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Messages - aquarius

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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?

Metal / Re: War metal
« on: February 29, 2012, 10:42:15 PM »
I think all black metal has some element of war, but it is one of MANY elements of life and gets lame pretty quickly when that fact is not understood. Anyway my pick would be Blasphemy - Gods of War.

Metal / Re: Rob Darken: Hessian
« on: February 29, 2012, 10:33:13 PM »
Sounds like Darken and NHA would better have this out in a duel?

Metal / Re: Wishlist for new SUMMONING album
« on: February 26, 2012, 02:49:29 PM »
I don't recall much palm muting in Oath Bound. The guitar parts are mostly chords and tremolo picking.

Mortal Heroes and Stronghold were full of it, though. That is one of the reasons why those two albums are Summoning's weakest.

That's actually what I mean. There is a lot better blending of instruments on Oathbound, especially the open-strings in the guitarwork, complemented by the perfect use of soft distorion.

And regarding the two preceding albums, well they weren't complete failures. I tend to think of them as experiments in compositional expansion, without which Oathbound might not be as well thought out. I only wish they would consolidate all the ideas onto one great album rather than fill the gaps with patchy material.

Metal / Re: Rob Darken: Hessian
« on: February 26, 2012, 02:31:03 PM »
Darken will always be a true warbrother in my opinion. He's intelligent, and creates his art with real-life conviction. Not being able to sense the abstract or 'spiritual' aspect of the world is a symptom of the disease process of the modern age.

Metal / Re: Metal in 2012
« on: February 25, 2012, 01:31:26 PM »
That would be excellent. Beherit, Summoning, Demoncy and maybe one day KRAFTWERK and I will be happy.

Metal / Re: How to package LPs for mailing
« on: February 24, 2012, 03:49:08 PM »
I've never had this problem, usually the culture around collecting vinyl is one of extreme caution when handling - the oposite of receiving cds in jewel-case. But really I only buy the vinyl if it's an absolute favourite and if it's the original pressing.

Metal / Re: Wishlist for new SUMMONING album
« on: February 24, 2012, 03:42:33 PM »
I think the songwriting on Oathbound is superior to the two albums preceding it, really it's a fruition of the style they began with Stronghold. I think they are striving to make it more organic and spontaneous, much like the recent Lord Wind, or at least make the formula less obvious, like the song Might and glory which is more of a figure-eight than a cirle.

Maybe build on the pretty unique guitar-playing style they introduced on Oathbound, but if they go back to the roots and do something different entirely, that's cool too. Whatever they do, it'll probably be great.

Definitely true. I always thought the rock/metal technique of palm-muted guitar chords doesn't blend well with the orchestral sounds.

Metal / Re: Dimmu Borgir
« on: February 21, 2012, 03:49:12 AM »

Interzone / Re: ANUS criticism
« on: February 21, 2012, 03:39:40 AM »
Psychics are obviously rubbish, as with the whole new age movement being based in a non-physical reality. I wouldn't rule out Astrology (including hindu jyotisha) as some of it surely derives from reality embedded in the language of symbols, and commonly understood by pagan traditions who tried to interpret signs in nature or how environmental dynamics could unconsciously influence the individual/society i.e. the roman priests (augur) who observed the flight of birds.


Metal / Re: Romanticism naturally prevails
« on: February 13, 2012, 10:42:12 AM »
From contextual clues, I would guess this was written pre-WWII.

You're right, it was first published in 1934, I've got the 1940 edition. It's an interesting read given the pre-WWII British viewpoint alone.

I have not read the book, nor am I any sort of expert on romanticism and classical music, but I think it is fair to say that the author was incorrect in thinking (hoping?) that a new generation of masters would arise, in the romantic/classical tradition, in the late 1900s or beyond, who could compete with or even surpass their musical ancestors.

Since I'm not familiar with the author, I do not know whether he would have seen metal music in the way we do, as an instance of this 'eternal recurrence' we call Romanticism. Even though metal has it's downsides (there are plenty - it happens, when you allow hipsters to invade your cultural traditions), it still represents the greatest re-occurrence of this tradition in the artistic sphere, to date.

I don't think the writer could have anticipated just how insane the world was to become following that point in time. And if we are to apply the cyclical view of history, then it might be that there has not yet been a change to the decay phase of the cycle which the music world has had to endure from the time of Stravinsky onwards. I like the idea that romanticism (including classicism) is the end result of almost any pursuit at expanding artistic receptivity, asthough the very nature of the ideas being communicated requires this treatment.

It could also be argued that the highpoint of all underground metal is romanticist based, if not a balance of the physical reality and the mythic/metaphorical.

Interzone / Re: How to get brutally strong
« on: February 13, 2012, 10:33:16 AM »
It's good to keep fit, but I try to be more the athletic type than the nutcase aggro prison type with tattoos on the neck.

Interzone / Re: What is the meaning of life?
« on: February 13, 2012, 10:28:14 AM »
This year I want to learn more about gardening and identifying different bird species in my area. On the technology side of things it would be good to learn a program for editing video footage.

Metal / Re: Lord Wind - Ales Stenar
« on: February 13, 2012, 10:05:44 AM »
It sounds good, and is at least on par with Atlantean Monument. I would agree that the film sample is cheesy and irrelevant; as it's not Conan but the musical style of Basil Poledouris that matters. Next step will be to write music and get a small scale orchestra or ensemble to play it

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?
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.

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