Welcome, Guest. Please login or register.

Login with username, password and session length

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Topics - aquarius

1 ... 5 [6] 7 8
Interzone / Can the world be changed?
« on: December 14, 2012, 03:14:24 AM »
If you believe in a cyclical view of history whereby collapse is the result of a naturally occurring process then you will say it cannot be done (or perhaps that it is not the issue). You realize regeneration can only occur after degeneration and collapse.

Though I understand this viewpoint and find it perfectly credible, I worry about how long this collapse will last and what sort of damage might occur in the process, especially with regards to the environment and large scale disintegration of various interconnected eco-systems. Not to mention human civilization.

I don’t want to come across as too apocalyptic, but even a worst-case scenario could fit into the concept of ‘slow collapse’. Even a completely dead planet could eventually regenerate long after human existence.

Meanwhile it is currently not a physical impossibility to turn things around (assuming they were thrown off course). The only thing preventing this is the current system which is mirrored by the opinions of those who hold power. Irreversible damage also prevents this.

Metal / Conscious vs subconscious music appreciation
« on: December 14, 2012, 01:25:28 AM »
Sometimes an album takes me on a journey and I am happily lost within it. Other times I’m more aware of what is going on structurally in order to evoke that sense of journey. I imagine these two states could also be perceived simultaneously or that the listener might drift between the two.

Metal / DLA/Deathmetal.org publication
« on: December 05, 2012, 09:43:02 PM »
I’m not sure if this has come up before but it would be great if DLA/ Deathmetal.org ever publishes a book. All that really needs to be included are a few chapters on composition, genre-developments and the underlying philosophy as outlined on the site. The rest could be made up of reviews and therefore function partly as a reference book. It would certainly make for interesting reading (even to non-metal audiences) and be the first of its kind among other books about metal. Milking the fanatical love/hate reputation of ANUS could make it a best-seller.

Metal / First metal album
« on: December 03, 2012, 01:01:55 AM »
The first ‘real’ album for me was Darkthrone – A Blaze in the Northern Sky. Before that I had some Deicide and middle era Emperor which had only residual elements of what I was after. I remember thinking A Blaze was so raw and pure that it almost seemed like an ancient language (as it turns out Black Metal was chronologically younger than Death Metal). The riffs, the drumming, the production seemed like a big mess and yet it flowed so naturally. The energy was overwhelming.

Its allure was such that I didn’t listen to much else for the next month or so, as nothing even came close. Plus I now needed to work up some pocket money for more albums  :)

Interzone / Save the world
« on: November 22, 2012, 11:52:35 AM »
Cessation of government handouts

Abolish the prison system

Citizens to obtain ‘procreation licence’

Government to seize television networks

(this would be replaced with maybe 3-4 channels focussing on weather, gardening and practical skills, art history and urgent news articles)

Repossession of all iPhones, iPads, iDildos etc and snap them in half.

Metal / Question for Conservationist
« on: November 07, 2012, 06:18:43 AM »
Do you start with a vision of where a piece is going and flesh it out on the instrument or experiment with the instrument and later put the pieces in their place. I remember reading an interview with Paul Ledney where he stated he would hum the melody he wanted and the guitarist could turn it into a riff. Other metal bands seem to build this massive array of contrasting riffs that oddly enough are in perfect complement to one and other, suggesting their compositional process is more subconscious.

Interzone / Keeping your mind flexible
« on: November 07, 2012, 06:00:18 AM »
Learning new skills (that serve a purpose). Playing computer chess once a day. Honing your natural intuition. Identifying poison (own thoughts, other people). Realizing you could be wrong. Keeping your mind still.

Interzone / What matters?
« on: October 17, 2012, 03:11:24 AM »
It is not that a result is achieved in itself, but that a continual process endures from one’s efforts. One might also consider that the process itself works as a result. I struggled to find something this wouldn’t apply to.

Interzone / Enjoy the Violence?
« on: October 09, 2012, 11:29:41 PM »
Violence (suffering, brutality) will always occur naturally to varying extents and it is only in our reaction to it that a measure of dysfunction can be gauged.

As I see it, a fearful, neurotic reaction would attempt to overcome this by eliminating inequality as the perceived cause.

Rejecting this while becoming increasingly frustrated by an omnipresent world of decay, one might adopt the opposite point of view, thus becoming callous and insensitive.

I think both approaches are at odds with nature and therefore incur an even greater violence.

A balanced reaction would be that the person acknowledges violence as part of larger process without necessarily embracing it; thus to seek understanding of the various mechanisms which underpin our civilization. Perhaps if enough people could understand this, the conditions which give rise to violence would significantly diminish.

Interzone / What have you been reading lately?
« on: September 18, 2012, 11:35:28 PM »
I am reading The Sea of Fertility by Yukio Mishima and am currently into the second book of this tetrology.  It’s like philosophy converted to art and I am simply spellbound by it.

Metal / Albums you used to bother with
« on: September 06, 2012, 11:13:02 PM »
If art can function as communication, then one might receive it, use it and move on. If it can convey infinite perfection of the universe, then one might embody it. The best of metal has a bit of the latter, but is mostly the former, meaning it doesn’t take preference over the great composers in a desert island type scenario.  Understanding this, I then set off for the local CD recyclers to sell everything I used to bother with.

Metal / Essential J.S. Bach
« on: August 22, 2012, 12:47:48 AM »
I finally reached some weird evolutionary stage as a classical listener whereby all roads inevitably lead back to the great baroque masters. But I'm like a child to this. So far I discovered J.S Bach's best works are his 6 Brandenburg concertos, his fugal organ music and the St Matthew passion (still early days but I'm already thinking it might be the pinnacle of music full stop).

Feel free to make comment, correction or additions to that list.

Interzone / Emotional intelligence
« on: August 13, 2012, 12:51:08 AM »

Does it have any merit?

Once you establish an understanding of the value of a baseline level of intelligence, is emotional stability and functionality not the next thing that comes to mind?
This would exlude high IQ yet emotionally inept as well as over-emotional types.

Metal / Appreciating Euronymous
« on: July 29, 2012, 01:56:14 AM »
He was kind of like a genre-guardian. He set a very high standard and most of the other guys in that scene respected him for his ideas on how the music should be. When he died so did that expectation of high quality and intensity; thus the steady decline in the post 1993 genre of black metal.

Metal / Essential ambient/drone/vibration recordings
« on: July 19, 2012, 10:03:58 PM »
It's not something I can listen to all the time, but I have had some great ambient listening experiences from time to time and it would be good to get some input or further recommendations from other listeners here.

Fripp and Eno - Evening star - This could well be the perfect ambient album and I've realized what a long overlooked gem it has been in my collection for many years. The basic idea is to have a continual stream of audio from a live instrument (Fripp) fed through a tape-delay unit (Eno) with the two forces almost playing off of each other. This is further processed and rearranged into layers which phase in and out to form a droning repetitive structure with melody at its core. It's a better album than No Pussyfooting and probably the best project Brian Eno was ever involved in.

Maeror Tri - This group seems more droning and noisy with less emphasis on melodic development, but fairly enjoyable if the mood permits it. Mind you their catalogue is extensive and not so easily penetrable so it would be good if someone could identify a 'best work'.

Lustmord - Heresy - I found this interesting at first but don't find myself coming back to it all the often. It's basically just a 'sound-collage' of sampled audio pitched down and drenched in reverb. It's also kind of lacking in internal motion which is really what drives this type of music if nothing else. The place where black stars hang is better but still doesn't grab me in a big way.

Steve Roach - The magnificent Void - I find this hard to distinguish from The place where black stars hang but I think where this guy really shines is when he is mainly melody-focused. Structures from silence has a warmth and a stillness to it unmatched by any other recording while still retaining the necessary sense of movement or internal motion. While Midnight moon is on a different plain of existence altogether. Deep, dark intoxicating waves of spacious organic sound in seemingly endless repetition. I'm almost forced to slow my heart and mind down while appreciating this recording.

Klaus Schulze - To me he was the master of creating a sense of motion/movement/momentum within his music and shaping it furthermore with a genius tact for tension and release. This is best exemplified in early works such as Timewind and Irrlicht. I still like Moondawn but it's an obvious decline from there as everything starts to sound a bit glam-rock-ish in its choice of sounds/timbres and it's also a step away from ambient compositionally.

Tangerine Dream - People praise Phaedra and Rubycon and won't deny that they're brilliant but at this point I honestly find more longevity in their pre-breakthrough album Zeit. Perhaps it is that I listened to that other stuff a thousand too many times and that Zeit by its very nature is not as immediately accessible, but really I just love the heaviness and vastness of it. Of course they didn't yet make use of any sequencers thus the emphasis was more on creating layers of heavily oscillating sound. There is not so much a sense of movement or tension, but inversely, the lack of it as for over an hour it holds you fixated without doing anything. Interestingly the moog modular synth which comes in at the tail end of the first track is being played by Florian Fricke of the group Popol Vuh, he later sold that same synth to Klaus Schulze who was at one stage also a member of Tangerine Dream.

Popol Vuh - Their first two albums fall partly into ambient/noise and partly into world music, but are notable for the dense atmosphere of 'tone sounds' and interesting array of contrasts. In den Gärten Pharaos is particularly awe-inspiring at times in its ability to convey a merging of the senses; as though one were observing the audial form of the great european frescoes.

Eberhard Schoener - Meditations - Interesting, a good companion to the above mentioned but not overly enduring . This is about as close as Krautrock ever got to something purely droning and meditative, devoid of rock.

Biosphere - Substrata is a genius album but the rest of Jensen's catalogue is largely unremarkable. Why is this? Basically because he was transitional at the time and still retained something of the energy and directness of his roots in house/techno music. Thus he stumbled onto greatness with substrata but failed when the design became codified. The point is that ambient is not slow and quiet, it is pure force simplified to the point of being immaculate. There is no narrative structure but its design is something like a byproduct or afterglow of a narrative structure (and mostly it is that the artist has attempted both).

Time Machines by Coil could be considered the quintessential drone album but it doesn't go for atmosphere and it certainly doesn't acknowledge even the slightest hint of melody. Instead it functions more in the way that beautiful architecture does; revealing inner space rather than outer space. And in a conventional understanding of music appreciation it simply isn't music but it's awesome nonetheless. It's something close to what I think of when the average joe ask me what kind of music I like "well, I prefer noise to music".

Suuri Shamaani is like Time Machines worship but with an even more clinical or sterile approach (a trait oddly enough shared by fellow Finnish techno pioneers, Pan sonic). The project is labeled as 'ambient metamusic' and it is fairly faithful to that description, if you can imagine a picture composed of component parts but no obvious whole

1 ... 5 [6] 7 8