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Topics - Christ Died of AIDS

Interzone / Any plans for 9/11?
« on: September 10, 2012, 03:20:32 PM »
I'm gonna relax tomorrow, just a bottle of Weihenstephan, some Fearless Iranians, and two blunts standing vertically next to each other creating a likeness of the twin towers.

Metal / Hardcore as of recent
« on: September 10, 2012, 02:07:44 PM »
Does anyone else on this forum feel as though 2012 has been a good year in hardcore so far? Tragedy and Martyrdod's (for lack of an umlaut) summer releases showed greater maturity in writing and production with zero dilution of artistic intent. I don't expect any subsequent albums from these two bands that will surpass what they've achieved already; this is the peak of their creative output, their fruition. Victims' 2011 release, A Dissident wasn't as good, but it sounded heavily Carnage influenced, so I kept it. Deviated Instinct's (whom I had the honor of opening for a few months ago) Thorn In Your Flesh was fairly solid, a well rounded mix of savagery and elegance.

It seems like a lot of otherwise dormant punks are finally pulling their heads out of their asses and the people that never belonged are finally getting their act together and leaving it entirely. The DIY ethic is more alive than I've ever seen it here before. This year has graced my city with more activity from out of town bands than I can recall in recent memory. People are dropping the fashion punk, Leftover Crack, idiotic ethos of hairspray, drugs, and STDs and taking hardcore seriously and bettering it as a genre. It's been a great year to shatter my misconceptions about punk and hardcore and take an active role in a once again thriving scene without it being focused specifically around money, consumerism, false hipster elitism, social pretense, or misguided liberalism. I can only hope this continues to foster positive, creative environments where young people are encouraged and their talents are put to good use. Musicians are taking a much bigger initiative these days. I hope hardcore is further driven to purge itself of its politically correct, drugs/drinking culture, safe, liberal habits and produce high quality music.

Interzone / Bass head trouble
« on: July 08, 2012, 06:39:37 AM »
I recently started having some trouble with my Peavey Mark III Musician bass head. It works wonderfully at practice, where we utilize a friend's Carvin 2x12 cabinet. When we play out shows, we usually borrow the headlining band's cabinet and use my head... which I'm ashamed of, but our vocalist won't stop booking shows. Anyway, whenever I try my head on someone else's cabinet, it produces an unbearable piercing screech, in which most of the people running the show (it's usually DIY, so we or another band typically handle all the sound setup) demand that I swap the head, so all the time I spent perfecting the sound and tinkering with the graphic equalizer was a waste because I'm using another bassist's head. What could be causing such a screech?

Interzone / Aggressive thoughts
« on: October 13, 2011, 12:45:05 PM »
I constantly find myself struggling with aggressive thoughts and fantasies. I try my best to let them out through humor, working out, sparring, etc. I hit the punching bag at the gym and all it does is make me feel better prepared for the time come. I've only been in 2 actual fist fights and I lost. I guess that put a pretty big chip on my shoulder. All through high school I got bullied and took it. My whole life people have been pushing me around, whether it be people that are bigger than me, thugged out ghetto dwelling hoodlums, the police, people I work with. I assert myself, but if it ever comes down to fisticuffs, I'll usually try my best to dissolve it before it gets to that point. Part of it is because I'm aware of the consequences (i.e. jail), but also because I'm not entirely sure how the fight would turn out.

But with every failed encounter, I care just a little bit less. I'm tired of people thinking they can punk me out all the time. I want their blood on my hands. I want to humiliate bullies, people that are unfair towards myself AND others.

Lately I've been engaging in antisocial behavior, being less and less diplomatic to potential bullies, sharing my violent fantasies with others.

Today, someone I didn't know came walking through my apartment complex. I stared him down for a long time, giving him weird looks, partly because I hate it when people do that (we live in a quiet subdivision of mostly elderly people, often wiggers ((I hate that word)) will stroll through, doing drugs, damaging property, loitering on my porch, or using our subdivision as a hideout from the police) but also because I wanted to be challenged. I knew he didn't live there. He started blabbering his mouth as he was riding away on his bike. He was younger, but looked tough for his age. He told me to come over towards him and he'd sock the shit out of me. So I did. He continued to ride away from me. I chased him. I saw his bike outside a nearby gas station. I walked in. He was at the counter buying cigarettes. I stood behind him. He turned around and there I was, his eyes like a deer in headlights.

"The fuck's your problem, kid?"

He pretended it wasn't him at first. He told me to step outside. I repeatedly told him to swing on me and he continued to run his little mouth as he was mounting his bike and leaving the scene. I speedwalked in his direction because he was heading back to my apartments, but then a cop who was pumping his gas and was watching the whole thing stopped me.

Oddly enough, he was on my side. He told me the guy had no right to be there and that next time I should call the police (yeah, right).

Cop and I shake hands. I start walking home. And there that little fuck is sitting on a porch of an apartment building adjacent to mine. I give him the finger and say "nicely done, tough guy!". Here we go again. His mouth hit the on switch except this time he had a friend with him. I started walking towards him, calculating in my head the easiest way to stomp on his head, then the cop I talked to before swooped into the parking lot and told me to go home. I did.

After the cop gets done talking to them, he leaves. Then the two homeboys come up to my parking lot. They're watching me the whole time and I'm not breaking eye contact. They look over their shoulders. I give them the beckon. They come over and I start asking what the cop said. They started calling me a narc. I told them to walk on home and they did, without giving me any trouble this time, other than mumbling under their breath how much of a narc I was.

This situation could have ended badly. I could have ended up in jail right now if I swung on this kid, that cop watched everything. I would have lost my job, my girlfriend, and possibly 6 months of my life.

This guy was scared. I gave him way more trouble than he was looking for and now we're both pissed off about it. It wasn't worth it. But when I'm threatened and then my provoker runs away, it's natural to get pissed, right?

I'm not sure what I should have done, all I know is I'm coming closer and closer to a boiling point. There's gonna come a time when I won't give it a second thought and I'm just gonna hit somebody over something stupid, especially if I'm provoked.

Does anybody else struggle with this kind of thing or is it just me?

Interzone / Why presentation is important
« on: September 29, 2010, 03:12:46 PM »
I was listening to Infester earlier this afternoon, when an intrusive, sad thought entered my mind. To The Depths... In Degradation, their only studio album to my knowledge, was an intellectually stimulating, brilliantly structured, and undeniably "metal-in-spirit" work of art. It speaks to my darkest primordial instincts, titillating the urges that Western culture has forced me to repress, awakening a viciousness that most modern men lack. There's just one problem:

It sounds like total shit.

Despite my admitted long time spent tweaking the bands of my stereo's equalizer, I can barely make out what is going on in some of the guitar riffs. I have an affinity for atonality and a long history of listening to demo-level bands just crowning from the womb of obscurity. I would have tolerated this if it were a demo, but it's not. I've tried to shake this for a long time and make excuses for bands whose album production is sub-par, but there's just no reason to it. Why would you want a poorly represented piece of music to be your final product?

In addition, upon close listening, mistakes are present in the performance of the guitars and drums. A misplaced powerchord sloppily adjusted, the drummer's inability to maintain a consistent blast, causing slight fluctuations in tempo. Really?

This album was recorded in a studio. As such, all the tools to properly mix this album and give it the sound it deserves were both present and ignored. On top of that, a lack of discipline in musicianship takes away from the "tightness" that makes most good death metal albums shine.

It's time to stop tolerating shit production, even if the music shines with the complexity, spirit, and concept that Infester COULD have unleashed. A common PC and some "liberated" software is all it really takes nowadays to properly mix and produce music. I've done it. No, it wasn't Infester, nor was I vain enough to try to pass it off as a release.

It's time for bands to stop making their guitar tones deliberately ugly, practice until their sound is immaculate, settle for nothing but the best they can possibly do, and stop fooling themselves into thinking that a harsh, ugly, sound is any purer in intent than a well produced, digitally enhanced masterpiece of studio mixing.

Metal needs to evolve, and in doing so, understand two fundamental things: it should never be an artist's goal to remain underground, and "slick" production sould never be a compromise. It should add to what is already there and then some.

Death to the unter-ground

Interzone / Hessian.org Banned at Local Library
« on: June 24, 2010, 05:44:39 PM »
Where I'm currently sitting at the Delhi Hills Branch of the Hamilton County Public Library in Cincinnati, OH, http://www.hessian.org is banned for the following reasons: Extreme politics/opinion.

There is a space for comments/questions below this message and I typed a rant that is too long for any admin to give a flying shit. Half of this library's terminals are used up by adolescents, browsing youtube and facebook or playing crude little flash video games. Extreme politics and opinions? I thought the library was one of the last safe havens where radical views could be expressed! Will they soon start burning the works of Marx and Nietzsche because they're too "extreme"?

Has anyone else had similar problems with their home/school/public networks?

Metal / Cincinnati Symphony Orchestra '10 - '11 Calendar
« on: June 22, 2010, 05:02:02 PM »

THU SEP 30, 2010 | 7:30 PM  
SAT OCT 2, 2010 | 8:00 PM

Paavo Järvi opens his 10th anniversary season with the long-awaited return of the beloved Ohio-born soprano Kathleen Battle. She’ll convey the heart-on-sleeve emotion of music by Strauss in a program that also includes “Zarathustra,” of 2001: A Space Odyssey fame.

FRI OCT 8, 2010 | 8:00 PM  
SAT OCT 9, 2010 | 8:00 PM

You’re destined to have a great evening with Beethoven’s delightful Concerto No. 1, performed by Mihaela Ursuleasa, who toured with the CSO in 2000. She sets the stage for Schubert's "Unfinished" Symphony, some of the most beautiful music ever composed.

FRI OCT 15, 2010 | 8:00 PM  
SAT OCT 16, 2010 | 8:00 PM

Returning conductor Carlos Kalmar leads a Hungarian-influenced program featuring Yuja Wang (Gramophone Magazine’s 2009 Young Artist of the Year) in her CSO debut. She performs Bartók’s virtuosic Concerto No. 2, by turns fiery, fierce and lyrical. Brahms’ hot-blooded “gypsy” finale brings the concert to a spectacular close.

FRI NOV 5, 2010 | 8:00 PM  
SAT NOV 6, 2010 | 8:00 PM

A favorite of CSO audiences and acclaimed worldwide for his electrifying performances, Barry Douglas plays the majestic Emperor Concerto.  The dynamic Danish conductor Thomas Dausgaard leads Sibelius’ luminous Fifth Symphony, harkening to a shining moment from the CSO’s 2004 European tour.

 FRI NOV 12, 2010 | 11:00 AM  
SAT NOV 13, 2010 | 8:00 PM
An expert on the music of 18th-century masters, Sir Roger Norrington leads a program of appealing orchestral works, including Mozart’s witty Divertimento and his exquisite, Haydn-influenced Linz Symphony. Soloists from the orchestra gather at center stage for Haydn’s delightful orchestral tête-à-tête.

 THU NOV 18, 2010 | 7:30 PM  
SAT NOV 20, 2010 | 8:00 PM  
SUN NOV 21, 2010 | 3:00 PM
The Mozart Festival concludes with the soaring voices of the May Festival Chorus in three gems from Mozart’s remarkable output of sacred choral works, including the soaring Exsultate jubilate (with its famous "Alleluia"). Music by Salieri, whose strained, perhaps devious, relationship with Mozart was brought to light in Amadeus, provides an intriguing contrast.

FRI DEC 3, 2010 | 11:00 AM  
SAT DEC 4, 2010 | 8:00 PM

It’s Beethoven-times-three in this captivating program under the direction of the distinguished Austrian conductor Hans Graf. The drama and heroic tragedy of the Concerto No. 3, imparted by Beethoven specialist Jeffrey Kahane, sets the stage for the powerful, rhythmic energy of Symphony No. 7.

FRI DEC 17, 2010 | 8:00 PM  
SAT DEC 18, 2010 | 8:00 PM

Mozart’s Turkish Concerto is especially memorable for its whirlwind finale and for the violinist who plays it: Hilary Hahn, the dazzling two-time Grammy-winning violinist and 2008 Gramophone Artist of the Year. We also bring you sparkling works by three 20th century masters, equally witty as Mozart.

FRI JAN 21, 2011 | 8:00 PM  
SAT JAN 22, 2011 | 8:00 PM  
SUN JAN 23, 2011 | 3:00 PM

Violinist Viviane Hagner summons her passionate artistry for the romantic, sweetly lyrical and wholly uplifting Glazunov concerto. Led by the dynamic American conductor Hugh Wolff, Shostakovich’s Ninth Symphony is brash and boisterous, witty and impish, right up to the brass-filled grand finale.

FRI JAN 28, 2011 | 11:00 AM  
SAT JAN 29, 2011 | 8:00 PM

One of today’s most celebrated superstars, André Watts lends his sizeable skill and artistic elegance to Beethoven’s concerto of many contrasts—serene and melodious at first, then boisterous and virtuosic. We close with the intimate and soul-penetrating Requiem of Gabriel Fauré.

THU FEB 3, 2011 | 7:30 PM  
SAT FEB 5, 2011 | 8:00 PM

Paavo wished to celebrate his 10th season with an orchestral event to show off the CSO’s full range of technical brilliance and color. Mahler is in good hands, and so are you, with Paavo’s interpretation of the Symphony No. 7, a panorama of human emotions, from optimism and joy to solemnity and innocence.

FRI FEB 18, 2011 | 11:00 AM  
SAT FEB 19, 2011 | 8:00 PM  
SUN FEB 20, 2011 | 3:00 PM

Violinist Vadim Repin, noted as one of today’s most compelling musicians, will play the soulful and technically dazzling Sibelius Concerto. The concert concludes with Beethoven’s wildly popular Fifth Symphony, music that never fails to enthrall audiences everywhere.

THU FEB 24, 2011 | 7:30 PM  
SAT FEB 26, 2011 | 8:00 PM

Yefim Bronfman focuses his Grammy-winning virtuosity on the Concerto No. 1, whose famous opening chords hint at the sweeping lyricism and pianistic fireworks to come. In the hands of conductor Peter Oundjian, Tchaikovsky’s gift for melody shines in the romantic love songs of his Fifth Symphony.

THU MAR 10, 2011 | 7:30 PM  
SAT MAR 12, 2011 | 8:00 PM

Jian Wang, featured in the Oscar–winning film From Mao to Mozart, lends his copious technical gifts to Schumann’s ravishing Cello Concerto. Mostly Mozart music director Louis Langrée leads the CSO in Brahms’ first symphony—a work that inspired Schumann to declare him the heir apparent to Beethoven.

FRI MAR 25, 2011 | 8:00 PM  
SAT MAR 26, 2011 | 8:00 PM

After the premiere of his Fanfare, the multi-faceted Stewart Goodyear bridges the centuries with performances of Bach and Messiaen. Incorporating the eerie, wavering tones of the ondes Martenot (an early synthesizer), Messiaen’s boisterous masterpiece derives from Sanskrit words meaning “love song.”

FRI APR 1, 2011 | 8:00 PM  
SAT APR 2, 2011 | 8:00 PM

Finnish conductor Hannu Lintu opens this attractive program with New York Philharmonic composer-in-residence Magnus Lindberg's flamboyant depiction of a Spanish festival. Augustin Hadelich, the 2009 Avery Fisher Career Grant-winning violinist, brings out all the sunny elegance of Haydn's First Violin Concerto. The picturesque conclusion is Haydn’s Symphony No. 100—whose "military" special effects include a battery of percussion—and Debussy's intoxicating Ibéria, portraying the sights and sounds of Spain.

FRI APR 8, 2011 | 11:00 AM  
SAT APR 9, 2011 | 8:00 PM  
SUN APR 10, 2011 | 3:00 PM

Acclaimed conductor Roberto Abbado (nephew of Claudio) leads a program of classics by Russian legends. Peter Serkin conveys the beauty and playfulness of two provocative works by Stravinsky, while deftly conquering their technical pyrotechnics. And the orchestra vividly paints Mussorgsky’s majestic Pictures at an Exhibition.

FRI APR 15, 2011 | 8:00 PM  
SAT APR 16, 2011 | 8:00 PM

The distinguished Spanish conductor Rafael Frühbeck steps to the podium for a concert of heroic proportions. Beethoven’s Second Concerto is joyful showcase for the elegance and effortless technique of Markus Groh. Strauss’ Ein Heldenleben is a sumptuous tale of love, courage and the ultimate quest for redemption.

TUES MAY 3, 2011 | 7:30 PM

Perhaps the most famous work for cello, the ultra-romantic, technically dazzling Dvořák concerto will be no less than breathtaking in the hands of the reigning superstar of the instrument, Yo-Yo Ma. This sure-to-sell-out event is capped off with the “New World” Symphony—music Paavo and the CSO performed to enthusiastic acclaim on the 2009 Japan Tour.

FRI MAY 6, 2011 | 8:00 PM  
SAT MAY 7, 2011 | 8:00 PM

This all-American program features dazzling clarinetist Martin Fröst performing Copland’s captivating fusion of jazz, Charleston rhythms, boogie woogie and Brazilian folk tunes. Edgar Varèse, a fixture on the New York music scene who influenced Frank Zappa, composed the program finale, a raucous soundscape of unwavering excitement.

FRI MAY 13, 2011 | 8:00 PM  
SAT MAY 14, 2011 | 8:00 PM

Paavo’s 10th anniversary celebration closes with a gathering of great friends. The piano concerto of Erkki-Sven Tüür, whom Paavo met during his conservatory days in Estonia, is a thrill ride of rhythmic intensity and poetic expression—a brilliant showcase for another friend of Paavo and CSO audiences, Awadagin Pratt. We close with Mahler’s epic Fifth Symphony, in all its sonorous and life-affirming glory.

Great season ahead of us, hope to see some Hessians out there.

Interzone / In Opposition to Bible/Church Burnings
« on: June 22, 2010, 03:48:39 PM »
For a long time, I supported the early 90's church burnings. I've burnt a few bibles in my younger, rebellious days. I've since then come to change my stance on it. To me, it used to be the ultimate blasphemy. The grandest possible way one could say to another: "fuck everything you believe". While this is still somewhat true, I think the approach is flawed for a number of reasons.

While I'm clearly not by any means a Christian or otherwise religious person, I find it acenine to destroy their book of doctrine, even if they are in morbid abundance. For one, I believe one should at least read the bible before criticizing it (I've only read Genesis and Revelation all the way through). Two wrongs don't make a right. Sure we've had plenty of great literature/art/metal destroyed by crusaders, neo-cons, overprotective moms, but burning a bible solves nothing. Disrespecting their values, message, and let's face it -- culture does nothing to gain acceptance for our own. It should be looked down upon as an embarrassment to the metal community. Bibles are not the culprit. Anyone who is weak minded enough to become enslaved by organized religion will have been swept up by something else, if not the opiate-like embrace of the Judeo-Christian God's love and forgiveness and promise of eternal life. I watched the interview with Averse Sefira where they talk about church burnings. I'm a little disappointed. While I do find that perhaps the church got what was coming to them, it was a feudal attempt to bring about a change that will never happen. I understand that throughout the dark ages, in the churches endeavors to conquer the earth and make catholicism the dominant religion, cultures were homogenized and peoples were enslaved and mass-murdered, pursuing revenge now just furthers bitterness, hatred, and ignorance. It's just like the African-Americans that hold a grudge on ALL white people for slavery and demand reparations. I don't owe those people a fucking dime and if they ask they'll get a boot to the fucking face.

I guess all I'm saying is this: hating Christians is dumb.

Metal / Metal Score Project
« on: April 11, 2009, 09:37:43 AM »
Delete this if the idea has been stated elsewhere. The idea is to transcribe a selection of high quality death and black metal songs, preferably ones with complex chord variations (Close to a World Below? Obscura? Battle's Clarion?), onto musical scores and have them be played out, note for note, either by synthesizer or a few solo instrumentalists. The idea is to turn smart people onto metal when they would otherwise be disgusted by such a "noisy" and chaotic artform. I've met too many people that said, "oh well if only there wasn't growling or blastbeats". This would be a non-profit project, one that would require the dedication of a few musically literate individuals. I'm a little sketchy in the sheet music department, but how hard could it be to learn? I fully realize that in doing this, it'd be taking away what made the metal releases great which is why this project is in no way an attempt to create a new genre of music, just a good way to demonstrate and explore metal's ambitious and pensive musical properties.