Other than Death Metal, what are you listening to?

[Thorngrub]

^ ^ That song is one of the sickest, darkest, most disturbed songs I've ever heard from Korn. The Path Of Totality [shortened to POT by fans] is about to drop - - and believe me, the force of it's future impact is already spreading shockwaves throughout the electronic underground. This album is going to be HUGE.

Just listen to J Devil here explain:




I'm gettin' that Old Feeling again. . . . KORN's about to Shake things up !

[JACkory]

I feel like a traitor but these days I couldn't give a shit about Maynard Keenan. I haven't listened to a Tool album since I tried, for the 10th time unsuccessfully, to get into the wretched "100,000 Days". And that was at least 5 years ago. I never was much of a fan of A Perfect Circle and had no idea he was involved with Pusifer (sp?). I have got an installment of David Letterman's show where they are the featured musical guest, so I guess I need to check that out.

[maarts]

The Korn is different...must admit I'm still not committed even after the fantastic run of posts Thorn has made supporting the band...but the dubstep is something I can get into...been listening to the debut album if this fella this week and it's been a corker!

[maarts]

Man, I'm really hooked on that new M83-album! Bombastic as fuck and it's as overwhelming as a really sweet gateau at times but boy, am I diggin' it!

[JACkory]

Sigur Ros “Inni” announces itself in jarring fashion. Sustained guitar noise, processed, strummed not with hands but a violin bow. Overtones hover in the air and explode into shards of distortion that doesn’t so much break the silence as crash into it. The untrained ear can only process it as “noise”. And I suppose it is, in its way. It’s chaotic, without a direction. A numbing monotone were it not for harmonics which rise and fall, ebb and flow, morph into others like colors on an artist’s palette left out in the rain. Those colors bleed, each retaining its singular tone even as they drip into others to breed a new one.

Yet the image on the screen is in blunt black and white. As if the filmmaker expects his audience to provide the hues based on their individual responses to the music.

Wait, did I say “music”? Ah, so I did. And so it is, in a sense, depending upon how traditional your definition of music is. If your rules are strict, limited to Bach, the Beatles and practically everyone else working within the Western tradition, then no. It’s not even close to being “music”. You might as well go to a construction site and listen to a jack hammer for 10 minutes. On the other hand if you appreciate the works of Stockhausen, John Cage and Einsterzende Neubauten you probably understand exactly what I’m talking about in describing the intensely LOUD sound that assaults you when the curtains are drawn on “Inni”.

The white shapes that coalesce on the black screen turn out to be vocalist/guitarist Jonsi, sawing his way through the introduction of “Ny Batteri”. Bent and bowed (no pun intended) he seems a man possessed. encased within a whirlwind of sound. A sonic tornado blowing over him with such force that he would be knocked over if he weren’t hunkered down. He hears every overtone, every harmonic…or does he? No, he’s as lost in it as everyone in the theater. It’s practically out of his control. All he’s doing is opening a door. The only power he has is the ability to close it by twirling the volume knob on his guitar down to “0″. Something which he does not appear to be willing to do.

When he does, when he puts the bow down and turns it over to nature, there is a sense of relief. Hard work, to be sure, but fulfilling. We’ve made it through the blast, through the fire to the other side. Georgi smoothly eases into the mix with a bass line that is, for lack of a more proper term, “serious”. Haunting, maybe. Grave. Something to bring us back and ground us in tonal music. Joined momentarily by Kjartan, playing an organ that’s straight out of an old horror movie. Eerie. Ghostly, even. Together he and Georgi lay down the chordal template of the song.

At this point Jonsi sings the first vocal note of the film. Which only means that now the show has progressed from intense to incredible. Would I be a Sigur Ros fan if Jonsi weren’t in the band? No. Not ashamed to say it, absolutely not. Then again, the band would not be Sigur Ros without him. And I don’t mean that as disparaging to the other members. More than many other bands currently recording and touring, Sigur Ros is reliant not upon individual talent but on the rapport, interaction…yes, the chemistry between Jonsi, Kjartan, Georgi & Orri.


This is the theme of “Inni”. It’s the guiding force that helps raise it above the typical “concert film”. The concentration evident in facial expressions seeming to provide some kind of ethereal understanding of, and a window into, how they translate these songs. Songs which seem so bound to the studio, re-animated into living documents.You can see the strain on Jonsi’s face as he shoots for one of the impossibly high notes, then holds it. Georgi stands stock still, almost a mannequin, intensely concentrating on keeping the whole thing anchored. Kjartan looks like the consummate musician, fine with the idea of remaining in the background, fully aware that his contributions are essential. Orri pummels his drum set with wild abandon, looking almost visibly shaken after the songs final down beat.

Together they create a sound that seems untethered to time or space.

What they’re doing has evolved past the point of mere music making into the realms of art. Into the crown chakra space of high art. They wouldn’t admit it. No false modesty within the ranks of Sigur Ros. Who is to say that they even realize it? That they even comprehend how good they are? As obvious as it is to their devoted fans, one gets the sense that all four of these musicians are a humble lot, appreciating their success, unconcerned with validation. Pretentious? Ah, the “P” word. Some people would likely think so, after all it does seem kind of gimmicky for a band to have a guitarist who wields a violin bow and sing many of their songs in a language that does not exist. Still, the true believer understands. He realizes that the bow draws out a sound that swells in a manner that fingers or picks could never produce. That the “language” is nothing more than Jonsi sculpting the sonics of a completely unique tool of expression. Turning his voice into nothing less than an ambient musical instrument. Every song that is sung in “Hopelandic” is an instrumental song. When you can grasp that you will find that there is no novelty to it. Yes, its been used as a selling point for the band and that obviously makes it seem hoaky. But you need look no further than an interview they gave on NPR, easily found on YouTube, to realize just how apathetic they are to the hype. Not only apathetic, but actually annoyed.

That particular video clip is shown in “Inni”, along with several others shot at different stages of the band’s existence. They provide a dash of color and lightness to the foreboding darkness of the film itself. One clip is especially interesting: a camcorder trained on the small stage of what must be a very small, cramped club. Four young men shuffle into their respective positions …teenagers, from the looks of ‘em, who vaguely resemble the four men in Sigur Ros.


Of course, its the hypothetical mustard seed of Sigur Ros. They take their places and for what seems like hours we’re treated to the sight of Jonsi bent down twiddling the knobs of the guitar effects pedal at his feet. On and on and on, it must be an especially difficult setting he’s meticulously shooting for. But eventually he does find it and the group begins the set. Kjartan playing guitar in this particular song, he softly picks a melody…

At which point, depending upon the level of devotion you feel for the band, you will be amazed that the song he’s playing, ringing out in this claustrophobic Icelandic pub who knows how many years before their breakthrough record was released, is “Popplagið”. Also known as “The Pop Song”, this 13 minute catharsis was the endpiece of their third album, “()”, an album that helped weed out the people who just wanted to hear “that song from ‘Vanilla Sky” and threw out the bait for the ones who would eventually really “get it”. Sigur Ros has always been a “you’ll either love ‘em or you’ll hate ‘em” kind of band, and “()” went a long way towards sorting those two extremes. “Popplagið” is the thundering orgasm of “()”. It’s sense of sturm un drang is rivalled only by the jaw dropping power of its build-up. The band’s critically acclaimed film “Heima” is capped by this rocket blast of a song. And rightly so. It’s not my favorite Sigur Ros song (that would be “Glossoli”) but I would have to concede that most people would find it to be their most intense. So it’s a revelation to learn that this kind of musical alchemy has been practiced by the band from the very start.

Perhaps obviously then, “Popplagið” sends off “Inni” in grand cacaphonous style. Truncated a slight bit it nevertheless retains it’s power. It’s one of the absolute best versions of the song I have ever heard. Jonsi’s vocal prowess here, and throughout the film, is so well-developed it is a force of nature. He does little things, small tonal variations, an extra consonant here or one less there to make it fresh. I really don’t know how else to describe it. It’s a thing of pure innocence and beauty. The juxtaposition of those qualities with the rumble of the music is quite something to behold.
What, did I say “rumble of the music”? Yes, and quite literally at these “Inni” screenings. They’ve bussed in a huge sound system to compliment the film. Loud. Loud. Loud. Personally I can do without all the decimals, but that’s just me. My hearing ain’t what it once was, you know. Maybe sheer volume helps drive home the intensity of the music for some people…as for me, it’s not necessary, especially with Sigur Ros.

The experiences tucked between “Ny Batteri” and “Popplagið” are every bit as worthy. Musically and visually. Perhaps the highlight of the set is a version of “Festival” that should be impressive to even those who don’t care for the band’s music. It’s a mood piece in two parts, the first being almost a solemn prayer and the second all out jubilation. The recorded version has a few really nice vocal sketches weaving through the break, playing off of one another, complimenting counterpoint. It add’s quite a lot to the song, but in every live performance I’ve heard they have not used it…most likely it’s not something they can replicate in a live setting, what with all the overdubs. No matter, this “Inni” version almost makes up for its absence. Jonsi one again genuinely wows, sustaining one note for at LEAST a full minute, if not longer. He sings, 15 seconds pass, the audience applauds, the sound subsides, the 45 second point arrives and he’s still holding that note, the audience really goes wild, the whoops, hollers & applause hold steady for another 5-10 seconds until they realize he’s not stopping any sooner than anyone would dare think was possible and when he finally DOES let the note die, well sir, you’d be a fool not to join in with the crowd. It’s so mind-blowing that the audience in the theater where I saw the screening actually began to applaud.

Conspicuously absent from “Heima”, Sigur Ros’ first really big “hit” is a centerpiece of the film. “Sven-G-Englar” was the introduction most people had to the band. It’s a good representation of their overall style, though I personally have grown weary of it. Overkill, yes it’s possible even with Sigur Ros. Nevertheless the rendition of the song in “Inni” is so impassioned and inspired that it’s hard for me to dismiss it as “just another song I’m burned out on”.

“Vid Spilum Endalaust”, along with the YouTube bits, cuts the edge and inserts a joyous feel into what is otherwise a serious affair. Ethereal and angelic, yes. But undeniably serious. “Vid Spilum Endalaust” tosses the gravitas out the window with a rousing sing along and the uplifting strains of a brass horn section. This particular sequence shows not only the rapport of the musicians but the camaraderie as well. So many bands are cursed with bad feelings between members. Some actually come to hate each other over the course of years. One gets the feeling, watching the way Jonsi, Georgi, Kjartin & Orri interact, that they have been best friends since day one and, even better, will remain so until the sad and terrible day they call it quits.

“Inni” in the theater is an awesome experience. To share it with a room full of total strangers is a unique exercise. The “bigger than life” quality is always good. But I have a feeling that it will hit it’s target in the home theater as well. I won’t say “better” but I’m confident it will be every bit as good to see and hear on your own system. It was recently released in DVD format as part of a package that also contains 2 CDs of the material along with other tracks. Maybe it’s a good introduction to the band. I wouldn’t want to go out on a limb and say yea or nay on that one. Personally I think “Heima” is probably better for that purpose, or even just a good hearing of “Takk”. Right or wrong on that front I nevertheless CAN pronounce “Inni” as worthy of being in the Sigur Ros catalog. More than “Sigur Ros finally got around to putting out a live album”.

James Casey
November 10, 2011

[RocDoc]

will the next one be 'outtee", fnarr-fnarr-fnarr....
whoa, an exhaustive treatise there!
i'm glad you're into it.

~

NP:
<sub>FAIRPORT CONVENTION -

From Past Archives(SBD A)

Liberated Italian bootleg

Track List:
1. Nottamun Town
2. Meet On The Ledge
3. You're Gonna Need My Help
4. Sir Patrick Spens
5. Tam Lin
6. Reynardine
7. Open The Door Homer
8. Sloth
9. Sickness And Disease
10. She Moves Through The Fair
11. Like An Old Fashioned Waltz
12. Rising For The Moon
13. Down In The Flood
14. No More Sad Refrains
15. John The Gun
16. Doctor Of Physick

Track 1: BBC, Top Gear, May 28, 1968
Track 2: BBC, Stuart Henry Show, December 2, 1968
Track 3: BBc, Top Gear, January 6, 1969
Tracks 4-6: BBC, Top Gear, September 23, 1969
Track 7: BBC, Sound Of The Seventies, April 21, 1970
Track 8: Fillmore West, San Francisco, August 31, 1970
Track 9: BBC, Sound Of The Seventies, November 12, 1970
Tracks 10-11: The Troubador, Los Angeles, February 1974
Tracks 12-13: BBC, Top Gear, July 16, 1974
Track 14: Royal ALbert Hall, June 10, 1973
Track 15-16: Cropredy Festival, August 11, 1984</sub>


windows media player just skipped randomly to the #6 cut, reynardine - blew me aWAY sandy denny's voice did.
then of course i needed to look up which track tam-lin was, since the titles don't show up for this bootleg comp....wow, what a song with it's weird time signature stutter that come mid chorus.

1969 was a VERY good year for fairport.

[maarts]

That is a fantastic read JAC! I have watched the blu-ray of this concert and was a bit underwhelmed, probably because I hate it when I'm in the rightful mood for such a concert and it gets interrupted for interviews after a track....but Festival was indeed the highlight for me, a beautiful track and the segment that led up to the final climax gave me absolutely the chills when I heard it.

[upinkzeppelin2]

The new Wilco reminds me of their last album and Yankee Hotel Foxtrot in that it bores me to tears and I refuse any longer to try to get into it.

[RocDoc]

i've always read huge critical praise for nels cline's guitarwork, but i've picked up some of his "Jazz" efforts and came away very 'huh?!' because the bits i'd heard sure seemed to me like a conscious attempt to be 'out there' without some rooting in the conventions of guitar that i most enjoy - and for me, that IS a pretty fucking broad spectrum.
i still haven't heard the new wilco but tried a couple of times to DL what i think was an XM concert they did for the premiere of the album - live music (best in person of course) is the way i like to hear a band, from pretty much day one for me. and if nels doesn't present, then i'm feeling no qualms about writing him (and wilco) off. kind of like i feel i STILL have a chance for sigur ros to finally give me the 'chills' and orgasms' that their fans seem to often say about those guys - and i DO experience chills with music that reaches me. just now, focus' 'hamburger concerto' is the first thing that comes to my mind, one that ALWAYS does that - also some kate bush, some floyd definitely.
re wilco, i DID read someone giving it comparison to summerteeth which i did adore when it came out - then they went 'meh' to me again.
listening to a bunch of uncle tupelo recently as well so i think i'm primed for some relatively primal wilco right now...

~

NP:
<sub>Anders Osborne & Friends:
2011/02/26
Tipitina's Uptown,
New Orleans LA

A fiery Friday evening that somehow careens itself from "American Patchwork" sonic rock & roll to a full-on Carnival celebration. The baddest Swede in Orleans Parish and his signature Fender were rock solid all night, and with the talent he had backing him on stage it would have been a damn tragedy had they not nailed it.
"Burnin' On The Inside" is why we have been clamoring about this guy for a while now.


Anders Osborne
2011/02/26
Tipitina's Uptown, New Orleans LA


Lineup:
Anders Osborne - Guitar/Vocals
Carl Dufrene - Bass
John Gros - Piano/Keys
George Porter Jr - Bass
Billy Iuso - Guitar/Vocals


I: Love Is Taking It's Toll,
Echoes Of My Sins,
Burning On The Inside,
I Got Your Heart,
Boxes Bills and Pain,
New Suit,
Not Fade Away,
Stoned Drunk and Naked,
Sugaree,
Cabbage Alley > Iko Iko > Mardi Gras In New Orleans,
Big Chief</sub>


oh my god this is great!
just drrrrrrippppping new orleans steamy funk (even if it was february - but it was mardi gras) from the get-go. this has gotta be a soundboard recording of like the perfect house mix with geo porter's bass just rumbling away under all the proceedings, lazy slow one moment, poppin' off some stacatto riffing the next, just far back enough too, that he doesn't seem like a hog - very sly stone/larry graham here, but the whole BAND is playin'. wonderful!
and osborne's playing is sort of a warren haynes tone with the feel of sonny landreth (not JUST slide neither) with the occasional absolutely inspired psychedelic freakout.
definitely a fucking great set.








_{FYI - to find it, use filetram to search 'phantasy tour' (a site for jamband-y phish fans) and this show shows up on the first page......get it. be blowed away.
ya welcome}

[Ayinger]

Doc -- John Gros on keyboards there is the head of the band PAPA GROWS FUNK that I saw in New Orleans backing up Walter "Wolfman" Washington one night and Ivan Neville the next....believe I've sent you some of their stuff. HOT players!

[upinkzeppelin2]

A friend of mine from near Columbus, Ohio sent me this posting he found on craigslist that will no doubt crack up anyone who reads it.



Musicians needed for deathlike melodic core band, dudes needed between the ages of 18 and 1/2 and 22 yrs & 9 months old. Sorry but if you're older you're probably are fat & bald, & this band isn't about fatties or baldies. Sorry dude. Find another band. This is going to be a DEATH LIKE MELODIC CORE band, along the lines of such bands as Bleeding to Death, Buttholes to Infinity, I Shot Your Grandma & Isuzu Bozo. I don't have time for Melodious Deathrockers, or Darkmetal Puddbangers, or Deepdark Deathlike Melodica Rockers. This is for the DEATHLIKE MELODIC CORE audience, of which I am SURE there are 20 in COLUMBUS ALONE!!!!

I don't have a car that runs, or an amp, but, dude: my guitar will SOON BE OUT OF PAWN. I have been playing for 23 months now, and I am getting quite good. I know 13 chords & will soon know 5 more (I got a pamphlet on gtr chords)!!! I am growing my hair out (currently bald by accident; I had a house party & someone switched my Prell w/ a bottle of Nair. If I catch who did it THEY'RE DEAD!!!!) I have some WAY COOL concert shirts from such way cool bands as Smegma Bath on Fire, Dead by the Grace of George, Stomp on my Feet For Deathpunch & This is Not a Band it's a Sentence. I am looking for another guiatrist (someone almost as good as me would be perfect, but not too good, becuz when my hair grows out everyone will know this is MY BAND!!!), also will need a bassist, a drummer w/ at least 2 bass drums (3 or 4 would be better), and a singer that's totally way cool looking, dude!! I am NOT gay, BTW, I just want everyone in this band to look COOL!!! Nobody over the age of 22, becuz they always have jobs & cars & kids, and this is all about the ROCK, dude!!! We will be going in the studio in 9 weeks (my Papa is paying w/ his SS checks), then after the CD goes platinum, I reckon we'll be playing Mad Square Garden by March of 2012. TOPS! THIS IS NO JOKE!!! I just KNOW this is gonna go thru the roof, cuz my Papa & my Meema said I am the COOLEST guitar player in all of Grove CITY!!!

So, in closing, no fatties or baldies, no OLD FARTS dudes, and NO BODY not into Deathlike melodic core!! I don't EVEN have time for people who don't know the gener, as it is the most coolest of ALL rock, dude!!!! Also, if you have an amp and a guitar I could borrow JUST FOR ONE OR 2 WEEKS, and a car to drive me (or let me borrow) to get all over town to put up flyers, that WOULD BE MOST AWESOME, dude. This band also has the MOST COOLEST logo ever, it's made up of swervey lines, like all the other deathlike melodic core bands, only this one is TEN TIMES harder to read, so only the SUPER COOLEST melodic deathlikers will GET IT. Isn't that the coolest, dude!? Yep, in 3 or 4 months, we'll be the BIGGEST BAND ON THE PLANET. Believe that, muthafachers! Even my Papa sez so, and he was in Iraq!!! Peace out.

BTW, Craigs Listerers, to the harsh dudes who emailed me w/ all the hatin' - maybe this is a joke to YOU, but I am DEAD SERIOUS!! I even already have a BAND NAME for this band, and it's SO COOL! I'm not gonna put it here, cuz certainly one of you dudes will steal it. So there's no way you're going to know my band's name will be "Kill All the Goofballs". Don't even ask me to tell you, as I will NOT be disclosing this band's name! Now stop emaling me w/ all those hateful hurtful emailings. And I know it's spelled "G-E-N-E-R" - what; do you think I'm so kinda idiot!? I am NOT. I am WAY COOLER than any of you turds!!

[Ayinger]

"All I got is a red guitar, three chords and the truth..."
BONO

[JACkory]

Nov 21, 2011 14:35:35 GMT -5 maarts said:

That is a fantastic read JAC! I have watched the blu-ray of this concert and was a bit underwhelmed, probably because I hate it when I'm in the rightful mood for such a concert and it gets interrupted for interviews after a track....but Festival was indeed the highlight for me, a beautiful track and the segment that led up to the final climax gave me absolutely the chills when I heard it.

I read a review in which the guy said the same thing about what I call the "YouTube Snippets". Personally I like them. They lighten the mood a bit and offer a short break from the intensity of the music. I wouldn't doubt that the band had the idea to put them in, as they are really trying to downplay and distance themselves from the whole Sigur Ros worshipping that is prevalent amongst the faithful. The first one, where the DJ asks if they started out playing "regular music" and they just sit there stunned like it was the dumbest question ever asked, now that was funny...the whole audience cracked up at that one.

Unfortunately I don't have the blu-ray, having just bought a blu ray player a couple of days ago. So DVD I will settle for, because I love this band but I ain't shelling out extra for blu ray when it's a wonder my eyesight can let me appreciate the DVD. Just like I wasn't about to pay extra for the limited edition just because it contained a clipping from one of the band members outfits from the '08 tour. A good laugh, that. I'm sure they're laughing right along with me.

Oh, and you may remember that I was slightly underwhelmed with Riceboy Sleeps when it first came out, wanting more of a "traditional" SR/Jonsi sound? Well, all that's changed. I can't even tell you how much I love it now. Much more than Jonsi's solo material, if you can believe that.

I'm actually kind of surprised with myself that I haven't been up to hearing "Go" in such a long time. Maybe when I can erase the mental image of the Jonsi-bird things will be different. I think Jonsi does "up-beat" just fine, but the contrast of that innocent voice with the more melancholy Sigur Ros style is what hits the ball out of the park. Can't wait for the spring when the new album comes out and by God if they don't play in Oklahoma this next tour I am going to fly to Iceland with the sole purpose of bitching them out.

Glad you enjoyed the piece.

[maarts]

NP:




Really getting into this stuff lately. Classic album.

[RocDoc]

have you heard this yet:

<sub>Carlos Santana and John McLaughlin - 2011-07-01 - Montreux, CH
(Audience FLAC)

"Invitation to Illumination"

45th Montreux Jazz Festival
Auditorium Stravinsky,

Lineage:
Mics: SP-CMC-22 Sound Professionals Mini cardioid Stereo Microphones
Recorded with: Edirol R-09HR in 44Mhz 24 bits
No preamp unfortunately
Mixed with sound forge 9 EQ+Wave hammer compressor+Normalize
Burning Nero 9

2 CDRs - CDEx - Flacfrontend - TLH - you


Carlos Santana
John McLaughlin
Cindy Blackman-Santana
Dennis Chambers
Tony Lindsay (1)
Andy Vargas(1)
David K. Matthews
Etienne Mbappé
Raul Rekow
Benny Rietveld (2)
Claude Nobs (3)

CDR 1:
01. Claude Nobs speaking
02. The Life Divine (2)
03. Peace On Earth/Dear Lord/A Hard Rain’s A-Gonna Fall
04. Stairway To Heaven
05. Our Lord’s Prayer/Sun Ra Freak Out
06. Right Off
07. Carlos and John speak
08. Vuelta Abajo (2)
09. Vashkar (2)
10. The Creator Has A Master Plan (1)
11. Naima (Acoustic)
12. Lotus Land (Acoustic)

Total time: 72.25

CDR 2:
01. Downstairs Blues Upstairs
02. Venus/Upper Egypt
03. Let Us Go Into The House Of The Lord
04. Black Satin
05. A Love Supreme(1)
06. Jam Session (3) (aka Montreux Boogie)
07. Claude Nobs speaking

Total time: 71.30</sub>

it's GOT to be wonderful.
though i still haven't listened to it yet, but it's in my queue for today...