* there's a bit where the whole fucking band like neatly, almost elegantly pirouettes into the sickest breakdown that builds back up in a really thoughtful way into a sick as hell solo
* Oli Peters has improved his annunciation and flow! he's really nailed his whole "death metal vocalist who loves people who rap too damn fast" schtick, and he effortlessly engages w/ the rhythmic qualities of the rest of the band.
Also, while I'm still here I just have to say that judging prog by Rush is about as fair as judging punk by Green Day.
I feel like you didn't read the rest of what I said there if you're singling out that particular statement. If anything, I'd say ELP are guiltier of much of what I describe, and I *like* ELP.
Rush, however... are like Yes but boring and more rockish?
Also, while I'm still here I just have to say that judging prog by Rush is about as fair as judging punk by Green Day.
I feel like you didn't read the rest of what I said there if you're singling out that particular statement. If anything, I'd say ELP are guiltier of much of what I describe, and I *like* ELP.
Rush, however... are like Yes but boring and more rockish?
i can't believe that the police found sredni in the woods months later, strangled by a giant boob...
i cannot emphasize this point strongly enough. it's very fast. extremely fast. preposterously fast, needlessly fast. it extends beyond wanky. it's a vortex of infinite wank, like Brain Drill, but way better because they actually can compose things that aren't just big sloppy piles of 16th notes
Also, while I'm still here I just have to say that judging prog by Rush is about as fair as judging punk by Green Day.
I feel like you didn't read the rest of what I said there if you're singling out that particular statement. If anything, I'd say ELP are guiltier of much of what I describe, and I *like* ELP.
Rush, however... are like Yes but boring and more rockish?
Fair, fair.
I do agree with most of what you said, FWIW, as I think my other comments indicate.
I like some Rush material but can agree with that assessment as well.
the other song released from the album so far, the amazingly titled Remote Tumor Seeker, features a quote from Mozart's Requiem that they build a dope solo around? also some really snappy blast beat fill things
i cannot emphasize this point strongly enough. it's very fast. extremely fast. preposterously fast, needlessly fast. it extends beyond wanky. it's a vortex of infinite wank, like Brain Drill, but way better because they actually can compose things that aren't just big sloppy piles of 16th notes
I saw a brief interview with their vocalist where he was talking with another tech-death dude about how while he still really likes the genre, as you get older, you lose the desire to prove how technically impressive your songs can be and just want to write stuff with cool riffs that works and is actually playable live. Which makes the fact that this track is so over-the-top a bit ironic, but also makes sense, because once you reach that level you can do that just because you want to, and it's in the context of, y'know, an actual song.
And, as he points out, the fans of your old stuff want to hear you go nuts, and because you can, you do. Just not all the fucking time for no reason.
* there's a bit where the whole fucking band like neatly, almost elegantly pirouettes into the sickest breakdown that builds back up in a really thoughtful way into a sick as hell solo
* Oli Peters has improved his annunciation and flow! he's really nailed his whole "death metal vocalist who loves people who rap too damn fast" schtick, and he effortlessly engages w/ the rhythmic qualities of the rest of the band.
ah so A Rapper Crucified does have counterparts in other genres
I can definitely agree that a lot of prog starting after 1972 or so is pretty much rehashing of past glories
and that sort of limited scope in classical/jazz influences I believe can be blamed by the earliest art bands heavily taking cues from Bach, Beethoven, and earlier orchestral popular music, with a lot of later bands just following suit
I feel like the big issue is that while those bands did draw heavily on pops concert fare, a lot of them were also cued into what was happening in contemporary classical music at the time and drew on it from more subtle angles. But I feel like a lot of bands missed these elements, or felt them too difficult to reproduce and thus ignored them, particularly on the production side. Albums like Anthem of the Sun and Revolver are soaked in electronic weirdness and sonic double exposures even when the music itself isn't that outrageous, and I feel like there was something of a missed opportunity there. Like, if you can get an orchestra, you don't have to make it sound like a standard Hollywood fanfare. Did none of them listen to Scott Walker, even?
Early Scott Walker strings with noisy psych guitars would be amazing, by the way.
It is honestly weird to me that Rush is the prog band it's okay to like in mixed company
Like, I've learned to have some appreciation for them, but you have Geddy Lee's weird inhuman pterodactyl voice and Neil Peart's constant flirtation with libertarianism.
It is honestly weird to me that Rush is the prog band it's okay to like in mixed company
Like, I've learned to have some appreciation for them, but you have Geddy Lee's weird inhuman pterodactyl voice and Neil Peart's constant flirtation with libertarianism.
In conclusion, Van Der Graaf Generator
Rush is the prog band with the most accessible lyrics, so...
It is honestly weird to me that Rush is the prog band it's okay to like in mixed company
Like, I've learned to have some appreciation for them, but you have Geddy Lee's weird inhuman pterodactyl voice and Neil Peart's constant flirtation with libertarianism.
In conclusion, Van Der Graaf Generator
Rush is the prog band with the most accessible lyrics, so...
It is honestly weird to me that Rush is the prog band it's okay to like in mixed company
Like, I've learned to have some appreciation for them, but you have Geddy Lee's weird inhuman pterodactyl voice and Neil Peart's constant flirtation with libertarianism.
In conclusion, Van Der Graaf Generator
Fuck yes.
John Lydon of Sex Pistols and Public Image Ltd. fame was/is a huge Peter Hammill fan, by the by.
this sounds like the people who can't stand the Beatles/think they stole a future that belonged to the Stones/etc. I'm actually surprised this critic didn't spend the whole article stanning for, I dunno, the pre-Main Course Bee Gees or something equally obscure.
(it's also an example of begging the question: he's decided that Billy Joel is terrible a priori, and spends the rest of the article defending that assertion by saying Billy Joel is terrible.)
THat was probably awkwardly worded; I meant that there are people who hate the Beatles because (in their opinion, at least) they overshadowed the Stones and other "more worthy" groups in the popular memory. (I've also noticed that they can't get past the Beatles being the fairly tame cover band of their early years. The more prog later years don't exist.)
Piero Scaruffi is maybe the worst offender because he's clearly informed enough to recognise that what The Beatles did bringing avant-garde ideas into the mainstream was vastly important, yet refuses to accept these things in context and instead complains about them riding other bands' coattails. It's a remarkably presumptuous way to look at music history.
also this is probably of interest only to me but someone found out that former Trippie Redd affiliate 6ixty9ine (who also goes by Takeshi69 and at one point went by Pussy Ni**a and no I'm not joking) is probably a sex offender. So that's something.
Comments
OF
WHICH
You, yes YOU, reading this post. are morally, legally, and ethically obligated to listen to Archspire's Involuntary Doppelganger
highlights include:
* they all go really fast
* there's a really chill jazz bit
* there's a bit where the whole fucking band like neatly, almost elegantly pirouettes into the sickest breakdown that builds back up in a really thoughtful way into a sick as hell solo
* Oli Peters has improved his annunciation and flow! he's really nailed his whole "death metal vocalist who loves people who rap too damn fast" schtick, and he effortlessly engages w/ the rhythmic qualities of the rest of the band.
Rush, however... are like Yes but boring and more rockish?
And, as he points out, the fans of your old stuff want to hear you go nuts, and because you can, you do. Just not all the fucking time for no reason.
Early Scott Walker strings with noisy psych guitars would be amazing, by the way.
like
is there anybody out there who makes fun of people for listening to prog rock?
with the sounds
John Lydon of Sex Pistols and Public Image Ltd. fame was/is a huge Peter Hammill fan, by the by. You have good taste in prog.
Just putting that out there.
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead
Assassin poems, Poems that shoot
guns. Poems that wrestle cops into alleys
and take their weapons leaving them dead