Why I listen to music on YouTube and left my MP3 player behind

death_metal_unlocks_divinityLike most of you, I experience a prevalence of dual-use time in my life. That is, I have to be here at the computer doing something, but like most things in “mature” “adult” “responsible” society it takes half a brain at best, so I put on some tunes and shift most of my brain and mind that way.

Originally, back in the dire proto-technological days of the 1980s, we had to manually throw on an LP, CD or cassette to hear music. Otherwise, there was the radio, but there wasn’t as much choice there. Radio was both the last resort, and a way to hear new music. It served a sacred role in the latter and could be an event in its role as the former.

If the rare metal show in your area showed up only one night a week, that became party night while you and your buddies checked in for the weekly connection to the world of metal. Sometimes, it was just for fun. It was easier to let someone else DJ and pick the tunes, and if the price you had to pay was every third tune being a stinker, no big deal.

Then in the late 1990s, people started getting crazy with the multi-disc changers. Now you could have five or six discs in rotation and just let them roll. Put in what you wanted, throw it on repeat, and listen for three hours or longer. I used to put my Harmon-Kardon on shuffle repeat and bathe people in music of disparate form but similar content, which created an immersive wave of exploration in that topic.

But it all changed with broadband and the evolution of the MP3 codec. When we launched our radio station back in 1997, the Frauhnofer MP3 codec we used was really excellent. But since that time, innovations have occurred in variable bit rate, compression and sound dynamics that add on to that strong basis. Now MP3s are a better delivery mechanism than tape and, given adjustments for physical electronics degrading sound, almost as good as CD.

Listening to music via MP3 was different however. Generally, you saved a ton of MP3 files to some directory on your Winchester disk. Then you pitched those into a playlist and started somewhere. The player would, like a merciless harvester of ears, keep going until you told it to stop. So it was more like tuning into a radio station whose playlist you chose, but one which favored sequential albums. You could also randomize.

The problem with this style of listening — as you’ve guessed, doubtless, being the intelligent reader — is that it’s autopilot. Want to listen to Slayer? With two clicks you’ve launched everything beginning with “S,” and then the playlist begins again when it runs out of those. You can conceivably keep your entire record collection streaming in the background.

However that loss of choice can be disturbing. You’re no longer choosing to listen to something past the first choice. You get caught up in the playlist. If you randomize, it’s only a little bit better. In the end, it’s like radio without the human intervention of the DJ, and takes power away from you.

This is why I’ve come to enjoy YouTube. It’s like putting an LP on the record player more than anything else. I think of an album; I type the name and “full album” (LOL search engines) into YouTube, and up pops a version of it. I hit play, and sit back and listen to it. But then comes the magic: when it’s done, it’s done. I have to manually, physically and deliberately choose another piece of music or sit in silence.

In this, I get the best of both worlds. The (nostalgia aside) beauty of choice, where you have to walk to the shelves, think of an album, find it according to your filing system, and then manually put it on the player. And yet, the promise of digital technology and convenience of MP3s: no record you can scratch, no CD you can fumble, no cassette to entangle. The two are united by typing that search into the YouTube site.

There’s some ethical issues of course. I’d be happier if all bands posted official full albums so I could kick them the $0.02 per play that YouTube pays. In the end, that might pay more than traditional record contracts; I don’t know. Most bands don’t seem to care, as many of us using YouTube are doing so in places where we can’t bring our record collections, like work, friends’ houses, church, missile silo, etc.

But at the end of the day, what really matters about music is preserving the magic. That sense that behind the next corner, something amazing lurks. A buried treasure; an undiscovered secret. An explosion of imagination, or emotion, or even pure logical calculation. That life is ongoing, and infinite, and we’ll always find something new to quest after.

Ultimately, this is what makes YouTube compelling. It requires a choice. There is no constant rolling playlist. I must go to the site, type in the band name and album name, and start the process. This makes me the person in charge who then rapidly loses control as the music sweeps over me. This is the experience of listening, and in this sense, YouTube brings back the beauty of the LP with the convenience of the iPod.

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Social functions of heavy metal music

metal_onlyThe origins of human fascination with music remain unknown. A number of hypotheses have arisen throughout the years in an attempt to explain the utility of music to human civilization.

These vary from viewing it as arising as an individual occurrence with unique philosophical implications, to seeing it as a side-effect of language-based communication; a pleasant phenomenon but without any meaning beyond that. Regardless of its cause, the functions music provides are generally easier to identify.

Via the Journal of Personality and Social Psychology, newly released academic research into the social implications of music has claimed that music functions as a way of bringing people together within a group. Specifically, the authors claim that music is a vehicle for projecting “information about the group’s shared mental state to a number of individuals at once.”

In this view, music is a type of broadcast that attracts people based on a topic and brings them together in unity of experience. This enables the group to consolidate its knowledge and then distribute it to all of its members, not unlike the social functions of good political science books, novels, speeches, movies or other memetic/viral communications.

As evidence for this new research, multiple studies are presented in which the authors posed questions to a test group designed to determine their emotional need to belong, and then compare it to how strongly they react to music. The findings were that there was a direct connection between this desire and its fulfillment through music. As a corollary, after researchers attempted to break down a group’s sense of belonging, the effect music had on it increased further.

While some metal fans may not wish to admit this, the genre does serve this role for many of its enthusiasts. That’s not to say it’s the primary reason for listening, over the sound itself; but metal as a social component does exist. Regardless of a person’s position within society, those who appreciate metal (therefore excluding those who listen ironically, i.e. hipsters) share something in common.

Alienation of modernity is present within all art forms of metal — whether politically, spiritually, or just plain exasperation at our disposable TV dinner culture — but unlike the solutionless protest music of yore, metal provides a constructive way of overcoming this. It allows a group of people who in some cases may not be able to describe themselves directly, to communicate through an art form.

What makes metal interesting is that it operates on many levels. At the lowest, it is simply exciting music. Higher up, it is complex music that attunes the individual to a certain naturalistic outlook. At the highest, perhaps, it helps metalheads reach others who feel similarly but perhaps never consciously examined their beliefs, and from that build a community around understanding.

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Vikernes suing French government for false detention

varg_vikernes-burzum-band_photoAt least one metal musician has learned that if society attacks, you counter-attack. Varg Vikernes of Burzum, who was arrested several weeks ago and charged with inciting racial hatred, is attempting to sue the French government for an arrest that ultimately led to no new charges because of a lack of evidence.

“We want to sue the authorities for arresting us for no good reason whatsoever, doing so in the most brutal way possible and with children present,” Vikernes wrote on his blog.

During the early 1990s, Vikernes created a one-man band named Burzum which knocked out a series of innovative, multi-riff songs designed to blur the boundaries between metal and ambient, and “awaken the fantasy of mortals.” Some metal historians believe that Burzum’s Hvis Lyset Tar Oss effectively ended black metal’s development by raising the bar above that which others could follow.

Since that time, Vikernes has spent sixteen years in Norwegian jails, written several books, and continues to both produce music and write political texts. His most recent work, Sôl austan, Mâni vestan, is an ambient work that recalls the power of earlier Burzum.

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Exhumed kick off North American tour with release of Necrocracy

exhumed-necrocracyExhumed, the band that combined up-beat Swedish death like later Fleshcrawl with the crepitant grind of Carcass but gave it the bounce of more punk-oriented grindcore bands, has returned from the dead and unleashed Necrocracy, an infectiously catchy but hard-hitting slab of recreational grind that should keep listeners in motion.

Following an early career of more grind-influenced music, the band began to see the possibilities in more energetic and listenable ventures, and so began to mix enthusiastic heavy metal into the grind and then blur the grindcore technique with a fair amount of death metal. Like many revival movements, this aims to put a modern superstructure into the aesthetics of the past.

Necrocracy represents the kind of thrill that came with later Ministry albums. Speed, excess and unflagging energy combined to make a record that could both motivate you to drive 120 mph down a lonely road, or socialize with friends while shouting lyrics about masticating corpses. The band kicks off a US tour this October.

EXHUMED w/ Dying Fetus

10/04/ Mojo 13 Wilmington, DE
10/05/ The Soapbox Wilmington, NC
10/06/ Back Booth Orlando, FL
10/07/ The Orpheum Tampa, FL
10/09/ Fitzgerald’s Houston, TX
10/10/ Red 7 Austin, TX
10/11/ Trees Dallas, TX
10/12/ Chameleon Room Oklahoma City, OK
10/13/ Warehouse 21 Santa Fe, NM
10/14/ Rocky Point Tempe, AZ
10/15/ Observatory Santa Ana, CA
10/16/ The Whisky W. Hollywood, CA
10/17/ DNA Lounge San Francisco, CA
10/18/ Branx Portland, OR
10/19/ Studio Seven Seattle, WA
10/20/ Rickshaw Theater Vancouver, BC
10/22/ Republik Calgary, AB
10/23/ Pawn Shop Edmonton, AB
10/24/ Riddell Centre Regina, SK
10/25/ Park Theater Winnipeg, MB
10/26/ Station-4 St Paul, MN
10/27/ Reggie’s Chicago, IL
10/29/ Peabodys Cleveland, OH
10/30/ Chance Theater Poughkeepsie, NY
10/31/ Palladium Worcester, MA
11/01/ Gramercy Theater New York, NY
11/02/ Empire Springfield, VA

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Manowar – The Lord of Steel Live

manowar-the_lord_of_steel_liveWhen snide ironism takes over music, authentic spirit and power are forgotten and ignored. That is, if you read the music media and listen to the music hipsters. However, back in everyday life people love it because it does what music does best: affirm life and urge us on to greater heights. It inspires.
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Emperor reform to play shows with In the Nightside Eclipse lineup

emperor-in_the_nightside_eclipseNorwegian black metal band Emperor have announced that they will be participating in 2014’s Wacken heavy metal festival.

In addition, the band will have the participation of Bard Faust, the drummer notable for his role on the In the Nightside Eclipse album. Along with Ihsahn and Samoth, this concert will be a reunion of the core lineup that produced the band’s most notable release.

As of now, the band has announced no future plans beyond that point. Ihsahn strongly expressed his disinclination towards a future album, stating that the interests of the various members have diverged too great an extent. That is probably for the best, as the last Emperor album was far removed from black metal and suffered from stylistic confusion.

The earlier Emperor albums were epic, narrative tales featuring overt symphonic influences. The band formed a landscape of sound, in which melodies would crystallize before melting away underneath a crushing rhythm track that took the focus again. Stylistically, they presented a sense of solitude, through which allowed the listener to appreciate the beauty hidden around him. If the band can carry across that original spirit two decades later, they have the potential of inspiring a new generation with their music.

http://www.youtube.com/watch?v=hpa5yR2r42I

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Carcass – Surgical Steel

carcass-surgical_steelFrom the opening dual guitar harmonies straight out of 1985 that bring to mind the live intro to a Europe or Stryper set, it’s obvious that this album will be more in line with the guitar hero pop-metal of Arch Enemy than anything from Symphonies of Sickness or Reek of Putrefaction.

To some degree, that’s to be expected. Carcass threw in the towel on forward momentum long ago (1991) and have resorted to playing up their namesake for the purpose of phoning in stadium metal for the aesthetically overblown Wacken age, and Surgical Steel is perhaps their most commercially flexible attempt at filtering late model radio format speed metal through a death metal aesthetic filter, where actual death metal technique is limited to tremolo picking, blast beats, and Jeff Walkers vocals.

Carcass joining an elite cadre of financially successful bands by doing so, starting with At the Gates’s Slaughter of the Soul and even Pantera’s Far Beyond Driven. Let me state it again for those who wish to be millionaires: the appearance of being an outsider to a society nearly universally loathed by its inhabitants, with an underhanded delivery of comfortingly familiar derivative works that by their obedience affirm the social order, will always be a financial success. It allows the appearance of rebellion with none of the actual costs. It’s like artistic insurgency tourism.

Surgical Steel ends up being a mix of Swansong‘s Thin Lizzy-isms applied to the framework of songs like “This Mortal Coil” and “Doctrinal Expletives.” These songs have more to do with Mike Amott’s recent Wacken pandering than anything on Heartwork. “A Congealed Clot of Blood” resembles a “revisited”, more uptempo version of Swansong‘s “Don’t Believe a Word” and the last song, brings to mind the best years of Sanctuary with its sentimental melodic guitar intro, or evokes the Overkill ballads “The Years of Decay” and “Soulitude” with its emotional framing and pacing.

Some tracks like “Cadaver Pouch Conveyor System” attempt aggression by utilizing the same speed metal meets extreme music technique as “Carnal Forge” from Heartwork, but with the obvious “money riff” effect of the dual harmony guitar part that is the focus of these songs. The reversion to old lyrical themes (based off the song titles and album artwork) seems like misdirected fan service as these songs would probably win over more people from the Century Media crowd if the lyrics had the same simple “emotional” topics that songs such as “No Love Lost” had.

While this album may appease the simple appetites of those who merrily purchase Arch Enemy and Children of Bodom albums, many songs try to deviate from the verse-chorus stylings with an overloaded, ill-fitting bridge that detract from their simple nature. This divided nature may keep Surgical Steel from being as successful as recent Hypocrisy or Slaughter of the Soul in the arena of stadium faux-death AOR metal for drunken Wacken attendees.

Again, we say: if your heart is no longer in death metal, don’t bother. Start up a project band and transition into progressive rock, classic rock, or whatever it is that actually appeals to you. Explore your new musical pathways. It’s just as much a sell-out to try to “stay true!” when you no longer care as it is to make Justin Bieber-styled pop because you know ten million teeny boppers from the ‘burbs will buy it. Musicians, chase your dreams. We get the best of your talent that way, even if we have to transition genres to appreciate it.

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Death Melodies Series: Mussorgsky

MussorgskyThe Death Melodies Series (DMS) continues with Russian Romanticist composer Modest Petrovich Mussorgsky.

Mussorgsky was birthed into a wealthy aristocratic family in Russia. He brought ingenuity to the Romantic Period, but he was also an innovator by bringing many Russian nationalist themes and folklore into his compositions. Many of his years were spent as a civil servant, and he had numerous hurdles that hindered many aspects of his life. Some of his works were never finished (presumably due to alcoholism) and many people disregarded Mussorgsky. Others claimed that he had fits of madness before he died.

Aside from his self-destructive nature, Mussorgsky executed some very remarkable works. His Pictures at an Exhibition suite is still prominent today in the classical music scene and it’s been transposed to many renditions on various instruments. One of his most popular pieces, Night on Bald Mountain, has been utilized from Disney’s Fantasia to Marduk’s Glorification of the Black God.

Mussorgsky died right after he turned 42. Though he lived a short life, his innovative Russian flare established himself to become one of the leading figures for later Russian composers to draw influences from. Shostakovich likely gesticulated the most inspiration from Mussorgsky’s works in his late symphonies. Mussorgsky left numerous works unfinished due to his decline in health and alcoholism. Shostakovich took it upon himself to revise some of the incomplete works. Sergei Prokofiev was also influenced by Mussorgsky in some of his operas.

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Triptykon announce new yet-unnamed album

tom_g_warrior-hellhammer-celtic_frost-tryptikon-thomas_gabriel_fischerDoom/death metal band Triptykon have announced that they have begun working on their next album with a presumed release date sometime in 2014. As of now the new album is still untitled for the public, but a few song titles have been released which fit into the occult theme established by the band’s debut album. Describing the music as epic and diverse, it seems to suggest that the album will have more variation than the relatively straightforward Eparistera Daimones, which suffered from a linear composition that made its songs less interesting than they otherwise could be.

Straddling the boundary between classic metal and modern compositional technique, Triptykon continued the sound that was debuted on Celtic Frost’s Monotheist. Our review found that there were a few intriguing elements present, although subjugated to simplistic verse-chorus repetition. Because of this, the morbid atmosphere that was omnipresent in Hellhammer and early Celtic Frost was lost.

Founder of the band Tom Gabriel Fischer is known for his often unorthodox incorporation of external influences in his music, which have produced some of the best extreme metal albums in the early days of Celtic Frost. If he is able to create an album that successfully merges the underground spirit with focused influences from other spheres, it will assuredly be superior to almost all contemporary releases. However, if concessions are made to modern stylings, it could result in a diluted product, as plagued the releases since Celtic Frost‘s reformation. We strongly hope for the former over the latter.

http://www.youtube.com/watch?v=mzaI6jQM0wE

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Call of the Void – Dragged Down a Dead End Path

PrintBack in the day, we would have called this hardcore. It doesn’t use metal riffs, and unlike metal songs, it doesn’t build an atmosphere of heaviness. It throws out a sense of distraction and then hammers you with it. Not surprisingly, it’s verse-chorus all the way in riff pairs, and the vocalist does that shouted vocal that sounds like a frustrated drunk person trying to explain something.

Much of it is expansive hardcore in the style of later Disfear with some overlap with newer Napalm Death, meaning that the ranting eventually picks up intensity and you get a trudgy-churny part over which there’s meaningful chanting. It isn’t bad at all. However, more than about four minutes of it results in scrambled brains, because it’s essentially about hammering out one message and then looping it.

This might appeal to fans of bands like Tragedy who want poignant moments of voices raised in protest with their riffs. It makes the mistake all modern music does, which is that by turning all the intensity up to eleven, it ends up with an intensity of a constant one as it drones on in the background. All instruments are competent.

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