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Topics - wEEman33

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Interzone / Penetrating Wagner's Ring
« on: March 28, 2008, 07:18:45 AM »
Looks like someone went through the review section on Amazon and had a field day with the erotic wording of the title:

As implied by the title, this collection probes deeply into Wagner's vast Ring piece. Accusations of anti-semitism make Wagner's Ring a sensitive area today, but it continues to offer pleasure to many. This is a masterful work of musical scholarship that deserves a place on any sturdy shelf. No doubt it will influence appreciation of Wagner's Ring for many years to come. Among the highlights is the revealing chapter on the many characters than Wagner has managed to cram into his Ring. Also covered are the brass instruments that Wagner designed specifically for use within the Ring. There will always be those who are opposed to musical analysis (just the same as there will always be those who resort to juvenile humour, regarding the title). They will say that Wagner's Ring is 'violated' with excessive force of scholarship. For this reviewer, however, Wagner's Ring remains quite intact and is indeed tightened by the exploration. In short, this stimulating venture in and out of Wagner's Ring has resulted in a seminal, fluid output.


Metal / Crimson Massacre complete material for new album
« on: February 19, 2008, 08:06:30 AM »
From their Myspace:

Friday, December 31, 2010
a trip down to the NoiseFarm

Well Massacreteers, your wait is over.  Though a completion nor release can be determined at this time, we shall (hopefully) have a recording of the new material completed by the end of this March and all the final touches and whatever added before the end of the summer.  We will be recording with infamous knobtwister Tim at NoiseFarm Studios and hope to get his best recording yet!  Though the new album will greatly contrast the previous one (in my opinion), nonetheless it shall still appease to the diehards and hopefully appeal to many more new supporters/fans of CM.  More details to come.  If all goes well, there is a possibility of a teaser track to be posted as to keep your ravenous salivating at bay.

Not sure what to expect this time, but I still feel like their last album is the best thing to come from death metal since Gorguts' "Obscura" way back in 1998, so I'll keep hoping for the best.

Metal / Bach Festival 2008 -- Rome, Georgia
« on: January 15, 2008, 02:18:16 PM »
With the holiday break finally over, I got back to school today to a welcome surprise: this week, my school will be hosting their third annual Bach festival.


We hope you will join us for a weekend of beautiful and inspiring music enhanced by the historic beauty of the Berry College campus in Rome, Georgia; just an hour north of Atlanta.

This year we are pleased to present a wide variety of Baroque pieces performed by outstanding college faculty and chamber musicians from around the state. The Bach Festival Weekend is a jointly sponsored project of Berry College, Shorter College, and the Rome Symphony Orchestra.

       Audiences this year will enjoy the opportunity to hear oboe, Baroque flute, modern flute, and the recorder. We  are featuring original and modern woodwind instruments with performances of the Concerto for Oboe and Violin, the beautiful flute solos of the Orchestral Suite #2, a concerto by Telemann for recorder and Baroque flute, and also a trio sonata by Handel for recorder, gamba and harpsichord. Trumpets and French horns will join us for the celebratory sounds of Handel’s Water Music and Bach’s Orchestral Suite #3 as we conclude our presentation of the four Orchestral Suites by Bach.

        Our cantata this year will feature an ensemble of selected voices from the community and local college faculty members. Chorus master Matthew Hoch, of Shorter College, will prepare them for their performance of Cantata #157, “Ich Lasse dich nicht”.

This year we have added two special events to our series of concerts. Both of these are free and open to the public.  On Thursday, January 17, at 7:30 p.m., our esteemed conductor, Steven Byess, will present the Evans Lecture on the music of Bach. Don’t miss the exciting recital/lecture by Daniel Pyle on Friday afternoon. He will present and discuss selections from the Goldberg Variations and will also instruct demonstration students from Shorter and Berry College in harpsichord playing and technique.

Event Schedule
***All events take place on the Berry College Campus***

Thursday, January 17, 7:30 pm
Evans Lecture Hall- No Charge

Steven Byess: Evans Speaker Series Lecture
“Intellectual Depth and  Artistic Beauty:  The  Music of Johann Sebastian Bach.”
A presentation of the Evans Speaker Series

Friday, January 18, 3:30 pm
Ford Auditorium—No Charge

Daniel Pyle:  Recital/Lecture
The Goldberg Variations and the Art of the Harpsichord

Saturday, January 19, 7:30 pm
Ford Auditorium-Tickets Required

Bach: Orchestral Suite #2 in b minor BWV 1067
Amy Porter~flute

Bach: Suite #3 in C Major, BWV 1009
Annie Camp~cello

Handel: Sonata in d minor for recorder, HWV 367
Jonathan DeLoach~recorder

Bach: concerto for Oboe and Violin, BWV 1060
Lara Saville Dahl~oboe, Angele Sherwood-Lawless~violin

Handel: Water Music Favorites HWV 348-350

Sunday, January 20, 3:30 p.m.
College Chapel-Tickets Required

Bach: Selected Goldberg Variations, BWV 988
Daniel Pyle~Harpsichord

Telemann: concerto in e minor
Jonathan DeLoach~recorder, Catherine Bull~ Baroque flute

Bach: Cantata #157, “Ich lasse dich nicht”
Brian Nedvin~tenor, Matthew Hoch~baritone
Peter DeWitt~Organ

Bach: Orchestral Suite #3 in D Major, BWV 1068

Tickets and Packages
Tickets may be purchased at:

Rome Symphony Orchestra Office 706-291-7967 (and other outlets)
Rome Area council for the Arts (RACA) 706-295-2787
Berry College and Shorter College
And at the door

Tickets are $20 per concert ($10 for students with i.d.)
Set of tickets (one to each concert) $35
Set of tickets for students $20
These concerts are not appropriate for most children under age 8
No infants will be admitted
(Seating is general admission).

If there's anyone else in the Georgia/Tennessee/Alabama area, I'd highly recommend checking out the festival; it's been excellent the last two years.

If necessary, I might even be able to provide lodging for anyone who doesn't mind sleeping on the floor.

Metal / Negativa back in the studio
« on: November 15, 2007, 04:16:37 PM »
Old news (the original article dates from June 22), but still news to me:

NEGATIVA, the Quebec-based band featuring former GORGUTS members Steeve Hurdle (guitar, vocals) and Luc Lemay (guitar, vocals), along with Etienne Gallo (drums, AUGURY) and Miguel Valade (bass, ex-ION DISSONANCE), is back at Wild Studio with producers Pierre Remillard and Jean-Yves Theriault (a.k.a. Blacky, former bassist of VOIVOD).

Commented Hurdle: "There's a lot going on for NEGATIVA and we're very excited. We're back in studio to record three songs, the same fantastic studio, with the same team. We're once again honoured to work with these guys (Pierre Remillard and Jean-Yves Theriault). We have nearly 75 minutes of new music ready for the album and we're very anxious to share it with all of you. We'd like to warn you that our new songs are nothing like what you heard on the MCD; they're more ambient and emotional. We've also made some changes to our vocals. Finally, we will soon start doing shows. We're looking forward to playing live and meeting you guys. Intense moments guaranteed! Thanks for your support and see you soon."

Upcoming NEGATIVA shows:

Aug. 01 - The Metal Bar, Toronto (Ontario)
Aug. 02 - The Underground, Hamilton (Ontario)
Aug. 03 - The Embassy Hotel, London (Ontario)
Sep. 02 - Club Soda, Montreal (Quebec) - 25 Years of Quebec Metal Festival

The MCD was a horrible disappointment, but I'm still holding out hope for the full-length given the band's recent confession that the MCD was basically just a bunch of old material from the mind of Steeve Hurdle, which they used to get accustomed to playing with each other and ease back into the music-writing mood.

Metal / Ripping Corpse's "Dreaming With the Dead" reissued
« on: October 17, 2007, 03:19:50 PM »
The long out-of-print classic was apparently reissued last month with very little fanfare, courtesy of Kraze records.

Amazon has it for $11

Metal / Portal - Outre
« on: September 27, 2007, 06:07:01 AM »
I received this in the mail today after being impressed by the sample track available on their website.

Musically, it seems to meld the off-kilter riffing styles found in works like "Blessed Are the Sick," "Dimension Hatross," and "Obscura" with the infernal atmosphere presented on albums like "Onward to Golgotha" and "Failure For Gods."

As the compositions are rather dense, I think I will need further deliberation to decide whether or not this has the lasting impact of the abovementioned albums, but nonetheless, my initial reaction is positive, and at the least, I would go so far to say that this is the best-executed attempt to break out of the death metal mold that I have heard since "The Luster of Pandemonium" by Crimson Massacre.

Metal / First two Sadus albums finally reissued properly
« on: September 14, 2007, 06:35:08 PM »
On the heels of the spineless, cash-grab reissues earlier this year from the infamous parasites at Metal Mind records, Displeased records has finally put out proper re-releases of Sadus' "Illusions" and "Swallowed in Black."

These releases come with liner notes from Steve DiGiorgio, complete, remastered version of the band's first three demos, and video clips of the tracks "Certain Death" and "Good Rid'nz."

Both albums can be purchased at The End Records (http://www.theomegaorder.com/s.nl?sc=10&category=&search=sadus%20illusions) for $11.99 with free shipping for US customers, and until 9/26, you can receive an 11% discount by entering the "UPTOELEVEN" coupon at checkout.

Some other recommended rarities from TER's catalogue:

Master's "Unreleased 1985 Album" ($11.49) http://www.theomegaorder.com/s.nl?it=A&id=5384&category=&whence=

"Back in 1985 Paul Speckmann and Master signed to US label Combat and recorded a thunderous debut album that same year. Due to irreconcilable differences the contract got torn up, the album was never released and Paul went on with his new band Deathstrike. A few years later, after reuniting Master, the band signed to Nuclear Blast and recorded several albums in the 1990s. Now, almost 20 years later, the original 1985 album recordings are dug up from the vaults to be immortalized! This cult release comes with early '90s demo tracks as a bonus."

SORCIER DES GLACES - Moonrise In Total Darkness ($11.49)

From the small sampling that I've heard, this is one of two black metal albums—the other being Summoning’s Oath Bound—from the past year that has managed to match the efforts of the movement’s establishing acts; perhaps unsurprisingly, the music was composed only three years removed from the de facto death of black metal (circa 1996) but was released a few months ago because the man responsible for all of the music just recently found the long-lost master recordings and was finally able to get it out into the public.

Metal / Robert Schumann - aphorisms
« on: September 14, 2007, 01:45:26 PM »
One of the great perks of my new job (in the library) is that I have access to tons of great reading material, and also, lots of down-time to engage myself in them.

Today I checked out Schumann's On Music and Musicians, of which the aphorisms section seems to be a perfect fit for an internet forum such as this.

Here are a few favorites, chosen mostly for their profundity and retained relevancy:

“Workmanship, though of value, is subordinated to imagination, sincerity, and form.”

“Virtuoso tricks change with the times; only where proficiency serves higher purposes has it value.”

“Play in time! The playing of some virtuosos resembles the walk of a drunken man. Do not make these your models.”

“Try to play easy pieces well; it is better than to play difficult pieces poorly.”

“You ought not help to spread bad compositions, but, on the contrary, help to suppress them with all your force.”

“Never play bad compositions and never listen to them when not absolutely obliged to do so.”

“Do not judge a composition on a first hearing; that which please most at first is not always the best. Masters call for study. Many things will only become clear to you when you are old.”

“In judging compositions decide as to whether they belong in the realm of art, or merely in the domain of superficial entertainment. Stand for the first and not let the other irritate you.”

“ ‘Melody’ is the amateur’s war cry, and certainly music without melody is not music. Therefore you must understand what amateurs mean by this word: anything easily, rhythmically pleasing. But there are melodies of a very different type; at whatever page you open Bach, Mozart, Beethoven, etc. they will appear to you in a thousand different guises. If you study these, you will soon tire of the monotony of modern Italian opera melodies.”

“People say, ‘It pleased’; or ‘It failed to please.’ As though there were nothing more important than the art of pleasing the public!”

“There are untalented people who, driven to music by external circumstances, have learned a good deal. They are the artisans.”

“It is a characteristic of the extraordinary that it cannot be easily understood; the majority is always attuned to the superficial, i.e., to the enjoyment of virtuoso display.”

“We forgive the diamond its sharp edges; it is most costly to round them.”

“Comparisons lead to results by detours; rather judge everything on its own merits and demerits.”

“A time may come when that saying, already denounced by you as the saying of demagogues, “That which sounds well is not wrong,” may be altered to “All that does not sound well is wrong.” And then woe to your canons—and particularly to the cancrizans.

“The emptiest head thinks it can hide behind a fugue; fugues are only for great masters.”

“Consider how many circumstances must favorably unite before the beautiful can emerge in all its dignity and splendor. We need lofty, serious intention and great ideality; enthusiasm in presentation; virtuosity of workmanship and harmonic cooperation; inner desire and need of the giver and the receiver; momentarily favorable mood in audience and artist alike; a fortunate combination of time, place and general conditions, as well as of the auspicious moment; direction and communication of impressions, feelings, views; a reflection of the joy of art in the eyes of others. Is not such a combination a happy throw with six dice of sixes?”

“Among the causes of the decline of music are bad opera houses and bad teachers. It is almost incredible how the latter affect whole generations either beneficially or destructively through primary and secondary education.”

“While playing Kalkbrenner’s four-part one-handed fugue, I thought of the excellent Thibaut, author of the book, On the Purity of Music, who told me that once, at a concert given by Cramer in London, a polite Lady Somebody, and art amateur, actually rose, against all English convention, and stood on tip-toe to stare at the artist’s hands. The ladies near her imitated her example, until finally the whole audience was standing; and the lady whispered ecstatically into Thibaut’s ear: ‘Heavens, what trills!—what trills! and with the fourth and fifth fingers!—and with both hands at once!’ The whole audience murmured in accompaniment: ‘Heavens! what a trill! what trills!—and with both,’ etc.
      This seems to me a very common characteristic of the public at concerts where the listeners like to see the virtuoso in person.
      Would to heaven that a race of freaks could arise in the world of artists, with one finger too many on each hand, then the dance of virtuosity would be at an end!”

Metal / Historical/cultural origins of "corpsepaint"?
« on: April 05, 2007, 05:42:32 AM »
I am interested in learning more about the subject but am having a hard time finding a credible and in-depth source to research.

Are there any suggestions from those that are familiar with the cultural significance of the art?

Metal / Mithras - Behind the Shadows Lie Madness
« on: February 06, 2007, 08:33:33 AM »
Mithras just recently posted (non-finalized) album art and a (finalized) sample song from their new album, which is due out April 16 in the USA:


My only complaint from the last album was the sometimes muddy mix, and this production seems to be an excellent clean-up job that maintains the astral atmosphere of "Worlds..." while adding a bit more clarity to the mix.

Metal / Why hardcore vocals fail:
« on: December 31, 2006, 12:39:00 PM »
What makes the black and death metal harsh vocal styles so effective is the fact that the techniques themselves are merely a mask, or more specifically, a verbal coating that imbues in its host specific tonal attributes which are designed to match the emotional and artistic aims of the surrounding music. Importantly, these two types of vocal distortion do not limit the (skilled) vocalist’s range of expression to the degree that the hardcore style does; instead, the black/death metal vocalist—much like the traditional opera vocalist—injects an extra degree of emotion and immediacy into his/her tone by pushing his/her voice to a physiological extreme while still maintaining a level of tonal control that allows the singer to match the dynamics of the music. This is especially important in most metal music, which is wild, stormy, and Byronic by nature, and it is precisely why the hardcore vocal style is inherently incompatible with the major forms of metal.

To explain further: aside from its typically questionable tonal (dis)agreement to the rest of the music, the physiological process of producing hardcore vocals simply limits the singer’s ability to match the dynamics of the music, as the process itself is not a type of coating, but rather, an almost singular distortion effect whose only true sense of variation comes as a result of specific individuals’ physical characteristics. In practice, this vocal style gradually grates and dulls the listener’s senses with its repetitive one-dimensional attack instead of exciting and inspiring emotions alongside the ebb and flow of the surrounding music.

Though the hardcore vocal approach is admittedly acceptable in the less-dynamic types of music from which is spawned (originally, hardcore punk, and later, grindcore alongside industrial), it is completely out of place in the more dynamic methods of metal (read: the majority of the genre’s respectable forms). Unfortunately, frivolous genre-mixing is one of the outstanding crimes in modern metal, and the maddening results are vocalists that have a tendency to mar what might potentially become outstanding art (see: Neurosis and their many clones, Ephel Duath, Gnostic, etc.) with their tiny vocal range (often bordering on a dull, mind-numbing monotone) and simplistic, ridiculously rigid phrasing.

What can we do? For one, we can help stop the madness: do not support that which does not support the values of metal (i.e., the wild, spontaneous spirit that flows through nature and is channeled into many of metal's greatest works), for the moment that music becomes monotonous and predictable--as it tends to when prominently mixed hardcore vocals smother mismatched music with their lifeless, stony weight--it has abandoned the realm of true metal.

Metal / Gorguts re-issues due out 11/27/06
« on: November 28, 2006, 07:34:04 AM »
GORGUTS: Album reissues

Metal Mind Productions has set a November 27 release date for reissues of the classic GORGUTS albums "Considered Dead" and "Erosion of Sanity". Both CDs will come in a new digipack edition on golden discs, digitally remastered using 24-bit technology, and will be limited to a hand-numbered 2,000 copies. Each title includes two demo tracks as a bonus. The details are as follows:

"Considered Dead" track listing:

01. ...And Then Comes Lividity
02. Stiff and Cold
03. Disincarnated
04. Considered Dead
05. Rottenatomy
06. Bodily Corrupted
07. Waste of Mortality
08. Drifting Remains
09. Hematological Allergy
10. Innoculated Life
Bonus tracks:
11. Considered Dead (demo)
12. Rottenatomy (demo)

"Erosion of Sanity" track listing:

01. With Their Flesh, He'll Create
02. Condemned To Obscurity
03. The Erosion Of Sanity
04. Orphans Of Sickness
05. Hideous Infirmity
06. A Path Beyond Premonition
07. Odors Of Existence
08. Dormant Misery
Bonus tracks:
09. A Path Beyond Premonition (demo)
10. Disecting the Adopted (demo)

It's pleasing to see that someone's willing to atone for Roadrunner's laziness by finally giving these two albums a proper re-release.

Metal / Metal By Numbers
« on: July 30, 2006, 03:05:51 PM »
A parody of today's popular metal, which is surprisingly spot-on, especially considering the source:


Metal / Suffocation's "Suffocation"
« on: July 24, 2006, 10:56:33 AM »
Suffocation has posted the first sample track from their forthcoming self-titled album:


Aside from a totally cliché breakdown bit, the song sounds alright, but as a band that has not released a worthwhile album since 1995, it's hard to tell if Suffocation still have something fresh and meaningful to say with their music or if they are just content to regurgitate and repackage their old material like all the other Suffocation-clones currently on the market.

Still, since the quality of their last album (supposedly) suffered severely from being rushed out the door by Relapse records, I suppose I’ll remain somewhat optimistic because the band claims to have had the necessary amount of time to tweak the songs to a superior level of quality.

Regardless of how the new album turns out, I’ll be seeing these guys live with Sleep Terror in Nashville, TN on the 31st of July, so hopefully their live show remains as tight and powerful as it has historically been.

Metal / Mekong Delta
« on: April 08, 2006, 04:05:11 PM »
I have the opportunity to pick up Mekong Delta's entire discography for fairly cheap, and since I'm only familiar--and madly in love with--their first two records, I was just wondering if the rest of the Mekong Delta records are equally essential. Any opinions?

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