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Topics - aquarius

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91
Metal / Metal without drums
« on: December 30, 2011, 01:35:07 PM »
It is certainly an interesting concept that metal with its increased understanding and use of ambient structure could in time propel itself solely by the use of melody/counterpoint/harmony. As I see it, the main advantage of doing away with continuous drumming would be that you remove the idea of melody developing within such strict rhythmic containers, thus giving it more freedom while also requiring that greater attention be put into the initial design. i.e. melody would have to carry its own rhythmic tension and devices to achieve that would have to be utilized. It would also be possible to vary tempo within a melodic phrase, and perhaps even the art of percussion could be sparingly utilized when necessary.

92
Metal / Sibelius
« on: December 05, 2011, 02:24:11 AM »
What are your thoughts on this famous Finnish composer? Admittedly, I haven't heard all of his output and I'm a bit divided on what I have heard. Some of his symphonies strike me as pretentious, they're simple but made to sound complex and are commonly rounded off with this big pompous anthemic finale. The violin concerto escapes this and seems to flow more naturally, partly due to it's chaotic unrefined construction. Finlandia is just overrated.

93
Metal / Revisiting Soulside Journey
« on: November 10, 2011, 03:50:33 AM »
Whenever I come back to the first Darkthrone I'm struck by what a truly awesome and somewhat underappreciated gem it is. And I can't help but think what it might have led to if the band didn't disown it and release a spate of genre re-defining albums in its wake.

What is unique/cool about it:

- It's not overly structural like most death metal before it, allowing for some interesting compositional choices.
- It carries the dark emotionality of nascent black metal within the twisted, cerebral process of death metal.
- It breathes well i.e. it's consistent throughout yet with contrast. A precursor to the epic.
- Contains possibly some of the best Darkthrone lyrics.

Questions:

Is there anything that comes close to this?
How might Goatlord have turned out if the band didn't jump the tracks with A blaze in the northern sky?
Was the album purely a product of its time period made by insightful musicians or the seeds of some great potential than never eventuated.

94
Interzone / Any news about new Kraftwerk?
« on: October 28, 2011, 07:12:00 AM »
Florian Schneider, one of the founding members left in 2008, then there was supposedly new material in the pipeline for 2010. I must say there is probably no other group I look forward to more as pretty much everything they've ever made has been genius, and with years of thought behind it. How they manage to keep a level head a not loose the vision after all these years is astounding. If only metal could be this mature.

95
Metal / Wagner or Brahms?
« on: July 23, 2011, 11:07:51 AM »
Wagner's scope of vision is more ambitious but Brahms is more concise. Both are disciples of Beethoven but where Brahms follows a clear tradition, Wagner took onboard its essense to create something new, much like Beethoven himself.

Overall I'm more inclined to go with Wagner even though I generally connect better with symphonies than opera.

96
Metal / How do you compose?
« on: July 23, 2011, 08:47:20 AM »
This is probably one of my favourite questions asked in the DLA interviews as it offers an insight into art in its moment of conception i.e. the need to communicate an ideal and how the artists attempts to create a coherent language for it.

If I were a composer I would start with deep thought around various aspects of my worldview and develop melodies which correspond emotionally to that. Start with the basic melody, and build a framework that helps carry it to the fullest extent. Though I think a lot of this process would be subconscious, it is a different approach to finding something which 'sounds cool' while jamming.

97
Metal / Organ music
« on: April 17, 2011, 11:54:23 AM »
What do you think of organ music? initially I felt it evokes a more finite corridor of emotions than music composed for orchestra, but this can be advantageous as the composition then concentrates more on structure in an atonal space, and so instead of creating a bigger picture it reveals the inner detail. I also thought there is some parallel to the primordial drone sound of certain non-western traditional music/s.

98
Metal / Relating metal album stucture to symphonic 'movements'
« on: April 05, 2011, 12:31:17 PM »
One of the triumphs of the development of metal over time would be the expansion of structure from well developed songs to songs which support each other in the context of the album. By this I mean not merely selecting songs in an order that makes the album flow freely, but actually composing each segment with a deep knowledge of how it relates to what came before and what comes next. In this it resembles the movements of a classical symphony rather than a collection of tracks on a cd. Hvis lyset tar oss would epitomise this appraoch. Also of note is the use of recurring themes throughout the composition i.e. Filosofem and Kraftwerk's Computerwelt album.

99
Metal / Electric Doom Synthesis as a proto-genre
« on: March 16, 2011, 12:14:10 PM »
Holocausto mentions in the DLA interview that he thought there would be room for growth between black metal and industrial. So I'm interested in what this would sound like. An obvious example would be Electric Doom Synthesis which is essentially the darkly majestic spirit of occult black metal removed from its instrumentation and expanded by a new one. However it is a style that sounds unfinished and neither Beherit nor anyone else has even attempted to expand upon it. Personally I think there's a wealth of ideas here and I'm curious to see what would come if we consider it a stepping stone to something more complete.

100
Metal / Favourite metal poetry
« on: February 27, 2011, 09:36:06 AM »
Understanding metal vocals/lyrics is like discovering an encrypted impression of reality, some parts become immediately obvious while others help build both detail and structural complexity from a distance. I find certain lyrics drive deeper into the subconscious than others, and this is also true for one or two lines within a lyric depending on how it's phrased within the composition. Here are a few examples that always stood out to me as being the anchor of context within the song or even entire album.


"Kathaaria was built - world without end"


"...the mind was open like the sights in a dream, but the sword was like a stone around my neck"


"How feele thy man hast come forth unto us
 to thine blessed land, provoking his crucifixion"



"flesh crumbles in the real world"


"Humanity on the cross and nailed to the earth, humanity to be served as food for the master race"

101
Metal / Relation of doom and black metal
« on: January 12, 2011, 02:40:44 PM »
I was revisting the doom genre recently (stuff like Skepticism, Thergothen, Cathedral) and it occured to me that it works its magic by immersion in atmosphere, and in this way it's closer to black metal than death metal. Death metal is more twisted and abstract in design, kind of like decoding information of what happened rather than feeling it emotionally. Yet stylistically, doom borrows more from the subterranean, gutteral sound of death metal. So I was wondering why there hasn't been more groundwork done in making (true) black metal from a doom perspective, or maybe it's been done but I've missed it. I must say Darkthrone had some great ideas on panzerfaust and total death. Also Summoning vaguely springs to mind but more due to their use of slow tempos.

102
Metal / Classical is non-ambient in structure
« on: November 24, 2010, 03:16:08 PM »
Ambient structure is more about building energy out of a consistent/repetitious sequence of patterns, if done correctly I can feel the cycles of life, the seasons, the moon and a variable chaos oscillating throughout existence itself. It's has a meditative quality and it triggers an ancient part of the mind. for a clinical example: suuri shamaani

Classical is based in melody/harmony/rhythm and shapes emotion out of a mastery of these elements. Not to say it wouldn't have used ambience where necessary, but I tend to think pure ambient is a more modern invention which appeals to the mind more than the heart.

Interestingly metal has kind of gone in both directions. The recent article about composing metal without drumming is fascinating as it would eventually bring it closer to classical where melody rules over rhythm.

103
Metal / Metal in thirty years time
« on: November 17, 2010, 11:40:38 AM »
I'm not decided on whether metal is totally dead or just currently stagnating. Punk for example - I can say it's dead in that whilst there are still plenty of bands, the genre itself has no purpose in the current world. Where the best of metal differs fundamentally is that it aims to create art that is eternal. So I'm interested not only in will it pick up again but in what way, assuming metal has been around roughly thirty years now with one genre evolving into the next and black metal/death metal peaking in the early 90s, what will it look like in another thirty years?

104
Metal / Some thoughts on tempo
« on: November 14, 2010, 05:18:11 AM »
Slow tempo can be very poweful in terms of letting melody evolve and progress throughout the composition however it is an appoach which will fail if the musician cannot understand how to build/phrase melody.

Good examples of the effective use of slow tempo would be godflesh, summoning, klaus schulze, assorted doom metal.

A bad example is perfectly illustrated in brian eno's 'music for aiports'. Melody doesn't evolve and the composition goes nowhere for long periods of time. He designed it that way and it's best use was to help prove this point.

Consistant medium to high speed tempo helps build intensity while reducing rhythm to the purpose of ambience, melodies become more repetitive and need to be immaculate in design i.e. jesu död, trans europe express, most of 'under a funeral moon' and 'transylvanian hunger'.

Using variations in rhythm to support the composition's progression. 'A blaze in the northern sky' comes to mind, my guess is it inherited this from death metal, but it's well paced. Constant time changes found all too often in death metal also lead nowhere.

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