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Topics - aquarius

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91
Metal / Source of inspiration
« on: February 29, 2012, 10:44:08 PM »
There's a popular myth that regards The Velvet Underground as being the band that never sold many records, but that everyone who bought one was inspired to write music of their own. I found this interesting, not that I personally find their music all that inspiring. But I can think of other music that fits the example either as compositionally dynamic or in having an abundance of simple creative energy, giving rise to many potential variations. In this way it's often the lesser material that inspires the truly great. Just think of what came out of the black/death/thrash prototype genre of the late 80s.

And the real question: Are there any recent metal or ambient records of note that might apply to this idea?

92
Metal / Romanticism naturally prevails
« on: February 11, 2012, 12:54:35 PM »
I came across an interesting couple of paragraphs in an old music history book I'm currently reading (link) which resonates with something I've felt for a while now, if not longer on a purely subconscious level. Any thoughts?
Quote
The wave of stark realism that swept over Europe's music in recent years was a natural phenomenon, with an undoubted origin in primitive sounds such as can be found in "The Ring of the Nibelungs"; and, to illustrate this statement, I would mention in particular the scene in "Gotterdammerung" where the Gibichung vassals assemble for the wedding of Siegfried with Gutrune. Here the din of the cowhorns, interspersed with the fierce shouts of the vassals, belongs to a type of music utterly inhuman and barbaric: savage, lustful, and repellent. From such music to Stravinsky's "Le Sacre du Printemps" is not a far cry. In this unique work the composer abandons himself to the most amazing concatenation of instrumental forces, all intended to convey the impression of a pagan festival in springtime. Nothing is left to the imagination, for the virtuosity of the orchestral technique is masterly in the extreme. We stand aghast at Stravinsky's expressed abhorrence of everything for which music had stood these many centuries. He makes us feel that the very essence of civilization, all beauty and romance, all human endeavour and progress are being ruthlessly swept aside to make room for hideous sounds primitive in origin and atavistic expression. At such a pass do we find the world of orchestral music som twenty tears ago.

But virtuosity of this kind must come to an end once it has been driven to such extremes. And so it speaks volumes for the common sense of the composer that few have attempted to follow permanently in the footsteps of Stravinsky, despite a certain craze when this composer's poularity was at its height. Had there been any such general desire, music by now might have been in bedlam. From this fate it was saved by the composer's interest in the living world around him and by that spirit of romance from which there is no escape once he is immersed in the creation of orchestral music. Other Stravinskys may come and go, but the results will always be the same. Stark realism must surrender in the end to rational romanticism. Future composers will, I fancy, emulate those of the present day who are content to write for the medium-sized modern orchestra. Atavism in music has had its fling and been found wanting. Cerebral music, too, is on the wane, for it can only succeed in pleasing its own generation and displeasing the next. But if anything can survive in an age of non-classical music it will be music of the romantic kind, for that comes nearest the hearts of men. It may have its weaknesses, and become in its worst moments, lush and unbearable. Still, in the hands of men like Strauss, Elgar, Bax, Delius and Debussy, it says something that holds the interest and stirs the emotions by its oft-expressed beauty. And the further the noise of the great war of 1914-18 recedes into the distance, the nearer will the composer approach music in that spirit of patience without which the great masterpieces of the past could never have been written. Will he, with all his accumulated knowledge of the beauty of instrumental tones evoke in time a new golden age of classical music, in which design and colour will no longer contend for mastery ? I wonder. Limitation of instruments may come before limitation of armaments.

93
Metal / Good heavy metal film clips
« on: February 05, 2012, 02:37:53 PM »
By good I mean something that tries to capture the essence of the music in visual form without being too random or cheesy or resorting to stupid storylines and the like. I included a few old favourites in the links which I hope aren't too sentimental. I think the Burzum video in particular shows promise but isn't well enough executed to be a thorough success.

http://www.youtube.com/watch?v=K9o33gocD50

http://www.youtube.com/watch?v=rTlBua7mfao

http://www.youtube.com/watch?v=GnVwohl9Rrg

http://www.youtube.com/watch?v=9Bm-kdLwBVc

94
Metal / Mozart
« on: January 27, 2012, 05:43:48 AM »
256 years today since the birth of this great musical genius. What are some of your favourite works by this composer?

95
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.

96
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.

97
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.

98
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.

99
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.

100
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.

101
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.

102
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.

103
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.

104
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"

105
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.

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