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Messages - TiTanTHPS

Metal / Re: Improvisational playing... to SLAYER
« on: November 02, 2008, 07:17:33 AM »
Cool idea. As a composer I work to hone both my improv skill and writing skillt. Lately I've been doing this with all sorts of songs.

This brings up a question I've had for awhile, what is the value of improvisation in metal? I've always liked how metal has such perfected songwriting. I've heard of plenty of improvised solos, but what about metal that leans more towards improv overall? Like improvised riffs but with general guidelines (ie: band decides to play around a C# diminished scale at 200 bpm, maybe with a certain chord progression). On one hand it's relatively new ground (I think, do tell me otherwise), but on the other hand it makes for rather 'washy' material (depending on the players skill at improvising), and closes metal's freedom in various ways.

I know some bands have used improvisation similar to this to write songs, where they'll 'jam' for a bit to come up with some ideas, then slowly improve these ideas to make perfected riffs. What I'm thinking of though is if improv was incorporated into a bands form and worked into songs, in a more jazz like manner. So the song would dictate the guidelines of the improvisation (like improvising to these slayer tracks), and they would be incorporated into the structure of the song:

(ie. A > B > improv sec. > B2 > C...).

 Like more thoughts on this.

Metal / Antti Boman (Demilich) Starts New Project
« on: September 04, 2008, 06:55:09 AM »

Metal / Re: Distortion/overdrive, and separating individual voices
« on: September 04, 2008, 06:49:01 AM »
I've thought about this myself. I agree and the equalization points. I think the important thing is to distinguish the tone of each guitar from the other. For example/concept-sake, if you were to have say, a scooped sort of tone like Cryptopsy's on Blasphemy or Suffocation's on Effigy, and a more mid range focused tone like that of Entombed or Demilich, this combination I think would make for more distinguished voices (leading metal into more possibilities for counterpoint, complex harmonies, etc.). I'm currently looking into this with my own music.

Another important factor  I'm sure is the stereo spread. Seperate the fucking guitars more between left and right stereo.

The last factor I can think of is voice leading. In traditional counterpoint and harmony, voices (in this case guitars) are usually separated by their range. Generally the more spread out two voices are on the musical scale, the more clear each one is. At the same time though, this can take away harmonic effect (ie, sounds more like a solo or a voice on top, rather than two working together) if they're too spread out. Depends on what effect you're going for.

Interzone / Re: How to reform metal?
« on: July 15, 2008, 04:49:11 PM »
'Esoteric metal' or some similar and somewhat unfimiliar term to the general populous could generate a sort of curiosity. I think this new genre will develop its own name though with due time and natural selection.

I think we should use label's like hi.arc.tow as a vehicle. Hunt out and get the quality bands coming up such as Abhorrent, Cosmic Atrophyhttp://www.myspace.com/atrophyhouston, and ANUS member's projects (I'll be attempting to sign my band to hi.arc.tow soon when we get a solid footing). In the future perhaps, start a tour of quality bands getting the word out of this new genre and promoting worthwhile music.

Metal / Notation of Death Metal
« on: March 16, 2008, 04:54:32 AM »
With focus on riffs (not solos), what clef do you think most death metal riffs fit in? When notated rather than tabbed out, a lot I examine seem to fall between the treble and bass clef, making me think baritone would be a likely candidate.

Some images for reference:


Metal / Re: Water exposed to Metal
« on: November 03, 2007, 02:22:49 AM »
I read his book and I think they played Metallica.

Nevertheless, I see the effect of metal on water as rather nihilistic.

If I can get the right specifications (I already have a microscope), such as what magnification, amount of time, etc. I'd be happy to experiment and post my results.

Metal / Re: Structured Albums
« on: October 13, 2007, 01:43:51 PM »
I love narrative albums. It's too bad there just aren't many.

Though plenty will call them mallcore, this, that, whatever, I think Tool are excellent at this concept. Particularly the Aenima album. Back in the day listening to that introduced me to the concept of narritive albums. From that point on I preferred albums that had a structure to them. But I've mainly been disappointed, by the lack of them. Particularly in metal.

Burzum is an excellent example of this concept. Varg said so himself that each album is a voyage and a spell.

« on: October 11, 2007, 01:29:46 PM »

A couple more dates here.

I'm going to the Nov. 16th show at Northern Lights if anyone else is in the VT/upstate NY area is interested in a meetup.

Metal / Re: Theories on why People Like the Music They Lik
« on: October 11, 2007, 01:12:30 PM »
Interesting upbringing into metal. And I'm up for hearing some of your stuff. I have powertab.

Interzone / slam death
« on: October 11, 2007, 01:07:57 PM »
I'm becoming somewhat curious about slam death metal. Is this genre even worth looking into? If so, what are some quality bands?

Interzone / Re: What differs good from bad technical deathmeta
« on: October 04, 2007, 12:22:52 PM »
Technicality as a means to an end is what I think makes good technical death. Which is to say composition takes the spotlight while technicality should be in the background.

Demilich for example takes us on voyages through their songs, and happens to be technical as well. Technicality is more like a plus to me. Melody and structure always matter more to me. That is why I don't enjoy say, Ion Dissonance. Sure, it's technical as hell, but it just doesn't do anything for me.

On a side note, I find Winds of Creation to be a pretty quality album. The songs Winds of Creation and Nine Steps are fairly good in the sense I was talking about before. Miniature riffs are nicely woven into the motifs of each section. I think This album deserves a spot in the DLA. Anything past this album though by Decapitated I don't even think of as death metal.

Alright, here's a question for everyone; what is technical? It's talked about a lot, but I've never seen it very all that clearly defined. It's kind of like people are pussyfooting around it.

To me, technical music is music that incorporates generally higher music theory; Polyrhythms, Odd meters, Counterpoint, Syncopation, etc.

Interzone / Good Quotes
« on: October 04, 2007, 11:37:16 AM »
ANUS has been a great place for me to collect great quotes. Plenty of which I use as examples in conversations with people. Post some good ones (preferably from outside ANUS though).

"we are afraid of people smarter than us, so we make fun of them."

"Those who are skilled in combat do not become angered,
those who are skilled at winning do not become afraid.
Thus the wise win before the fight, while the ignorant fight to win."

"Life is a philosophical joke."

"Inaction is as evil as an evil action."

"Be who you are and say what you feel cause people who mind don't matter, and people who
matter don't mind."

"As long as we believe that someone else has the power to make us happy then we are setting ourselves up to be victims"

The main weapon of the police is to apear like they are really strong and organised.

If you think about it, say you were comitting a crime, like, growing dope in your house.

How would a cop know? How does a policeman have any better idea on exactly what is going on
than anyone else?

The police are just normal people, and they slack off at their jobs like you or me.

They just say all of this shit to keep the idea up that they are really strong, and know
exactly what is going on everywhere.

In reality, it is a bunch of guys recieving phone calls, fighting about who is going to go
and check it out, getting up, driving to a house, and telling a drunk man to 'move along'."

"We are sacrificing tomorrow to cater for the needs of today."

"Something to think about!

If Earth's population was shrunk into a village of just 100 people - with all the human
ratios existing in the world still remaining - what would this tiny, diverse village look
like? That's exactly what Phillip M. Harter, a medical doctor at Stanford University
School of Medicine, attempted to figure out. This is what he found:

57 would be Asian
21 would be European
14 would be from the Western Hemisphere
8 would be African

52 would be female
48 would be male

70 would be non-Christian
30 would be Christian

30 would be white
70 would be nonwhite

89 would be heterosexual
11 would be homosexual

6 people would possess 59 percent of the entire worlds wealth, and 5 would be from the
United States.

80 would live in substandard housing

70 would be unable to read

50 would suffer from malnutrition

1 would be near death.

3 would be pregnant

1 would have a college education

1 would own a computer"

"The philosophy of charles schultz

The following is the philosophy of Charles Schultz, the creator of the
"Peanuts" comic strip. You don't have to actually answer the questions. Just
read the e-mail straight through, and you'll get the point.

1. Name the five wealthiest people in the world.

2. Name the last five Heisman trophy winners.

3. Name the last five winners of the Miss America.

4. Name ten people who have won the Nobel or Pulitzer Prize.

5. Name the last half dozen Academy Award winner for best actor and actress.

6. Name the last decade's worth of World Series winners.

How did you do?

The point is, none of us remember the headliners of yesterday. These are no
second-rate achievers. They are the best in their fields. But the applause
dies. Awards tarnish. Achievements are forgotten. Accolades and
certificates are buried with their owners.

Here's another quiz. See how you do on this one:

1. List a few teachers who aided your journey through school.

2. Name three friends who have helped you through a difficult time.

3. Name five people who have taught you something worthwhile.

4. Think of a few people who have made you feel appreciated and special.

5. Think of five people you enjoy spending time with.


The lesson: The people who make a difference in your life are not the ones
with the most credentials, the most money, or the most awards. They are the
ones that care.

Pass this on to those people who have made a difference in your life."

Metal / Theories on why People Like the Music They Like
« on: September 22, 2007, 03:10:06 PM »
I recently got the book 'This Is Your Brain On Music'.  Recommend buying it or reading it at the library. The eighth chapter talks about some theories on why we like the music we like.

The first theory is that we are more attracted to things like what we heard when we were in the womb.

"Inside the womb, surrounded by amniotic fluid, the fetus hears sounds. It hears the heartbeat of its mother, at times speeding up, at other times slowing down. And the fetus hears music, as was discovered by Alexandra Lamont of Keele University in the UK. She found that, a year after they are born, children recognize and prefer music they were exposed to in the womb. "

Another one has to do with pitch and psychology:

"Pitch can also play into preference. Some people can't stand the thumping low beats of hip-hop, other can't stand what they describe as the high-pitched whininess of violins. Part of this may be a matter of physiology; literally, differet ears may transmit differet parts of the frequency spectrum, causing some sounds to appear pleasent and other aversive. There may also exist psycological associations, both positive and negative, to various instruments.

There is a theory that has to do with the complexity and simplicity of music. A piece that is too predictable is often undesirable, but one that's too adventurous and unfamiliar (which brings us to the next theory) is also undesirable. Thus a balance has to be struck between the two and different people have different balance points.

"The orderly relationship between complexity and liking is referred to as the inverted-U function because of the way a graph would be drawn that relates to these two factors. Imagine a graph in which the x-axis is how complex a piece of music is (to you) and the y-axis is how much you like it. At the bottom left of this graph, close to the origin, there would be a point for music that is very simple and your reaction being that you don't like it. As the music increases in complexity, your liking increases as well. The two variables follow each other for quite a while on the graph-increased complexity yields increased liking, until you cross some personal threshold and go from disliking the piece intensely to actually liking it quite a bit. But at some points as we increase the complexity, the music becomes too complex, and your liking for it begins to decrease. Now more complexity in the music leads to less and less liking, until you cross another threshold and you no longer like the music at all. Too complex and you absolutely hate the music. The shape of such a graph would make an inverted U or an inverted V."

The last theory, and most fascinating (to me at least) has to do with familiarity.

"The types of sounds, rhythms, and musical textures we find pleasing are generally extensions of previous positive experiences we've had with music in our lives. This is because hearing a song that you like is a lot like having any other pleasant sensory experience-eating chocolate cake, fresh-picked raspberries, smelling coffee in the morning, seeing a work of art or the peaceful face of someone you love who is sleeping. We take pleasure in the sensory experience, and find comfort in its familiarity and the safety that familiarity brings."

"Safety plays a certain role for a lot of us in choosing music. To a certain extent, we surrender to music when we listen to it-we allow ourselves to trust the composers and musicians with a part of our hearts and our spirits; we let the music take us somewhere outside of ourselves. "

To sum it up, people like music that they are familiar with in various ways, be that familiar emotions, concepts, complexities or simplicities, timbre, rhythm, or other factors.

These theories could have many interesting repercussions. Fans of metal, classical, and avant garde obviously have a high tolerance for complexity, while fans of rock, blues, pop, and hip-hop can't stand to step outside their musical complexity/simplicity comfort zone.

The familiarity theory can imply that people like music that expresses emotions and ideas that are familiar to them, be they positive or negative (they'll still find comfort in it and probably enjoy the music). Metal, under this theory, with its emphasis on anger, chaos, alienation, and (in cases) philosophy, appeals to people who are familiar with these things. Which is to say the majority of metal fans have often felt, or feel angry and alienated among dozens of other factors (traumatic childhoods, experiences with violence, etc). This also could explain why fans of metal tend to be intelligent and/or like minded.

This can go likewise for the dumb and ignorant masses. Dumb and ignorant music, for dumb and ignorant people (though we already knew that).

I heard a theory from someone that people like music based on the way it vibrates the blood in their body. This makes me think of the water crystal experiments by Masaru Emoto: http://www.life-enthusiast.com/twilight/research_emoto.html
Considering blood is part of that water in the human body, and metal creates crystals that are vibrated apart  ( http://www.life-enthusiast.com/twilight/emoto/heavy_metal.jpg ), is that to say us metal fans like to have our blood vibrated apart so to speak :P (pretty nihilistic as well)?

If anyone knows anything about this blood vibrating theory or any other theories, post them.

Metal / Re: How to have a hit #1 single
« on: August 09, 2007, 03:57:17 PM »
Just goes to show how music these days can truly be 'manufactured'.

Metal / Re: World metal
« on: August 02, 2007, 07:28:51 AM »
More from Japan:

http://www.geocities.jp/rig_jp/ Rest In Gore

http://fastkill.gooside.com/ Fastkill

http://disconformity.jp/main.htm Disconformity

http://www.detritum.org/ Detritum

http://www2.ttcn.ne.jp/~noism/ NOISM

http://users.adelphia.net/~sypholux/doomfaq.htm Doom

http://www.globaldarkness.com/cult/gism/ G.I.S.M.

http://www.myspace.com/jpdeathmetal A Myspace group for Jdeath

http://www.sound.co.jp/~grind/j-underground/ A cataloge of some Jmetal bands

The Japanese music scene has unfortunately been pretty westernized since WWII. The 80's was the height of Jmetal, with some quintessential bands like G.I.S.M. There's a site I'm trying to find again that has a nice archive of this wave of Jmetal. I'll post it when I find it. Today's wave is mainly 'brutal' and slam death, and the scene is relatively small so far.

Disconformity, despite the cheesy name, is one of the few Japanese bands I've seen that takes pride in their cultural heritage. Hopefully they go further in that direction.

"Yes, our guttural-warlord, Sho-gun is totally drenched in Japanese historical stuffs, especially Samurai-era.  As being Japanese death metal band we've been trying to find out
our ways of _expression of brutality. We're proud of our culture, both old an present and trying to take advantage of them to represent our view of the world, not in the typical
way like gore and splatter stuffs."


Here's that archive I talked about earlier. Comes with samples.