Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Friday, December 04, 2009

Paradigm Shifts

Dance is the new Pop

'Shawty' is the new 'Baby'

Auto-tune is the new sampling

Sampling is the new falsetto

Electronica is the new Jazz

Jesuscore is the new Alternative

Alternative is the new Classic Rock

Country is still country, but it's much more profitable now and they'll let just about anyone in.

Rock is dead.

Friday, May 26, 2006

Notes: Nightwish

In honor of Lordi's triumphant victory at Eurovision, let us delve for a moment into the world of Scandinavian Metal.

Hells yeah.

Now, I know some of you are familiar with the entertaining stylings of Therion. With their symphonic thunder, they had such promise, yet left so much unrocked. Don't get me wrong, I love Vovin, Secret of the Runes and that one song, Thor the Powerhead. But Therion is usually a mixed bag. You have to choose carefully.

Enter Nightwish. If you're looking to get your Epic Raging Gothic Metal Fix, look no further. Find me another band that has Val Hallen, Viking God of Rock on bass.

I just picked up their 2004 album, Once, along with a few singles from iTunes. Fronted by opera singer Tarja Turunen (who has sadly since left the band), Nightwish presents a gigantic soul-shattering sound. Imagine a full symphony orchestra dominated by a brushed chrome bass and an unholy elven chorus with assists from a burning harpsichord. It is a sound to get lost in. I've read some reviews that compare the band favorably to Evanesence. I can understand that - the female leads are similar, Nightwish also has some distinct Christian overtones, and the styles occassionally brush lightly against each other.

Dark Chest Of Wonders and Planet Hell are good hard rock monsters to get you started, with rampaging bass work backed up by flowing orchestral themes trying desperately to keep up. Relax for a while with the sweet and ghostly Kuolema Tekee Taiteilijan, an easy competitor for inclusion on any Lord of the Rings soundtrack. The Siren, Dead Gardens, and Nemo are all good secondary tracks, although somewhere in there is the single longest headbanging bass solo with hellscream in the history of music. I'm not saying it's good, I'm just pointing out that it's there.

The gem of the album is of course the ten minute Ghost Love Score, which in my opinion is worth the price of the album (apparently iTunes agrees). As if someone had soulforged Danny Elfman, James Newton Howard and Jim Morrison into a living wall of theatric sound, the piece is an epic cascade of strings, guitar rifs, chorals, and saintly vocals. Listen to it. It is nothing short of legendary.

Highly recommended.

Saturday, July 09, 2005

Notes: In Your Honor

Foo Fighters


Normally I don't give in to impulse buying, but I spotted this dual-disc album at the Border's checkout while I was getting my Lewis Black fix last week. Whenever a band releases a two-disc album for the price of a regular it signals one of two things: 1) We're so big now we can do these huge experimental projects and be kind to our fans, or 2) We're on the long slow spiral to obscurity and need a hit something bad. In Your Honor splits the difference between these two options.

First off, the title track sucks. I mean seriously, it's dreary, pointless, and thankfully short. There's lots of droning and whining and feedback, which I guess fits in with Dave Grohl's new "I need a shave and a lozenge" neo grunge look. They may be shooting for some sort of Dark Side of the Moon or Quadrophenia style storytelling setup with the first track, but I'm just not hearing it materialize.

Fortunately, whatever they were going for in terms of continuity evaporates and they drop into some good old Foo Fighters high speed rock and roll, starting with No Way Back and their current hit single Best of You, both of which sound great while hitting the accelerator on I-95. The rest of the first disc is nothing but hard core driving rock reminiscent of the best elements of There is Nothing Left to Lose and The Colour and Shape. DOA and The Deepest Blues are Black are particularly good if you enjoy high-energy sound juxtaposed against dark, bitter, mournful lyrics (which I do).

They do something a little strange with the arrangement of the two discs; the first is, as I said, all hard rock. The second is all ballads, epics, and torch songs. The shift in Grohl's voice from grunge pop scream to resonant crooner is absolute. The guitar work on Over and Out and On the Mend are particularly good. However, I'll pass on Virginia Moon's bossanova lounge duet.

The hard/soft split of the album makes the second disc a bit of a sleeper and breaks up what could have been an excellent narrative flow for the album. It's as if you arranged the books of Lord of the Rings alphabetically. You can hear some tracks on the second disc that would resonate beautifully with some of the hard rock tracks if they were mixed together in sequence. In Your Honor as a whole could definitely benefit from the guiding hand of a fan's personal playlist, mixing the two discs into a seamless, well-paced storyline.

Which brings us to the chief complaint, the grand offense: the album has an aggressive copy protection scheme (the Suncomm stuff, I think). There are ways to bypass this, of course, but not being able to PLAY the thing on a computer unless you install their piece of crap media manager software is insulting. This is the first CD I've ever bought that I would rather rip whole cloth onto a drive and never play the disc itself again, purely because of the bullshit copy protect. What's so frustrating is that anyone serious about ripping and burning copies illegally will have absolutely no problem with the disc's defenses, but average users will be frustrated that they can't play music that they paid for in the method of their choice. Why the hell wouldn't you download tracks if this is the crap they put you through for doing the right thing?

Anyway, music industry rant aside, this is a pretty good album with twenty full tracks and a lot of variety.