of modern production
Florence should slow down her vocals in the song Bedroom Hymns. Let a measure or two run by without any singing. It sounds rushed--like the song began as a slow-building piece, and her producer told her to speed it up to make it more poppy, more radio length. Cool song, though. I like how it's sorta gospel, sorta roots blues.

But then when I read myself describe those styles together as something cool, I hate myself. It sounds exactly like what those douchebag Rolling Stone music reviewers say to make all this new crap sound interesting.
Somebody likes these guys?

I talked to an adviser yesterday at skool and she said that all her friends make fun of her when she wants to listen to some Justin Beiber cause Spotify posts what you listen to on Facebook. But I can understand wanting to put some Beibs once in a while.

...but musically?
Lady Gaga is pretty annoying. She's better at visuals than audials.

Little Wayne can actually make some pretty chill grooves. This surprises me. I'm listening to She Will. Holy crap this song is dirty. Okay. My mind is blowing out my ears right now--not that LW is great, but that I'm enjoying letting him get me into his groove. Hate the lyrics, mostly. And I'll never listen to it again, because he's a spoiled brat of a motherfucker.
For idiots

Laconist is brutal and decrepit and I enjoy it.

The good music (for whatever taste you have) is out there, but you have to search for it. Sure, Spotify loves to throw music at you without you having to search, and that's a good thing. But it's not good music--it's just POPULAR music. Big difference.
More my style

Want to know the difference? Here ya go:
POPULAR music is for idiots
GOOD music is not popular
(definitions of terms "popular" and "good" may vary)

Yes I suppose I do like to set myself apart from the crowd. But it's only because the crowd holds nothing I want.

Saturday, November 12, 2011

Judas Priest's "Diamonds and Rust" - an analysis

Addendum:
I wrote all this without doing my research and realizing Diamonds and Rust is a Joan Baez song. Fuck. Dammit! Sorry. 


I'm not taking the post down. Her version of the song is awesome too. I've gotta give her credit--those lyrics are so awesome, they can be conveyed thru her or Halford.


But in all the parts where I credit the lyrics to Halford's writing ability, just... ugh, aaahh, realize I didn't know what I was talking about.

Okay, on the same day, two friends recently told me they went to see Judas Priest on their Seattle tour stop. It got me thinking, I should immediately start becoming familiar with this band; the time is long past. They won't be around forever.

I discovered the song Diamonds and Rust when Spotifying them. This is now my favorite Priest song. Here it is from YouTube.


When I watched this video and read the lyrics along with it, even though I'd listened to the song three times since last night, I immediately started getting misty. It brought up many memories. I began thinking about the possibility of an old friend calling me up, and me having to turn him away, because our memories together are too painful. They represent a time in my life when I was not proud of myself. A time I'd rather not relive. And of the pain of having to turn away a doe-eyed, old friend.

That's probably not even what he meant when he wrote the song, but that's what it made me feel. It's my unfiltered interpretation of it, one of them anyway. That's what artists want you to do with their art, right? To let it lead to you an immense feeling, whether or not it's strictly their aim when creating and publishing it, is always most attractive to me. It's an approach I leaned from watching Lynch, who explains almost nothing in his massively affecting stories.

We both know what memories can bring, they bring diamonds and rust. Diamonds, diamonds and rust.

In short, Diamonds' lyrical theme is instantly relatable. Halford doesn't sing above you, he sings with you. Yet, somehow, he is elevated to a king's status by his choice of words. By my impression of this song alone (and that badass new one Judas Rising), Halford does exist on a higher plane. He's full of some kind of fantastical energy.

He's is a lyrical genius. A showman. A metal master: metal was not good enough for him, so he had to take it as a lump of clay in his hands, his eyes burning with fire, and shape it, vocally, the way he wanted.

Look what he's become. Respected, globally recognized, gay, evil, wonderful, entertaining millions.

I'm sure he felt nervous when coming out to the world, but god bless him for it. He's made metal into a genre where prejudice doesn't matter. If you're metal, and honest, and brutal, you will be respected. And yes, I see Halford's style as brutal, even though he's not grunting like a barbarian. He rises above all that.

Now here's a version of Diamonds and Rust I found when YouTube searching to see if the song has a music video. (I'm still not sure.) I avoided hits like, "Diamonds and Rust Acoustic."

Though its title lacked the word "live" or "acoustic" in its description, the vid immediately below indeed turned out to be a live, acoustic version. I was hooked anyway, if for nothing else than for the way Rob enters the stage from the side, walking reflectively, his focus within himself and yet totally with the crowd, looking totally metal in his leather coat and studs, singing the tune perfectly, with palpable feeling in his voice, totally at peace with himself. Like a master opera singer.

I love his fuckin shaved, tattooed head and big ass goatee.



One of metal's few ruling kings. Thank god for you, Halford.

Now here's a version that blows both of them away just for sheer excitement and metal capability. The song comes from a live album, recorded in 1979, Tokyo. In their early, rougher days. The album version does not do this live version justice, even without the vocal harmonies.

Saturday, October 29, 2011

Funeral Age, Gravenloch, Blood Etchings at the 2 Bit, 11.10.28

So last night Justin, Shannon and I attended a black metal show at the 2 Bit Saloon in Ballard. It was fuckin awesome. I rocked out like I haven't in a long time.

The lineup was Blood Etchings, Gravenloch, Funeral Age, Scorched Earth, and Ceremonial Castings.

Funeral Age was the coolest. Justin and I got physical with a couple of them. We didn't start it! The bassist did! He grabbed my arm, pushed me back into the crowd, making his war face, carrying his bass the whole time, chest puffed out, head high, just before they played their first song. Thus the evening's tone was set.

It was brutal. I was waving my hair and making fists all over the place. The music was perfect--black metal. Fast. Crazy. Madness- and middle finger-inspiring. There were plenty of other metal people around there making lots of metal hand shapes, like the devil horn, the middle finger, the holding-a-ball-of-fire hand, the come-on-come-on-come-on finger wavings, and who can forget the standard fist in the air. I was getting tossed around, but I held my ground, didn't fight back, much, stood there and let myself get tossed around. Never fell, but came close a few times.

After that first song Justin and I took our coats off, along with the bassist (who happened to be a fill-in), and put them up on a bar-bench thing on the side of the stage, and proceeded to spend the rest of the set butting heads into chests and other heads, shaking my hair around wildly, getting some of it caught and ripped between spikes and guitars or something, busting metal moves, high kicks and somersaults, not really, and basically keeping the metal flow going from band to audience and back and forth.

It was most fun getting my jaw poked by the headstock of the frontman's guitar, and generally all the physical interacting. It was pure metal love. The three guitarists set up on the floor in front of the stage, letting the drummer fill up most of the tiny stage with his massive badass kit. Band was free to mingle with crowd. Having them walk out into the crowd to get a little rowdy while playing their crazy metal. It was always welcome. Fun stuff. Really macho, sort of. Really cathartic.

Haven't had that fun a time at a show, or anywhere, in a good few months. Years, even. I want to go back to the 2 Bit for a metal show again sometime soon.

Gravenloch was super sweet. Fast as hell. They appear to have lost a singer--I checked their MySpace and a live video shows them playing live with one. I like them better sans the vocalist, as I saw them last night. The rhythm guitar player was singing, sweating bullets, soaked in it, beard and long hair and all, with his octupus-painted guitar, playing fucking solos and rhythms really fast and doing sweet, low ass death metal doom growls.


Lots of times, all three guitarists would be doing death metal growls at once. It was a HUGE sound, combined with the two guitars, bass and drums.

I'm so glad I brought earplugs.


Incidentally, the vocalist has a shaved head--losing him make Gravenloch a long-hair-only band.

Justin and I may have recruited a few people to do bass or drums for Born Without Blood. We handed out flyers, sold ourselves to people we thought kicked ass and whom we wanted all for ourselves. To devour. I mean, to induct them into BWB.

The evening began with Blood Etchings. They were totally into the theater aspect of black metal. Blood splattered everywhere. Corpse paint. Fucking skulls, candles, ornaments, blood-soaked ornaments, blood-soaked bone necklaces, a tall guy in a robe playing both keys and bass guitar, Wolves in the Throne Room-type long passages of cool dreamy-ish black metal.




Sunday, October 23, 2011

COM359 Assignment. -- Autobio


Musical Autobiography
Glenn Smith
11.10.21

Music hits me hard and sweetly. Its place in my heart is located deep within. Music has gotten me through some of the tougher times in my life, and I have come to appreciate it as a powerful force. It has altered my entire way of thinking, not the least in how I can never get some form of music out of my head. Ever-present and looming, music guides and protects me. The right music, anyway.

Given this gravity of potential and purpose I have bestowed, by sober choice, upon the thing that is music, I have high standards for those pieces of the form I consider worthwhile. I view music from a musician's perspective, with a critical ear. It's a practice most people cannot stand, I've found.

Criticisms come to mind first when hearing new music. How could it be better? Was it written and performed from a place of integrity? Is it relevant to the entire canon of recorded music, and additionally to the current climate of musical evolution? Is it a rehashed version of a tried and true formula? If so, is that reason to be made nauseous, or is it tolerable, with possibly a few strands of newness mixed in with the rehashed drivel? Is it truly new, and if so, is it exciting? Is it worth studying? Is it worth buying? My critical ear brings me pleasure--it sets me apart from the masses who, it seems to me, blindly consume whatever is the newest shit that's thrown in front of them.

Guitar playing is a big part of my life as well; it helped me formulate my conception of what music is capable of. I've not gone one week without playing since I began, and my skill has noticeably improved--it was the learning of Megadeth and Metallica songs that pushed me over the edge into total playing confidence. A minority of guitarists out there can play that shit, and it makes me proud that I've put in the time and energy to be able to. Without my knowledge of how songs are put together by first being written on guitar (or whatever instrument), and then fleshed out with accompanying instruments, and the skill it takes, I never would have developed my critical ear, or my playing skill.

Uncle Brad gave me my first guitar at age 13. It was an electric guitar, a Teisco; older than sin and stiff then. Not many people recognize that brand anymore; it's a relic. It helped me learn the ropes. It still exists to this day, older and stiffer, sitting untouched on a guitar stand in a cousin's room in Bellingham. At age 14, my parents upgraded me to a newer, shinier, black and white electric Peavey guitar and a sweet, loud-ass practice amp. Since age 16 I've been writing my own material; at 19 I'd written my first song on acoustic guitar.

There are a few things I want to do before I die. One is to lead a successful band that plays big shows to large crowds. This band will be my own, where I write and control everything. At my back will be a huge orchestra at my disposal. They'll sit at the back of the stage, behind the main sextet--three guitarist/singers, a keyboardist, drummer, and a bassist.

With three guitars I can have two of them always doing dueling harmony lines, and one filling in with power chords, which the bass will mime. ...hm. Maybe the keyboardist will be unnecessary. Perhaps I can just have a pianist in the orchestra. We're a quintet, everyone! Now we're a quintet. (my imaginary backstage crew grumbles)

My music will be like that of the composer character in Atlas Shrugged, Richard Halley. It will make my  concertgoers feel the highest, most noble emotion there is to be felt. The only difference between Halley and I will be that, when the crowd cheers for me after my grand symphony, and I'm standing there center stage, soaking it in, I won't see through them; I won't be unmoved; I will love them back.

Friday, October 14, 2011

Fear Factory -- Fear Campaign (2010) video

http://www.metalinjection.net/tv/view/4428/fear-factory-fear-campaign-video

Not sucky modern metal. My heavenly underlord, the two cooler Fear Factory dudes kicked out the other two and got twice as heavy as anything on Digimortal.

I won't try to post the video here and take Metal Injection's hits away from them.

Not sucky modern metal.

Wednesday, October 5, 2011

I, uh.... Neil Young, Le Noise review?

Retaining Metalhood Through Dadhood: I, uh.... Neil Young, Le Noise review?: Basically I've had a Neil Young type of morning. His album Le Noise was in my stereo when I pushed play this morning, for to have the ac...