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Messages - Zodijackyl

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Metal / Re: Sadistic Metal Reviews
« on: November 18, 2013, 09:30:37 AM »
Satyricon seemed to have a proper grasp on what they were doing, but they had other ambitions - the structure of Dark Medieval Times doesn't seem to be trying to invoke darkness, instead it has a bleak neo-medieval mood which is somewhat unique to that album.

In my view, Satyricon understood what they were trying to do ideologically but couldn't translate it into the music. There are other bands who accomplished the neo-medieval feel through entirely different avenues, but Satyricon ends up coming across as an attempt to be the first Immortal album, without the ability to pull it off. There's a disconnect in there somewhere, and it results in some pretty disconnected music.

They have a competent understanding and execution of the black metal parts, I don't think they were trying to copy DFM. The use of interludes feels more like they were trying to borrow that from Det som engang var, but didn't create a piece as convincingly coherent. Structurally, it isn't nearly as strong as DSEV, it doesn't flow like a spell as Burzum albums do. It's one of my go-to albums to listen to while playing old video games that don't have music but are complemented by music like that.

For the next round of sadistic metal reviews, may I make suggestions?

Metal / Re: Sadistic Metal Reviews
« on: November 17, 2013, 09:47:39 PM »
something that ideologically exclusive reviewing tends to overlook.

Its just not good man... There is a connection between ideology/purity and resultant quality, dishonesty makes for bad music, not getting it and playing along because its cool makes for bad music, but those assesments of quality always follow from listening to the music first. The reasons are dug out after the fact.

If you are instead only saying it has good parts that are unfairly glossed over, I would compare that to finding juicy, tasty bits in a shit sundae.

The degree to which they are decided to be dishonest/shit is greatly exaggerated. After all, there's some genuinely terrible stuff in there like Animals as Leaders.

Satyricon seemed to have a proper grasp on what they were doing, but they had other ambitions - the structure of Dark Medieval Times doesn't seem to be trying to invoke darkness, instead it has a bleak neo-medieval mood which is somewhat unique to that album. It has a different mood without quite the same intensity, which is something good to listen to at times, rather than purely focusing on the best. Hardly seems sadistic, brief reviews like this of second-tier stuff would be useful if they were for lesser known albums.

Interzone / Re: Do you attend church?
« on: November 16, 2013, 10:01:13 PM »
I don't want my worship interrupted with attempts to guilt me into giving money to people supposedly trying to help starving homosexual minorities in Africa.

Which churches support homosexual minorities in Africa?

Metal / Re: Sadistic Metal Reviews
« on: November 16, 2013, 09:53:45 PM »
Fairly accurate, but I think this one glosses over the hit-or-miss qualities of "Death Shall Rise" and "Dark Medieval Times" - both have sincerely good moments in inconsistent frames, something that ideologically exclusive reviewing tends to overlook. Neither is on par with the gymnastics class of Animals as Leaders, too wanky to be a stoner jam band, but too shitty to be listenable music.

Metal / Re: Jimmy Page says Led Zeppelin isn’t a heavy metal band
« on: November 16, 2013, 09:44:35 PM »
Who fucking cares? Zeppelin were a rock band that borrowed most of their riffs from the blues and shaped it into some of the best music of their era, put forth incredibly well by a charismatic frontman. It's not heavy metal , sure.

Metal / Re: Metal fans' personality traits
« on: November 12, 2013, 08:58:54 PM »
(In case anyone missed it, the bands include Enslaved, Cradle of Filth, As I Gay Dying, Disturbed, August Burns Red.)

Funny how two of those five are Christian bands yet one of the traits described it "lower religiosity." The study addresses metal as how the average person/non-metalhead would define it, not even close to how a more exclusive site such as this would define it.

Metal / The latest "Sadistic Metal Reviews"
« on: November 07, 2013, 09:42:29 AM »
This is great, you could recycle this review for every slam album like slam albums recycle that song.

"“Liege of Inveracity has a slam riff” they say… True, but Effigy of the Forgotten didn’t sound like the Wu-Tang Clan either."


Metal / Re: Quantity-- just quit
« on: October 30, 2013, 09:22:15 AM »
I think it is possible to have a large output and retain a high level of quality.  One need only look to classical music where nearly all well known composers wrote enormous amounts of music relative to modern day artists, and yet the quality levels rarely dropped significantly.  I think this reveals two things, firstly that metal lacks a formalized technique and so the artist must spend a significant amount of effort trying to "reinvent the wheel" every-time they compose something.  Secondly modern day artists are not able to retain a high level of artistic insight and inspiration in the surroundings of the modern world.  Rather than growing in wisdom and insight as they age, like many classical greats (Bach, Beethoven, Brahms and the list goes on), heavy metal musicians tend to lose their passion and become absorbed by the triviality of the modern world so that they are pale shadows of themselves as artists by the time they reach their 30s.

These composers, though prolific, were primarily known as composers rather than performers. When they did perform, it was generally smaller solo pieces. The occupation was also much more limited - by access to instruments and education, by the selective and sort of elevated status of being a composer, and access to audiences being much more controlled than it is today. Those who were brought into the profession of being a composer had both their own benefits, and a massive comparative advantage to others. Few instruments of outstanding and lasting quality were made, and they were in the hands of a more selected class, while folk instruments were of lesser quality - both more difficult to play and master, and less precisely intonated so they would sound much less consonant and harmonious together. Composers had the luxury of an orchestra of trained musicians, should they prove to be skilled to the point of being able to compose for such an ensemble. Finally, the venues provided an enhancement to the music in their acoustics and experience, something that gave their music a much more grandoise theater than those without access to it.

The much higher bar to entering formal/written music composition was both selective and enhancing to the greats of those times. It is important to remember though, that we are looking at hundreds of years and relatively few composers - metal has only been around for as long as JS Bach alone was composing.

With the advent of recording technology, the original performance, rather than the manuscript, has become the defining format of music. The limitations to making music have become much less selective, and music is no longer "benevolently" sponsored, but designed to be merchandised as a product and a brand name. Music of the last ~100 years has been made under different circumstances, skewing the comparison of prolific modern artists to famed composers of the past.

Interzone / Re: What's a major label?
« on: October 20, 2013, 05:24:17 PM »
Anti-piracy action is almost entirely focused on new content, not back catalogues. The industry is mostly built around first-month impulse purchases, tailing off after 1-2 years. They generally don't take any action with music they distribute, only the larger artists released on the big labels. However, smaller labels like Century Media have taken action by suing people.

There is a simple way to see if the label cares about sharing an older album - search for it on Youtube and if it has been uploaded by someone other than the band/label and it has been there for more than a year, they don't care.

Interzone / Re: Suggestions
« on: October 18, 2013, 06:31:52 PM »
There are some odd holes in the review catalogue that could be filled - a live album from Martyr is reviewed, but not the two albums which the tracks are taken from, Dawn's "Slaughtersun" is an odd exclusion/oversight, and Mutiilation's first album doesn't even get a look while two others are covered - perhaps the best example of an album on which track list and format make a difference. Between the oddly-arranged original on Drakkar and the better formatted EAL version with three LP sides with more fitting arrangements, a bonus side with three odds-and-ends tracks, and the exclusion of the shitty drum machine song, that's a worthy point in its own right regarding the album.

I'm not against featuring honest but B-grade metal bands as long as they aren't presented as anything more than what they are: that is, tributes to better metal.

Yes, there are some bands worth noting, despite being unoriginal, such as Judas Iscariot. The "sadistic metal reviews" have been one of the most enjoyable reads because rather than dogmatic summaries, they provide a wider perspective as well as entertainment.

Finally, if the capcha on the forum doesn't go away at a certain point, please add a rank restriction to get rid of it after 10 posts or something like that.

Metal / Re: Submit questions for Lemmy Kilmister (Motorhead)
« on: October 18, 2013, 06:03:29 PM »
How has audience conduct at Motorhead shows changed over the last 35 years? How did it change with the NWOBHM, the wider audience and glory days of the 80s, the rise of moshing and "alternative festivals" in the 90s, and in more recent years?

Metal / Re: Aosoth
« on: October 18, 2013, 05:59:00 PM »
I enjoyed Aosoth and Anteaus live, they make good music, but the atmosphere on many of their albums detracts from the music. It's a static atmosphere of dissonance that grows somewhat monotonous because it seems to overshadow the guitar work to the point that it becomes a distraction rather than a complement. It seems to be more like it's just an atmosphere than a feeling the whole band is set in (i.e. Verge's "Because It's Wrong) and the vocals just don't mesh quite right with the rest of the music in either band. Despite the rough dissonance, it doesn't capture any of the energy both bands had live, it feels sort of sterile in comparison. Too much emphasis on the dissonant atmosphere. Seems like everything both of these bands have done since 2002ish has had the same feeling in a different way.

Metal / Re: Metal Archives.
« on: October 18, 2013, 05:38:06 PM »
Comprehensive encyclopedia. Bring a shaker of salt if you're reading reviews.

lol I think that guy actually registered here a week or two ago to post in that Stereo thread. Perhaps it was simply a facetious response to an incredibly stupid question.

Edit: Must check that band out.

Edit 2: Really sorry I did :(


Hah, I got you too! ;D

Joined the forums here recently, I've been familiar with DLA for over a decade.

Metal / Re: Death of the stereo?
« on: October 08, 2013, 10:02:29 AM »
What's a good brand for studio monitors. I just use a 20 year old pair of TEAC speakers (which are starting to fizzle out)or otherwise headphones. I rarely listen to music on computer, only to get a general impression of a piece, if it's good then I'll track down a physical copy.

I don't own a set of monitor speakers but I've used a bunch and talked to others enough to have a decent idea of what's available.

It depends on your price range, but Alesis and KRK have been good at the lower end of monitor price ranges. I have loved the Mackie monitors and other gear I've used, but it wasn't mine and I'm pretty sure the price tags were quite steep as it was higher end stuff. Behringer's less expensive monitors (even in the $100 range) color the sound more than most actual monitor speakers, they seem more like computer speakers than monitors. M-Audio pushes their stuff pretty hard through major stores but their monitors are crappy and unreliable.

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