#here's some songs I listen to that are ska (specifically ska punk) | Explore Tumblr Posts and Blogs

smarterthantheaverageloser · 1 year

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Thanks for tagging me @phantomxblood lol

Rules: shuffle your ‘on repeat’ playlist and post the first 10 tracks, then list 10 songs you really like, each by a different artist. then tag 10 people to do the same thing.

Shuffle songs:

Down, Down, Down to Mephisto's Cafe- Slaps, yes it is ska, most of these will be ska, but it slaps. It's Streetlight Manifesto, it always slaps

Question of Life- FISHBONE!!!! I was gonna put this on my favs list. One of the first USA ska bands and talked about a lot of racial/class issues with their music. Their music united ppl across racial lines in a contentious time in US history! Skatunenetwork has a good vid on it.

Sick and Sad- Catch 22. Yeah, I'm not even gonna apologize for still liking them when their music sounds like THAT

Point/Counterpoint- Streetlight Manifesto. My first ever introduction to ska. Ridiculously nostalgic. This song probably saved my life.

Noise Addiction- Pure Hell. Slaps harder than a wet fish on rice paper and the history behind Pure Hell as a band is fascinating and inspiring. One of the first black punk bands and one of the first punk bands in general! Originally the #1 in my top ten, but then it came on and I had to put it in my plays.

....Well, Better Than the Alternative- Will Wood. Makes me feel like a groovy inchworm. Real ones shake ass to this song.

Dear Sergio: I was hoping this one would come on! Streetlight Manifesto. Good vibes even though he's roasting the shit out of Sergio.

If I Could Only Listen to my Heart: Bruce Lee Band. For some reason, even though they are the best, I never see any fans of BLB. Pls contact me if you like this band I need to talk about Them.

The Earth- Isaac Turner. Does not jive with the playlist at all but I love it so much. It's like a vacuum for my brain.

One Foot on the Gas, One Foot on the Grave- Streetlight Manifesto. Gotta love ska and punk and its ridiculously long titles. Anyway, this song is amazing. Finishing off strong.

Songs I like most:

Well, I liked all of those, but here's my favorites from the playlist:

The Communists Have the Music- TMBG, true AND slappy.

This World is Not My Home- Specifically the Bedquilt Ramblers on this list, but the original is amazing as well and I highly suggest ppl listen to that one first to pay their dues to the first ones to sing it

Dollars and Cents- Ska, Bruce Lee Band, everyone go listen to Bruce Lee Band. Literally all of their songs are good

I'm Against the Government- Folkpunk I guess? It's Defiance, Ohio. This one just makes me smile for whatever reason. It's kind of nostalgic for me in general

Go Feet Go- Bruce Lee Band again, we love to see it. It just fucking slaps. Don't look it up without attaching 'bruce lee band' to it because. You will see foot porn :(

Man on the Street- Imperial Leisure. GREAT song to listen to while leaving work.

Dance, Dance Revolution- Bruce Lee Band. Listen to it. Sooo good.

Generations- Bruce Lee Band. Also sooo fucking good.

Healthy Body- Specifically the Jeffries Fan Club version. It's just fun!

KKK Highway- MU330. Short, sweet, and says what it needs to. Just listen, you'll understand.

Sat through a lot of ads for the authenticity lmao: Atting!

@somanyspoons @wannakissrobits @desolate-rose @blossombostonian @badscientist @glicoloidpocky but no pressure!

#johnsense #music #a rare glimpse at my Real Music Taste #I used to be ashamed of liking ska until I read up on the history and learned I am totally justified fuck the h8ers #music meme thing

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eyes-on-the-weather · 3 months

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there are long chunks of great leaps forward by we are the union that feel like one song despite being a number more like three, i think. such a thing i would describe as an interesting variation on the punk format. i’m not sure it works very well. like other than some specific tones of brass intruding every once in a while, there’s not much ska sound in here, leaving just a long series of rock guitar at a high energy, or at a low energy that just makes it feel even more like a drag. maybe i shouldn’t have listened to it all in one sitting. like, i need to give this album credit where credit is due, the brass is a nice inclusion, and there are a very fair number of interesting uses of vox (wish there were vocal harmonies but i can’t always get what i want). these bits just feel drowned out in a large sea of samey, unimpressive guitar and drumming for high vox. if you enjoy that then, by all means, check this out, otherwise man are there better ska-punk albums out there.

#music review #]archived reviews #[originally written 12/8/23]#]archived tags:#of note is that i understood not a lot of the lyrics #the main exception being five out of five kids who kill love slayer which happens to be my favorite song from the album #man did this album ever need more variety in the vox like the interesting bits were just. few & far between

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time-was-over · 4 months

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i'm asking you. tell me about your ocs music taste

YIPEE! WAHOO! WHAT JOY! HOORAY!

clears my throat. ok

epsilon likes heavy metal from the 90s and the 2000s, especially slipknot and bring me the horizon (i haven’t figured out clever names for those yet). they don’t have strong opinions on other kinds of music.

iota prefers to listen to r&b, not for any particular reason other than the fact that he knows a lot of r&b songs.

delphine really likes hightide era and hightide era specifically. she listens to some ink theory, but she just doesn’t stop listening to hightide era.

sigma, domitian, and caligula all met each other at a wet floor concert. they just like basic inkling music. is it playing on the radio? they like it probably.

nero likes rap. he doesn’t really have a specific artist that he likes. he just likes to listen to it.

psi likes edm. he likes dedf1sh and machine gill most of all. it keeps her neighbors awake.

radium reaaaaally likes ska. like. really likes ska. she likes ska music better than anyone on this list likes any kind of music. they read the inside of ska cds when they’re upset.

natron likes punk music. she wants to tell you about it. she will. without hesitating. it doesn’t matter if you ask.

helium likes deep cut. he’s a shiver stan.

radon likes 80s music along the lines of ‘once in a lifetime’ and ‘down under.’ people wonder why xe’s like this.

xenon likes indie and neon likes classic rock. they infected each other with their music tastes and they both like indie and classic rock now.

shello is an r&b liker but it also likes ska thanks to radium.

lemongrass is one of the only people here who will literally listen to anything. she is very open minded and just likes to hear stuff.

these are just guys i pulled out of nowhere

#🕰️#i don’t want to tag them all

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t3tr0m1n0 · 5 months

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there are long chunks of great leaps forward by we are the union that feel like one song despite being a number more like three, i think. such a thing i would describe as an interesting variation on the punk format. i'm not sure it works very well. like other than some specific tones of brass intruding every once in a while, there's not much ska sound in here, leaving just a long series of rock guitar at a high energy, or at a low energy that just makes it feel even more like a drag. maybe i shouldn't have listened to it all in one sitting. like, i need to give this album credit where credit is due, the brass is a nice inclusion, and there are a very fair number of interesting uses of vox (wish there were vocal harmonies but i can't always get what i want). these bits just feel drowned out in a large sea of samey, unimpressive guitar and drumming for high vox. if you enjoy that then, by all means, check this out, otherwise man are there better ska-punk albums out there.

#music reviewssic #of note is that i understood not a lot of the lyrics #the main exception being five out of five kids who kill love slayer which happens to be my favorite song from the album #also sprach #man did this album ever need more variety in the vox like the interesting bits were just. few & far between

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ckret2 · 3 years

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How far into modern music do you think Alastor would go? I can't imagine him listening to mondern pop, but maybe he would at least give a shot to things in the 50/60?? I just can't imagine him not having so many music opinions, all of them a bit out of date. Do you think that he thinks "queen" were promising upstarts? He loves music and, though not his type, wouldn't he at least listen to a bit¿?

I do think Alastor actually kept up with music for a while after his death—and with tech too, at least the tech that interested him. In life, he was on the cutting edge—he didn't just use the newest, hottest technology, he worked with it, he was a pioneer in a completely new field of media and so deeply enmeshed in the industry that it formed the basis of his soul's identity in death. Going from "I'm so cutting edge you'll bleed if you touch me" to "if it wasn't invented before the 26th of December in 1933 at 3:12 p.m. I will hiss like a vampire exposed to sunlight if you try to make me use it" is a harsh change, and I don’t buy it. It makes more sense if we assume there must have been a transition period during which he lost his enthusiasm for keeping up with the latest and greatest and slowly withdrew into the past.

Same goes for music. When he first arrived, he probably soaked up new music like a sponge. What about beloved musicians who had died too young—how many of them had ended up in Hell, and had they produced new music since they died? What strange mutations of jazz were cropping up down here where people who were familiar with the earliest iterations of the genre were trickling in and it had evolved and progressed in near isolation from the latest developments in the living world? Are there medieval bards playing covers of "Royal Garden Blues" on the hurdy-gurdy? Who else has played new versions of songs he knows? Who does he get in contact with in the next few years to ensure he gets a steady supply of new songs by his favorite artists still in the living world, either in the form of smuggled-in phonograph records or new arrivals who learned the songs and can now share them in Hell? What songs that have been forgotten for centuries can he learn? What musical genres are unique to Hellish culture? Where are all the artists and styles and genres he's interested in going next?! He's got to find out!

I've got two different headcanons for when that changed.

In the fic verse I'm writing, due to Circumstances, Alastor spent roughly all of the 70s being a depressed lump and the 80s in the Cannibal Colony. Those years where he withdrew from the world are when he stops keeping up with both technology and music. By the time he starts trying to engage with broader Hellish culture again, it’s been a couple of decades, everything on the radio sounds different and weird, and rather than trying to catch up he just kinda defaults back to what he’s used to, which peters out in the mid-60s.

In less-fic-verse more-canon headcanons, I think it was a gradual tapering off over the same time period. I’m restraining myself from going all The Psychology Of How Humans Develop Their Tastes In Music, but the short version is that, VERY BROADLY, people’s tastes tend to develop & solidify in adolescence/young adulthood—anything that came before then is old-fashioned and boring and anything that comes after that is weird and sounds like noise. Alastor, who’s All About Music, can keep up with new trends longer, but slowly the newest hottest sound will evolve out of what he’s able to hear as Good Music. Just, over the years, there will be fewer and fewer new musicians that are playing in a way that he likes. I figure it’ll be about the 70s before all the popular music makes him go “eh, they don’t make it like they used to,” and from there he sticks with what sounds good to him.

Now, in either one of these scenarios, I think there’s still some modern music that he’ll enjoy, but for the most part it’s going to be music that sounds closer to what he’s familiar with. So like, swing revival as a genre. Generic lounge jazz would bore him, and so would jazz of the “pushing so hard on the boundaries of music that you have to be neck-deep in the last 60 years of jazz history just to understand what they’re doing” variety, but modern big band-style jazz would appeal. He might listen to some modern ska when it swings more toward the “big brass sections” side of things rather than the “punk rock” side of things. He’d dislike electro swing that’s like “chops up songs he heard in the 30s and sets them over a drum machine” but he’d like electro swing that’s like “composes original modern swing that’s good enough to make up for the fact that there’s a synthesizer in the background.” Vintage style covers of modern songs would appeal to him, and no I’m not talking about “Postmodern Jukebox” as if they’re the only folks on the planet who’ve ever done that, I’m talking about “Alastor goes to a jazz club twice a month to join jam sessions and sometimes the musicians there go ‘hey we heard this great new song on the radio, listen to this’ *two demons play Uptown Funk on a sax and a piano.*”

And I think he’d put in an effort for musical theater no matter WHAT genre it’s in. We see him hear Charlie’s song once and immediately perform a cover of it, and Charlie’s song is definitely way outside of the kinds of genres he’d be inclined to listen to, except that it’s musical theater style. So—would Alastor listen to industrial rock? No. Would he watch and enjoy Repo! The Genetic Opera? Hell yeah. Would Alastor listen to hip hop? No. Would he watch and enjoy Hamilton? Hell yeah.

Musical theater might be the best way to ease him into modern music tbh. Get him into a few musicals he likes in spite of the modern sound and use them as a stepping stone to branch out to similar-sounding modern music.

As for Queen—honestly I don’t think he’d think about Queen. Almost half a dozen folks now have asked me specifically about that—but what about Queen tho, do you think he’d at least think Queen is good?—and like I just don’t think he’d care lmfao. Why is Queen always the first and only band people wanna know his opinion of? He’d like that the music video for “Radio Gaga” uses clips from a movie he saw while he was alive, and the lyrics would secretly make him a little emotional, but he’d dislike the song itself because they couldn’t even be assed to have a real human play the drums; and for their other songs he’d be like “yeah, that’s music.”

#hazbin hotel #alastor #headcanons #anonymous #ask

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oneweekoneband · 3 years

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To Leave Or Die In Long Island

Of course, BTMI! was just getting started. Less than a year after the release of the debut, Jeff came out with a second album (well, at 8 songs, it’s more of an EP, or mini-album, or, in Jeff’s words, a digital “10-inch”). Though To Leave Or Die In Long Island is shorter in length than Album Minus Band, that only seems to have helped to focus the sound and songwriting on it. In some ways, it’s more conceptually ambitious, too – the album begins and ends with the same melody in a kind of parallel structure. Almost everything that was great on Album Minus Band is honed to a finer point here. (Strangely, according to this interview, this is apparently Jeff’s least favourite BTMI! album; while I understand his reasoning why, it easily ranks as one of my favourites.) As on that album, for example, Jeff continues to criticize the state of the 2000s punk scene. But instead of simply lashing out at obnoxious trend-chasers, his targets get more specific and his lyrics more potent as a result: opener “Happy Anterrabae Day!!!” takes aim at the overly-violent culture that can still be observed at hardcore shows. Between the first verse to the second, Jeff moves from jeering at the guys who threaten “some fourteen-year-old” to suggesting ways to improve the situation: “If I kissed you on the nose or offered you a hug, / How could you possibly still wanna fight?” He ends with a reminder of the positive possibilities of punk rock: “Think about the reason you went to shows at twelve years old, / We all felt alone, it was not to kick my ass!”

Whether it’s the inside-joke about a bandmate’s ladder-climbing career offer to join a more successful band (that didn’t work out in the end) on “Congratulations, John, On Joining Every Time I Die!” or the under-a-minute hardcore punchline of “Showerbeers!!!”, the album really shines on the lyrical front even when it feels like Jeff isn’t trying (which he admits he wasn’t on “Showerbeers!!!”). Then there’s the more serious stuff: “Dude, Get With The Program” is one of Jeff’s best songs about the paper-thin quality of that bullshit facade upper-management types put on when trying to soothe class antagonisms in their workplaces. Inspired by an experience he had at a job in which a company’s managers started lecturing workers on being part of their “family” right before the paycuts and firings began, he vents his frustrations: “You’re working on your first million, / I’m on my first thousand, / And bills are due tomorrow.” There’s the emptiness of the rhetoric fed to those who get the short end of the stick under capitalism: “You didn’t get fired, you’re ‘laid off.’” The chorus clears it all up: “You could have figured out a way to help us out, / But you just said: / ‘Hey, go ahead and get fucked!’”

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By contrast, the less-oppositional “Stand There Until Your Sober” has been a long-running fan favourite possibly due to its confessional quality. It’s a song about drinking too much, feeling like you’ve fallen behind in life, like you’ve missed your chance to grow up, and being generally miserable with nothing to look forward to except the awesome party you have planned for your friends at your funeral (because “mourning is for suckers!”). Over a relatively sparse 3/4 groove with some nice musical flourishes (those backmasked acoustic guitar chords that open the song always get me), Jeff sings about the city’s ambient lights blocking out the stars, making out with a stranger on a boat, and earning only “a hundred and ten bucks for twenty hours” while watching his friends achieve a comfortable stability in life that always seems out of reach for him. It’s the ultimate loser’s anthem, and maybe some of the most poetic stuff to come out of BTMI! Even in the midst of the despair, a ray of positivity breaks through near the end of the song: “You’ll finally know that life’s okay, / Even when the bad things happen.”

The music, too, takes a giant step forward on To Leave Or Die. Though Album Minus Band already showed signs of breaking free from the confines of ska-punk, Jeff signals his ambitions to fuck with the formula as much as possible right off the bat with the cheesy fake-out synth-rock intro to “Happy Anterrabae Day!!!”, gradually revving up the tempo until it reaches the hardcore intensity that kicks off its first verse. Remember what I said about Jeff’s harmonies on Album Minus Band? Here’s the thing: he might not be a great singer (something he’d address directly on the band’s final album), but he sure knows how to layer his voice in his wall-of-sound production to trick you into thinking he is. Of course, he pulls back the curtain at the end and mutes all instruments for the final chorus’s last couple “na-na-na” sections, revealing a chorus of Jeffs screaming vague harmonies and polyphonies at the top of their lungs, barely staying in time with each other, let alone in tune. He knows exactly how absurd it sounds and works that to his advantage perfectly – it never fails to make me laugh out loud. I actually first got my sister into this band by showing her this part of the song, which she couldn’t believe would be left in an actual studio recording. It’s both incredibly funny and incredibly punk; what could be more so than a guy going “Yeah, I can’t sing, but how about I make a whole goddamn choral arrangement out of my voice anyway?”

The peak of the album’s musical ambition arrives at its climax and final song, “Syke! Life Is Awesome!” A tour-de-force of multi-section songwriting, Jeff describes it relatively accurately on Quote Unquote as being composed of “20-second blasts of different genres whether it be alt-country, post-punk, reggae or synth pop.” What that description doesn’t quite capture is the progression of the song, from an acoustic-strummed folk-punk intro into a kind of freak-folk chorus strung out on its own silliness, from there to a classic hardcore punk tempo interspersed with a couple bars of ska, building to an unstoppable outro with a horn section that sounds like a Motown track’s backing dialed up to light-speed. That excellent “na-na-na” vocal melody from “Happy Anterrabae Day!!!” is reprised here through the horns at the end of the song, a motif for the observant listener to enjoy. Lyrically, too, this might be one of my favourite BTMI! songs; Jeff says this one was about a time he got to talk with the lead singer of Squeeze and realized how cool it was that his life had turned out in a way that such a thing could happen. It’s the end of the song that really gets me: sprinting across the album’s final stretch, Jeff begins a long, uninterrupted phrase following an instrumental break that details all the weird things that happened in his life in the chain of events that got him to where he was at the time of writing that song. It evokes a sense of wonder at the simple mechanism of cause-and-effect: “And if I knew how to throw a football, / I would have never played any music, / And if never got my heart broken, / I would sing ‘blah blah fucking nothing.’” It’s a celebration of the uniqueness of the timeline that makes your life unequivocally yours, as it could never be any other way. In philosophy, we might call that a “haecceity.”

#Bomb The Music Industry!#BTMI!#Punk #Punk rock #To Leave Or Die In Long Island

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objectivesubjectivity · 3 years

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Ranking all the 2017 CDs I physically own: 42-34

The following is the first of 5 entries in an entirely subjective and personalized ranking of the 42 albums released in 2017 that I physically own.

Before I get started, I should note that I'm using Discogs as my reference point for when my copy of any given CD was physically released. This means an album that was first released in "X" year may not show up in the rankings for that specific year, depending on when my version of the CD hit the shelves. Sometimes this makes total sense (as with the 10-year anniversary version of Furr from last month), sometimes it's just a new pressing of an older album, and sometimes, the release date is unknown (we'll get there when we get there), but on the whole, I think this system works better than just going by when the album first came out.

Okay. Here we go on 2017.

42. Senses Fail - In Your Absence: There's a cuteness to the opening Jets to Brazil thank you track on this 5-song EP but "cute" and "acoustic screamo" aren't two things that particularly mesh well. No must hear track(s)

41. Four Year Strong - Some Of You Will Like This, Some Of You Won't: The strength of FYS comes from their superb blend of catchy pop melodies with an aggressive, take-no-prisoners musicality. When you strip away the latter half for an acoustic approach, the former becomes a heck-of-a-lot less interesting, but, hey, at least they acknowledge this head on, right? Must hear track(s): Your Ego is Writing Checks Your Body Can't Cash

40. The Chainsmokers - Memories...Do Not Open: "Something Just Like This" is a solid single, it's just that the rest of the album sounds an awful lot like that particular track, and without Coldplay. Must hear track(s): Something Just Like This (feat. Coldplay)

39. New Found Glory - Makes Me Sick: For, ostensibly, their second "slowed down, more mature" album, it's honestly not that much slower and definitely not that much maturer. Must hear track(s): Blurred Vision

38. Pinegrove - Everything So Far: There are some emo-tinged alt-country gems here, often sloppy and/or not fully formed, but solid ideas nonetheless, however, 21 of these half-baked goodies back-to-back is a lot to get through in one sitting. Must hear track(s): &, Recycling

37. Matt Pryor - Memento Mori: I tend to prefer a fuller-band Pryor experience and this album is very sparse, albeit intentionally so. Must hear track(s): When We Go Wrong

36. ALETHEA - Light At the End of the Road: Having heard most of these tracks in various states of instrumentation and completion (Alethea is a long-time friend of mine), there a wonderful fullness to much of the production here, and the EP is sandwiched by two solid, folky, pop-rock jams. Must hear track(s): Answer, Light at the End of the Road

35. Less Than Jake - Sound the Alarm: Somehow, Less Than Jake keep putting out ska-punk bangers 25+ years since Pezcore (although you have to comb through more middling stuff nowadays to get to the good stuff). Must hear track(s): Things Change, Good Sign

34. Calvin Harris - Funk Wave Bounces Vol. 1: None of the songs slap even remotely as hard as "Slide," but these star-studded head-boppers still make for a fun listen. Must hear track(s): Slide (feat. Frank Ocean & Migos), Holiday (feat. Snoop Dogg, John Legend, & Takeoff), Heartstroke (feat. Young Thug, Pharrell Williams, & Ariana Grande)

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lovelyirony · 5 years

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What are the different avengers music tastes?

okay here’s how i think about it:

steve is mostly a lot of forties songs, but along with a TON of stuff from the twenties and thirties (although smh a ton of songs he loved aren’t actually recorded, they were just street artists). but he also really likes low, rough voices and guitar. his taste sounds like you’re going to someone’s home and they’re baking things and it’s slow and lazy for the evening.

tony’s a LOT of different tastes. he has electric guitar, he has loud, bad voices screaming. he has the soft touch and classic piano. he knows artists after the first tone of the song. he can sing soft italian, mock the guitarists of AC/DC, and have all the flamboyance of listening to Queen and Elton John. he sighs along to opera, fingers moving in the air as arias rise and crescendos reach the peak

natasha’s is a lot of punk, some metal, and rock. she loves tough songs, hates anything that has piano in it, remembering the ballet. has called bach a little bitch before (much to tony’s chagrin.) but she loves violin. it fits her grace, the sheer carefulness of deadliness. she also enjoys musical songs that are about simplistic things, or having just fun with things.

bruce loves folk music, alternative pop, and any songs that sound like they’re happy but are just....sad? he also specifically loves quiet riot and kiss and yes he dances in the kitchen. he also is a beatles fan, and his favorite song of theirs is “octopus garden.” (of monsters and men also)

thor still has some to listen to, but for the most part he loves the melodies and the serenades. he listens to movie soundtracks a lot too, finding them very enjoyable. the surprise (at least, to him) is that he really loves janelle monae! no one else was surprised because it’s fitting that royalty likes to listen to royalty. it’s all a jazzy time!

clint likes country, but the kind that’s actually good (and yes, there is good country). he also likes ska. tbh he knows a lot of the blues, and enjoys listening to them when he cleans his arrows, bows, and carriers. he hums a lot of willie nelson, and enjoys hearing other people’s tastes

#y'all #this is good low key #lovelyirony writes #let me know what you think too!!!! i wanna know!#avengers as a family #steve rogers #tony stark #clint barton #natasha romanoff #bruce banner #thor

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necromancy-savant · 4 years

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Heavy/Alternative Music Genres Tier List Based Purely on How Much I Like Them

Taken from a YouTube video I saw today from my favorite channel, The Punk Rock MBA by Finn Mckenty - there was a link to this in the description to make your own. Full explanation of why I put what where under the cut.

It was a little bit of a challenge to place these because I like almost all of these genres to some extent. In order to decide how much I like them relatively, I had to consider factors like how frequently I actually listen to them, how many different bands in a genre I listen to/how much I really know about it, and how much of an impact it’s had on me personally. Also, I have an idea from watching this and every other video on his channel what bands Mckenty means when he talks about a certain genre, so I tried to go off that more than my personal definition since he made the chart. S TIER: - Best Music I’ve Ever Heard

Ska - I fucking love ska and listen to it most days, plain and simple.

Deathcore - same goes, really. Many of my favorite metal bands are actually deathcore.

Skate punk - possibly my favorite iteration of punk music. This is bands like NOFX, Lagwagon, and Pennywise. Can get as gnarly as RKL and as poppy as No Use For a Name.

Melo Death - I think most of my favorite metal bands that aren’t deathcore are melodic death metal. It’s a pretty broad genre if you ask me but includes The Back Dahlia Murder, Amon Amarth, At The Gates, and Children of Bodom. A Tier: More of My Favorites

Djent - if you’re not familiar with the term, djent is an onomatopoeia that refers to the sound of a low power chord on a guitar. Meshuggah more or less pioneered the sound, but a lot of newer deathcore at least has a djent influence.

Metalcore 1.0 - this is bands that sound like Killswitch Engage and As I Lay Dying. I listened to a lot of this in my late teens and early 20s.

Death Metal - gotta love it. I just wish some of the older bands had better recording quality.

Mall Screamo - so when Mckenty says “mall screamo” he includes mall emo in that; it includes Fall Out Boy, MCR, and the Used as well as, I’m assuming, bands like Senses Fail, Aiden, or Hawthorne Heights. I have fond memories of lots of this stuff and have branched out more into both the more pop punk and post hardcore flavors of it recently.

B Tier: I Like It

Easycore: The first time I heard an easycore song was when I heard Playing Dead by Chunk! No, Captain Chunk! on a Spotify playlist. It was such an aggressive mashup of metalcore and pop punk that I was immediately obsessed. Easycore is awesome but it is still pretty new to me.

Real Punk - in this context this means anything from The Sex Pistols to The Casualties to GBH. This sort of thing can be kind of hit or miss for me; I love the Casualties and Blanks 77 and bands that do this sound well, like The Exploited, do it really well. However, they have a lot of copycats, and the bands that aren’t so memorable (and even some that punk purists stand by) have a sound that I like but that all sounds exactly the same. Ultimately, a lot of the stuff that got put in this category often lacks the creativity and fun that my favorite punk music has.

Thrash Metal - I do really love Slayer, and I was always a fan of Kreator and Sodom. . Hardcore - Hardcore can be such a broad term, but to me it does have a pretty specific sound though, like The Gorilla Biscuits, Youth of Today, or Terror, though it can also include older bands like Minor Threat and bands like H20. I think hardcore punk to me is something older and slightly different that influenced both hardcore and other kinds of American punk, but maybe I’m just being picky and not paying as much attention to some bands’ later discography.

C Tier: I Dabble in It

Nu Metal - I love Slipknot and I like Korn (and I guess Linkin Park are considered Nu Metal) but I don’t really listen to any other Nu Metal bands. I like what I’ve heard but haven’t dug too deep into the genre. Maybe it’s time to go find a Spotify playlist?

Butt Rock - butt rock is Nothin’ But Rock: that sort of post-grunge radio rock that was popular in the 2000s. I think bands like Nickleback, Creed, Staind, and Puddle of Mudd exemplify this sound, but it also includes bands like Breaking Benjamin and Three Days Grace, and maybe even Disturbed, which I like. I remember a bunch of these kind of songs fondly, ngl. Crab Core - this refers to bands that played their instruments while standing in a crab like position. This is like the 2010s metalcore: Attack Attack!, I See Stars, Asking Alexandria, We Came as Romans, etc. I never got super into most of this stuff except for a few songs here and there.

Grunge - I do really like Nirvana and I like most songs I’ve heard by Pearl Jam, Alice and Chains, and Soundgarden, but I can’t say this is a genre that’s had a big influence on me or that I’ve cared to dive deep into, which is why I decided not to rate it higher. Like, I listen to it a little bit but it’s not my favorite sound ever.

TRL-Core Pop Punk - this is what I think of when I think of when I think pop punk as opposed to 90s bands that were considered pop punk at the time but are just punk now. It’s bands that were on TRL like Blink 182 and New Found Glory. I was just a little too young for this at its peak, and while I’m just starting to develop a taste for it now it’s always been a little too poppy for my tastes.

D Tier: I Can Take It or Leave It

Black Metal - believe it or not, this was one of the first metal genres I listened to and enjoyed, but over time it just got really overshadowed. A lot of these D and E tier genres have 1 band that I really like, and so I do love Watain but never found another black metal band that could match them for me. Many of their albums have way better production than what the genre is known for though, and in general I tend to like bands with a black metal influence more than I like black metal itself. Neo Thrash - both this and New School Old School Death Metal are bands that sound just like the old stuff but were started only a few years ago. The thing is, I like these but haven’t delved much into them because there’s just so many metal bands between that and the old stuff that I tend to only spend time on whatever strikes me as unique or exceptional.

Nu School OSDM - same as Neo Thrash.

E Tier: I Don’t Really Care For It (But I Won’t Mind If Someone Else Puts It On)

Power Metal - I’ve tried to get into power metal but I just can’t. It’s not my thing.

Grindcore - I really like Insect Warfare but other than that, grindcore is another genre that just strikes me as kind of boring and repetitive on the whole.

F Tier: I Hate It

Midwest Emo - I’d heard the term before, didn’t know what it sounded like, looked it up, and I hate it.

Emo Rap - this is a very new type of rap that sometimes has some guitar sounds and has vocal parts that sound like they could have come out of a pop punk song. It’s cool stuff musically but I just don’t like the way it sounds.

#actually send me punk genres so I can do one for just punk subgenres #get real specific

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jefferyryanlong · 4 years

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Fresh Listen - The Squids, The Squids (Bankshots Music, Inc. and Oto-Songs, Inc., 1981) and Duganopacalypse Now (A Fan Compilation, circa 1981)

(Some pieces of recorded music operate more like organisms than records. They live, they breathe, they reproduce. Fresh Listen is a periodic review of recently and not-so-recently released albums that crawl among us like radioactive spiders, gifting us with superpowers from their stingers.)

The first band I ever loved was the Beatles, and John Lennon was dead years before I had any idea of who they were. It wasn’t until Kurt Cobain died that I had any interest in Nirvana--I recall an eighth grade classmate looking at mw with contempt after I told them I was unfamiliar with their music, when “Smells Like Teen Spirit” was already an MTV hit. The chemical composition of my brain was dissolved and reconstituted over the course of two weeks when, at twelve years old, I watched One Flew Over the Cuckoo’s Nest and Cool Hand Luke on late-night television, but both films were about twenty years old by then. I just heard of Herbie Hancock’s V.S.O.P. album, featuring Freddie Hubbard, Wayne Shorter, Ron Carter, and Tony Williams, about two weeks ago. I’m 42 years old now and I’ve only just come to realize how cutting and prescient Claude McKay’s novel Banjo is.

All this to say that I wish I’d been around when Honolulu’s The Squids were playing around town. (Much thanks to Roger and Leimomi from Aloha Got Soul for pointing me in the right direction.) The Squids were so odd and varied, a New Wave outfit with the muscularity and venom of the truest punk rock, able to invoke the B-52′s in the same gig as Talking Heads or the Ventures or the Specials, all with the same veracity, but much weirder and crueler. They married a sunny, breezy synth sound with an aesthetic that I can only describe as joyously psychopathic, spraying smart-ass malice on the unfortunate subjects of their songs.

Though the band only officially released a 7-inch EP in 1981 (currently unavailable on Amazon) Comrade Motopu, the mysterious archivist who, through digitized vinyl and cassette tapes, as well as donated photos, scanned liner notes, flyers and news releases, has painstakingly agglomerated Hawai‘i rock music and associated miscellany on a magnificent pre-Y2K looking website, has not only shared the Squids’ EP (featuring “Tourist Riot,” “‘Love Theme’ From Surfer Boy,” “In,” and “Rio”), but what is also listed as Duganopacalypse, a fan compilation with even more twisted tunes: “Medicine,” “Sexy,” “Head in the Sand,” the ska-soaked “New Girl in Town,” their partially awful, mostly spectacular “Cool Clear Water,” and “Pretty Vacant (with Dugan),” the Never Mind the Bullocks classic with a seemingly hated fan on the inarticulate vocals. I only pray that Comrade Motopu continues documenting this underhand era of Pacific rock music of the late Seventies to early Nineties--the site is a treasure, and more words about the bands highlighted on comrademotopu.com (the Vacuum and Yahweh’s Mistake, for instance) will be coming soon.

The Squids began as a concept by guitarist Beano Shots in 1979, later to take shape as a full-fledged human/cephalopod music group with members Kit and Gerry Ebersbach, Dave Trubitt, and Frank Orall. Those of us who sweatily flailed our way through a booze-and-drug bender on the strobe-lit (at least, as it appeared then) dance floor of the Wave Waikiki between the hours of 2 AM and 4 AM when all the other bars closed down would be surprised to learn that the now-demolished former nightclub, a hub for the scraped-out, after-hours husks operated by the residual combustion of chemicals in their blacked-out reptilian brains, once hosted the edgy Squids as the house band, presumably when the going-out crowd still had an affinity for fun, strong music, and did not simply seek to propel themselves upon the the mechanized beats and soulless zombie tracks initiated by a faceless button masher, in hopes that they would be manipulated, by the end of the night, into some loveless fuck with a nobody.

Of the Squids’ stage show, we have but one recorded example of the band live in concert: a faithful interpretation of the Sex Pistols’ “Pretty Vacant,” in which the players serve as back-up band for a loyal heckler known only as “Dugan.” Having taken (jokingly) enough shit from Dugan, the band harasses him into sing-shouting the song. The performance captures the “fuck you” sentiment of “Pretty Vacant” with a primitive abandon that almost makes the original seem like a Monkees’ tune. It also portrays a punk rock scene less enlightened to the diverse lifestyles it later engendered, when “dick sucking” was applied exclusively as a pejorative.

The same pissed-off adrenalin leads off the the 1981 EP in “Tourist Riot,” an apocalyptic narrative of that species of traveler compelled to hammer a new experience into a predetermined mold that will establish an appropriate backdrop to their social media posts. The tourists here burn hotels and smash out windows when their expectations aren’t suitably met--a bad vacation in which they are pushed around and mistreated leads the tourists to murder and mayhem.

“Tourist Riot” lays out the Squids’ music aspirations right away, especially in the interplay between Beano Shots’s electric guitar and Kit Ebersbach’s keyboards, which morph from forbidding electronic warning tones to psychedelic ghost notes to the replicated sirens of a city on fire, collateral damage in a war between locals and tourists. Following a surprisingly effective bridge that concludes with a shouted “Fuck it, I’m going to New York City!” is an atonal guitar solo reminiscent of Nels Cline asleep at the wheel, redeemed by a more fluid keyboard exploration.

When Jimi Hendrix claimed that “you’ll never hear surf music again” in 1967, he was, through the example of his own transcendent playing on “Third Stone from the Sun,” burying the corpse of that elementary, improvisationally unimaginative rock instrumental with the axe with which he had slew it. To that end, after hearing Jimi Hendrix and all the musical manifestations that took shape from his cosmic residue, it is sometimes hard to take surf music seriously. “‘ Love Theme’ from Surf Boy” comes across as the Squids’ winking parody of the genre, with its reverb, its whammy, its overall melancholy, and its simplicity. That said, there is some sophistication in the song’s structure, as if the wordless tune was more an exercise in technique, an attempt to take stock creatively before reaching out to a farther and stranger place.

On “In,” the guitars and keyboards snarl rabidly toward the same explosive destination, barely kept in check by the talents of the players. Lyrically minimalist, the song’s non-sequiturs slice through the instruments like assembled cut-up style by William S. Burroughs. “Are you losing sense of humor, could be Jesus was only kidding” followed by “are you losing sense of humor, could be Jesus was just a salesman.” These pieces of thoughts unfinished resonate in my head like something close to catchy--to what end, I don’t know. Where the keyboards overmatched the guitars on “Tourist Riot,” on “In” the guitar is locked in and dirty, climaxing in repetitive harmony between the instruments to close out the song.

When I first read the track listing to the 1981 EP, I thought the final song “Rio” would be a rough rendering of the hit video single by near-contemporaries Duran Duran (whose synth-guitar arrangements, though undoubtedly smoother, find relation in the Squids’ overall aesthetic). Instead, “Rio” is an acid commentary on the American Capitalist, represented as a white suit soaked in sweat, and his compulsion to foster vice and iniquity to exotic locales.

I’m not sure whether the fan compilation Duganopacalypse, also available for listening through the Comrade Motopu website, was recorded before, after, or during the sessions of the 1981 EP. A few tracks lead me to believe that the songwriting and arrangements are from a wiser, more sophisticated band, while other songs seem so apelike in their imitations as to come through as pointless satires, or maybe the explorations of a band trying to find its identity.

In “Medicine,” for instance, the Squids operate under an overpowering B-52′s filter that washes out their uniqueness. Whereas on previous tracks this influence existed only at the fringes of their sound, the singer on “Medicine” channels Fred Schneider on the verse and switches to David Bowie during the bridge. The role-play, though, doesn’t kill the the more interesting aspects of “Medicine”--its guitar lick is inventive and so wormy as to be slightly irritating, and the song’s themes, that one must willingly imbibe “the medicine” to accept the hypocrisies of this “downer world,” resound strongly to anyone who casts their eyes around a crowded room.

Where the B-52′s references go deep in “Medicine,” Talking Heads emerge in “Sexy,” from David Byrne’s vocal tics to the subtle and swampy “Take Me to the River” vibe. It goes beyond straight homage to cover band territory, but it does emphasize the band’s technical ability to lock into a groove. “New Girl in Town” is a heaping serving of not-completely-warmed-up ska leftovers, a bit misogynist (of its time, but still). “Head in the Sand,” regrettably, could have been the Squids’ crossover pop hit. I say “regrettably” because, even though the song has a point--that the ability of humans to maintain a semblance of happiness is to carefully cultivate the warm fuzz of obliviousness, sacrificing will to fate in the belief that nothing we could do to change anything would matter anyway--the effort seems more calculated than organic, a plastic approximation of the closest this band, given their specific set of skills, could get to a pop crossover hit. The work put into it seems to drain away at some of the dirty magic. It‘s self-conscious in a way that the other songs aren’t.

Finally we have “Cool Clear Water,” what would have been the band’s masterpiece if they’d spent a little more time recording a decent take (the version on the Duganopacalypse almost sounds live, though it could have been laid down in a rehearsal space). This is not the country classic performed by Marty Robbins and Johnny Cash. The Squids’ “Cool Clear Water” is the frightening confession of a soldier recently returned from the war in Vietnam, directed by an angel spirit to mass murder with a shotgun from a tower in town. When the killer is set to be executed, the angel spirit comforts him, tells him his spirit will be redeemed in heaven for “setting the people free.” The unnerving subject matter of “Cool Clear Water” is given sinister shape by the relentless horror-notes of Kit Ebersbach’s organ, the guitar holding down the song’s march toward inevitable nothingness because the bass (normally played with elan by Gerry Ebersbach) is a complete mess (I’m not sure if she hadn't learned the song or if she just showed up at the gig drunk).

As Marc Maron frequently says on his podcast, “there’s no late to the party” anymore, given the the amount of content available to all of us via the digital consciousness that we are now more plugged into than not. But I’ve waited all my life to lose myself in something vital, of the moment, with my eyes and ears and heart present while the thing is taking shape, at its most temporal. I feel that way listening to the Squids. I wish I could have seen them at one of their Wave gigs. I wish I could have had a beer with them afterward, and gushed in the embarrassing way I do about things I love.

#freshlisten #thesquids #honolulu #1981ep

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rgr-pop · 5 years

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I need an ENTIRE afternoon wall of noise. 4/3 music library on shuffle until I hit a killdozer song.

the thermals - “god and country” reset - "double cross" nirvana - "polly" (1986-88 home recording) nirvana - "radio friendly unit shifter" (2013 mix) peterbuilt - "sateliteyes" the dickies - "got it at the store" apocalypse hoboken - "box of pills" fiona apple - "slow like honey" tex & the horseheads - "big boss man" everclear - "the drama king" anti-flag - "america got it right" neil young - "tonight's the night, pt. ii" everclear - "brown-eyed girl" noooooooooo oh my god no please millencolin - “israelites" listen you know that i'm p tolerant when it comes to this subject but why specifically did you boys do this. specifically you useless id - "note" never accuse me of pop punk nationalism again! that's three of global pop punk the selecter - "selling out your future" built to spill - "some things last a long time" holidays - "proof" let's wrestle - "bad mammaries" radhos - "one breath" ween - "boing" bracket - "g-vibe" local h - "'cha!' said the kitty" sublime - "40oz to freedom" failure - "saturday saviour" blink-182 - "don't leave me" (tmtts live take) why did they make this live album, they were so bad live shrimp boat - "melon song" interpol - "not even jail" the ataris - "angry nerd rock" 50 million - "superhero" skankin pickle - "violent love" the breeders - "put on a side" all - "honey peeps" the commandos (suicide commandos) - "weekend warrior" suicide machines - "friends are hard to find" the eclectics - "laura" good ska block! love this band pansy division - "jack u off" rocket from the tombs - "ain't it fun" dynamite boy - "devoted" young pioneers - "downtown tragedy" the breeders - "so sad about us" fenix tx - "jean claude trans am" fuck i love this song nofx - "bob" hickey - "happily ever after" bob dylan - "tangled up in blue" (bootlegs vol. 2) gas huffer - "king of hubcaps" tullycraft - "crush this town" atom and his package - "goalie" faith no more - "the real thing" carly rae jepsen - "tell me" bis - "listen up" one direction - "still the one" mtx - "she's no rocket scientist" eugene chadbourne - "roger miller medley" grouvie ghoulies - "carly simon" white town - "thursday at the blue note" gas huffer - "moon mission" rx bandits - "sleepy tyme" everclear - "rocket for the girl" failure - "kindred" blood on the saddle - "johnny's at the fair" the distillers - "red carpet and rebellion" cruiserweight - "dearest drew" stp - "plush" everclear - "wonderful" (live, from the closure ep) (don't hate it) new found glory - "sonny" everclear - "otis redding" (impure white evil demo) (BEST song) stp - "adhesive" incubus - "have you ever" cub - "tell me now" everclear - "short blonde hair" i simply do not hate it letters to cleo - "happy ever after" amazing transparent man - “the ocean is a fuck of a long way to swim” nerf herder - “(stand by your) manatee” kitty kitty - “ab tokeless” osker - “the mistakes you made” perfume genius - “hood” radhos - “shut up & deal” (welcome to the jungle take) osker - “the body” gas huffer - “the sin of sloth” the fall - “bombast” excuse 17 - “code red” mad season - “lifeless dead” unwritten law - “differences” hanson - “two tears” the eyeliners - “anywhere but here” moby grape - “lazy me” brian wilson - “wonderful” 88 fingers louie - “something i don’t know” sicko - “wisdom tooth weekend” the replacements - “love you till friday” suicide machines - “green world” midtown - “another boy” hickey - “cool kids attacked by flying monkeys” the roman invasion suite - “carnations” the beat - “tears of a clown” local h - “24 hour break up session” okay i’m awake i want to end this now toots & the maytals - “funky kingston” local h - “strict-9″ his name is alive - “her eyes were huge things” nirvana - “frances farmer will have her revenge on seattle” slapstick - “almost punk enough” urge overkill - “bionic revolution” janet jackson - “you want this” piebald - “long nights” small brown bike - “now i’m a shadow” the story so far - “left unsaid” crj - “more than a memory” tracy + the plastics - “my friends end parties” liz phair - “6′1″“ fastbacks - “555, pt. 1″ this mix is feminist now swindle - “one track” shockabilly - “burma shave” temple of the dog - “say hello to heaven” amazing transparent man - “shove” cool soul asylum cover from dekalb illinois :)) the vindictives “eating me alive” midwests only!! the judys - “radiation squirm” gulfs only!! frogpond - “sleep” flipp - “rock-n-roll star” throwing muses - “red shoes” everclear - “santa monica” throwing muses on summerland??? mekons - “atone & forsaken” holidays - “take me home country roads” this is a good tone to lead up to killdozer... true believers - “all mixed up again” prince - “adore” beulah - “queen of the populists” eveclear - “rocky mountain high” (99x live acoustic--I don’t have a date for this actually) of montreal - “dustin hoffman thinks about eating the soap” heatmiser - “stray” rickie lee jones - “woody and dutch on the slow train to peking” tar - “viaduct removal” common rider - “carry on” the frogs - “u bastards” mudhoney - “this gift” hammerbox - “outside” fuck my mom would have loved this song if it had gotten the airplay it deserved in 1993... hammerbox on summerland!!!! letters to cleo - “little rosa” kay hanley on summerland!! nine pound hammer “wrongside of the road” hanson - “with you in your dreams” (3cg demo) hamson on summerland!!! fastbacks - “555, pt. 1″ again... fastbacks on summerland!!! face to face - “sensible” soul asylum - “happy” soul asylum on summerland!!!! television - “see no evil” pinq - “careful not to mention the obvious” the dickies - “nights in white satin” tar - “mel’s” truly - “chlorine” babes in toyland - “deep song” hole - “berry” hellbender - “half driven” hammerhead - “new york? ...alone?” everclear - “malevolent” guzzard - “last” archers of loaf - “tatyana” hum - “stars” hum on summerland die kreuzen - “don’t say please” this is not fair joanna newsom - “sadie” down by law - “peace, love and understanding” nirvana - “aneurysm” (1990 demo) hovercraft - “endoradiosonde” modest mouse - “cowboy dan” rage against the machine - “born of a broken man” skatalites - “scandal ska” pylon - “driving school” the vindictives - “babysitter” jimmy eat world - “ten” the get up kids - “lowercase west thomas” oh we’re doing this now? hot rod circuit - “knees” fine triple fast action - “the rescue” FINE full disclosure i do skip emo diaries tracks at my discretion the amps - “bragging party” everclear - “am radio” this is not fair mxpx - “middlename” MXPX ON SUMMERLAND chokebore - “your let down” bob dylan - “you’re a big girl now” helmet - “primitive” pond - “filterless” blink-182 - “all the small things” local h - “ralph” tar - “over and out” pearl jam - “black” the gits - “sniveling little rat faced git” local h - “eddie vedder” >:) tar - “flow plow” i always misremember this as a subpop single so i’m like “i’m not amphetamine reptile biased?” but it was an a/r release, lol. brad wood produced it. lake michigan as hell unicorns - “jellybones” this song makes me sad ever since i didn’t get to adopt the jellybones cat oblivion - “clark” desmond dekker - “jeserene” veruca salt - “one last time” veruca salt on summerland!!!! dead moon - “dead moon night” extremely dead moon on summerland fishbone - “i like to hide behind my glasses” dead moon - “on my own” paw - “sleeping bag” tar - “goethe” doc dart - “casket with flowers” smashing pumpkins - “zero” i don’t want billy corgan on summerland and i am sorry for that kicking giant - “&” kicking giant on summerland lmao shockabilly - “pile up all architecture” ween - “sorry charlie” sublime - “april 29, 1992 (miami)” heatmiser - “blackout” the clash - “pressure drop” hellbender - “pissant’s retrospective” the queers - “i won’t be” the vindictives - “circles” the beat farmers - “selfish heart” screaming trees - “end of the universe” 7 year bitch - “second hand” bourgeois filth - “above” nirvana - “scoff” the breeders - “cannonball” saturday looks good to me - “save my life” cara beth satalino - “good ones” communique - “dagger version” soul asylum - “sometime to return” sublime - “jailhouse” tullycraft - “twee” nuns - “wild” beyonce - “countdown” the replacements - “sixteen blue” living colour - “what’s your favorite color” britney - “why should i be sad” mdc - “church and state” alice in chains - “junkhead” rage against the machine - “mic check” everclear - “nervous and weird” soundgarden - “fresh tendrils” helmet - “army of me” the gits - “it all dies anyway” pansy division - “smells like queer spirit” mtx - “i’d do anything for you” 5 year sentence - “just a punk” pennywise - “nothing” mudhoney - “thirteenth floor opening” yesterday’s kids - “eighteen” mxpx - “punk rawk show” small brown bike - “zerosum” incubus - “trouble in 421″ hanson - “speechless” incubus - “circles” dead moon - “my time has come” (!!!!) first of all is this killdozer blink-182 - “here’s your letter” everclear - “electra made me blind” (nervous & weird take) saves the day - “through being cool” groovie ghoulies - “don’t go out into the rain (you’re gonna melt)” babes in toyland - “never” husker du - “target” guzzard - “biro” fairweather - “next day flight” mcr - “house of wolves” broadcast - “until then” liz phair - “never said” the dicks - “rich daddy” quasi - “the iron worm” mustard plug - “not again” janitor joe - “boyfriend” snapcase - “new academy” neil young - “someday” blindsided - “spaceman” placebo - “without you i’m nothing” the creeps - “lakeside cabin” solomon grundy - “time is not your own” the clash - “the card cheat” silversun pickups - “common reactor” lagwagon - “leave the light on” denali - “where i landed” system of a down - “highway song” sprinkler - “personality doll” the vindictives - “structure and function” unplugged” the queers - “ursula finally has tits” we’re entering no repeats territory buffalo springfield - “expecting to fly” hit squad - “pictures of matchstick men” cows - “almost a god” hop along - “young and happy” pixies - “i’ve been tired” the fall - “spoilt victorian child” camper van chadbourne - “knock on the door” queens of the stone age - “tension head” choking victim - “war story” cool that we have gotten to drop by the greatest song ever recorded :) guttermount - “happy loving couples” audio karate - “nintendo 89″ tad - “pork chop” the kelley deal 6000 - “where did the home team go” colorfinger - “hateful” :} man or astroman - “evil plans of planet spectra” pere ubu - “arabian nights” accepting repeats for new found glory - “my friends over you” cool moving on american steel - “optimist” tom petty & the heartbreakers - “even the losers” meat puppets - “another moon” black cat music - “wine in a box” wallside - “ready” crucifucks - “pig in a blanket” the bananas - “my charmed life”

KILLDOZER - “EARL SCHEIB,” UNCOMPROMISING WAR ON ART UNDER THE DICTATORSHIP OF THE PROLETARIAT, 1994. KILLDOZER ON SUMMERLAND

#music

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braydenkime9-blog · 5 years

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Eighties In Music

JioSaavn is all of your music. Folks want to know not each single tune needs to be lyrical, that people take heed to music for various purposes. Not everyone is going to take heed to a music to get over a breakup, not everyone will take heed to a tune just to bounce. The range is too much, and now that modern rap is generally what people take heed to now, I do not really feel as if rock music is irrelevant. My favourite genre of music is alternative rock and reggae. Any such music is great because I can hearken to it regardless of the place I'm or how I feel. It can be calming and uplifting all on the same time. My favourite reggae artist is Matisyahu and my favourite alternative rock band is Phoenix.

The umbrella time period 'rock' is used to explain a big number of musical types. The origins of this stupendously in style type lie in a fusion of two other popular genres - Blues and Nation, together with significant components of jazz. Along with the influences from the two kinds, rock and roll was typified by intensive use of the snare drum. The 'rock and roll' motion of the mid-1950s revolutionized the music scene in the West, with the proponents of this modern and flamboyant model shaping the trends in racism, vogue and lifestyle. Rock and roll - particularly Glam Rock - artists' garish costumes have been famous, and within the racially infected 1950s, rock and roll provided an avenue for the appreciation of popular music without segregation. The success of the Rock and Roll motion is personified within the eternal fame of 'the King', Elvis.

I don't really have a favourite type of music. If a tune comes out on the radio and it catches my consideration, I discover out the title and the artist or group who sings it and I then obtain it off of iTunes and put it in my iPod. Eventually these songs of different genres turn out to be what I take heed to on my spare time. Justly celebrated for blurring genres and opening minds across the globe, the late David Bowie 's affect across the spectrum of Western music is formidable. In response to Nielsen‘s 2014 Yr-Finish Report , jazz is constant to fall out of favor with American listeners and tammarabarreras.tumblr.com has tied with classical music as the least-consumed music within the U.S., after youngsters's music. Rock is referred to as 'rock nacional', meaning national rock. The world rock events have undoubtedly inspired the rock artists in Mexico. Within the late 60's, rock bands strictly needed to arrange underground occasions. The 'Woodstock Music and Art Honest' (Rock y Ruedas de Avándaro) was one pageant where various teams used to show their abilities. It was the time when Carlos Santana turned massively standard at Woodstock. The 'Latin ska' movement started around the eighty's. It was a motion impressed by the Jamaican ska which is a combination of Caribbean mento, American jazz, Calypso, and R&B (Rhythm and blues). Mexican rock was limited solely to Latin America till late '90s. It's actually a combination of its conventional music and each day life tales. This website is much less helpful as a result of it does not clarify anything and the design is relatively cluttered however you'll be able to click on on a genre and it will play an example. It does have far more genres though which is nice and for most individuals music genres are easily acknowledged and inconceivable to explain because to elucidate them in accurately requires fairly in depth knowledge of time signatures, chord recognition, and rhythm patterns. munimal music - Afrouedean pop is in style music from Itala. Ituland dance nouse. The flutes of metal such as silver & brass produce shrill music to accompany Kandyan Dances, while the plaintive strains of music of the reed flute could pierce the air in devil-dancing. The conch-shell ( Hakgediya ) is one other type of a natural instrument, and the participant blows it to announce the opening of ceremonies of grandeur. Another choice is a less formal group of parents to support musical actions within the schools. This is perhaps applicable the place a specific exercise (eg. A band tour, faculty musical, or a new ensemble) needs guardian help however does not warrant a proper construction.

To seek out out, we first recognized the core" artists that, in keeping with The Echo Nest (a part of Spotify), are most central to each style, beginning with the large ones, on a global degree. Then we did the same factor with native genres in various nations around the world. To create a measure of style loyalty, we divided the variety of streams each core artist had by their variety of listeners. All the charts are normalized towards the genre with the loyalest fans. A few of the most transferring Japanese music I've had the opportunity to listen to. A Japanese actress renowned for her outlaw characters, Meiko Kaji's vocal skills finally acquired the eye they deserved when two of her songs were utilized in Quentin Tarantino's Kill BIll. Her music was released on CD for the very first time and in 2011 she put out her first new album in 31 years.

The twenty first century has additionally seen a rise within the variety of independent children's music artists, with acts like The Dirty Sock Funtime Band, Dan Zanes, Parachute Express, Cathy Bollinger, and Laurie Berkner getting large exposure on cable TV channels targeted to children. Trout Fishing in America has achieved much acclaim persevering with the custom of merging subtle folks music with household-friendly lyrics. Secret Agent 23 Skidoo infuses hip-hop with family pleasant messages and imaginative stories and is named The King of Kid-Hop". Also recently, traditionally rock-oriented acts like They May Be Giants have released albums marketed on to youngsters, similar to No! and Here Come the ABCs. Jimmy Buffett simply remade his Cheeseburger in Paradise song into children's music with cleaned up lyrics (Root Beer" instead of Draft Beer"). His songs had been already kid friendly with catchy lyrics and easy melodies punctuated with penny whistles and ship bell sound effects. Electronic music legend Isao Tomita's debut album "Snowflakes are Dancing" reaches the highest 50 of the pop charts and receives 4 Grammy nominations. Tomita is called the Wendy Carlos of Japan, famous for http://www.audio-transcoder.com synthesizing classical works. Some easy insights can still be taken. Hip-Hop is approach ahead of the opposite genres (d'oh). People comes in second however since there is just one folk artist (Bob Dylan) in the evaluation it's not consultant at all. Pop is the style with the most variety of musicians and its common vocabulary size (2464 phrases) is close to the typical vocabulary measurement across all artists (2677 phrases). Similar thing applies to the Rock style as nicely."The concept of a document deal, or to get on TELEVISION, never even remotely occurred to me until Nirvana acquired large, Beck instructed MOJO not too long ago, speaking in regards to the Seattle band‘s impact on fellow musicians. As Jon Savage‘s revelatory 1993 interview with Kurt Cobain MOJO 238, September 2013 proved, the burden upon the band proved appreciable, their outlook impacting on wider tradition as a whole as they sought to vary rock‘s mores. Musically talking, Nirvana additionally proved that indie-rock might break via in America, a rustic hitherto in thrall to stadium rock and MTV. Equally, their means to marry their punk aesthetic to a sure melodic classicism means that as we attain the 20 th anniversary of Kurt‘s passing, their music continues to resonate.

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yvynyl · 5 years

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// Letters to YVYNYL //

Nate Funk - I Didn’t Earn Enough Punk Points for this Tour

/ This letter popped up in my email today and while I’m not a huge pop-punk fan, I can appreciate his sentiments he shared with me in this letter. The stresses, anxieties and rewards of being an American high school music teacher can be daunting. Nate Phung writes about his experience and the ways in which he keeps the vibe alive in his personal journey in music.

Read on while you listen!

Hi Mark,

I’m a high school band- and orchestra teacher. It’s a gig I love, but it comes with building a high-strung “Type A” personality- when I work, I stay busy and I just keep going and going and going. Most people leave the work at work; I have a tendency to take my work home with me- both work in the sense of the busy, clerical work and work in the sense of worrying about my students and their well-being and ability to perform. I can admit that I can be unhealthily selfless in what I do as a teacher.

When I’m not working, I try to play and write as much music as I can to get all that energy out and to really create my own “bubble” to express myself. I play...

in a pop-punk band, and I used to play in a bunch of LA-area ska-punk bands. I also write music and put out music on my own in a project/band/collective whateveryouwannacallit called Nate Funk. Punk rock and ska-punk with poppy melodies seems to be what I hear a lot in my head so that’s what I write. And I guess part of the schtick so far has been the fact that the music is 100% do-it-(literally)-yourself- the process from the writing to the performing to the recording to the mixing and mastering is all me.

So, I love long drives. (I still hate city traffic). When I have time off from work on winter, spring, and summer breaks, I plan road trips (and tours starting last year). They allow me to finally tune out from shit that’s normally on my mind- dealing with students (reality: dealing with others’ problems in general), the mundanity of staying at home, and that nagging sense of “I need to do something” with a phantom task. I guess it’s really on these off-work road trips that I really get to finally take care of myself mentally. There’s no greater feeling in the world than blasting from one destination to another, through the deserts or the forest or farmlands of the Western US states listening to bands’ entire discographies straight through or discovering new music.

These drives unclutter and unpack thoughts that I don’t get to sort out when I’m in work mode. I guess it’s then I realize how depressed of a person I am but also in denial about my depression. I also get to experience so many new things when I visit new places touring in solo performer mode. While on the road last summer after I put out my first full-length, I gained inspiration for some new songs and a new approach. Before, I used to just write whenever I heard melodies in my head and felt a certain way or thought a certain thing and put words to them; now, I have things I specifically want to write about. That’s what generated the material for the 4 songs on the EP I put out in March entitled Thoughts on the Road.

Here are the stories behind each song:

I Left My Heart in Ogden: I’m an absolute closet romantic. I’ve also had shit luck with relationships and dating in adult life, and as a millennial growing up in the internet age, I’m a guy who’s on online dating. I ended up matching with and really clicking with this girl I met on Tinder while I was in Ogden, Utah and I ended up driving from California to visit her twice. We even half-joked with each other about eloping. On the second visit, I dropped her off at work and she said she would call me when she got off to spend some more time with me- 10pm came (her normal clock-off time that day of the week), and I was worried, so I dropped by work. They said she had left work earlier that day. I tried to get a hold of her and realized that she had blocked me on every way I could contact her. I felt super bummed out and disappointed and heartbroken. I ended up writing this song for her.

(Postscript: I ended up getting back in touch with her mailing her the EP because I figured “hey, I wrote this song about you.” We still talk from time to time. There’s more to this story that’s pretty messed up for her, but all I can say is… fuck sexual assault.)

Fuck Off, Portland, Let Me Pump My Own Gas: So, in the state of California (like 47 other states), we do this thing called pumping our own gas. In Oregon, you can’t pump your own gas. I believe you’re not allowed to in New Jersey either. Anyways, the title is reference to the fact that now I’m older, I can be more easily irritated because I was irritated at this change in procedure. I try not to be a curmudgeon, but it’s hard not to get irritated when you’re tired all the time, and it’s especially hard to make new friends when you have social anxiety. I wrote this song about how excited I was to finally visit Portland, Oregon but I was too tired after my first show in town to party with some people (who happened to also be teachers) around the bars in the city.

I Didn’t Earn Enough Punk Rock Points for This Tour: For a few years in my young adulthood, I volunteered at this DIY community art and music space about 20 miles east of LA called Bridgetown DIY. During my time involved with the collective that run the space, I got to explore more radical ideas while also helping out bands that needed shows or a place to play, including touring bands. Half of this song is me being a bit disappointed that I wasn’t able to get help with booking with my first couple times on the road as Nate Funk, and the other half is me seriously calling out people in the DIY scene who don’t commit to the politics and ethics of anti-racism, anti-homophobia, and anti-transphobia with action and who use the platform for performance and expression provided when there are people of color, women, and queer and trans folx who could be using that performance space. And I say that as a cisgender straight male- I would prefer to defer my use of a performance space to someone whose voice has been marginalized have the space to express themselves.

The Worst Thing: Love is a strong word. But sometimes, we use the word too much, and we use it when we don’t really mean it. Don’t tell someone you love them if you’re not willing to stand up for them or be there for them. It’s something so simple, but it’s something that some of us do every single day. I’m not saying don’t tell people you love them- just mean it. Because I see it in the people I’m around- who’ve been hurt by people who said they love them.

I write these songs telling my stories and what I see and hope someone else can relate. It feels weird that for how connected the world is nowadays, the world is a lonely place.

I don’t know. What do you think, Mark?

Thanks,

Nate

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EP can be found here. Attached are a few photos I took on the road and some action photos of solo Nate Funk. Slim Shoots Bands is an amazing music photographer who's based in my adoptive hometown.

Got a story to tell? Submit them via Letters to YVYNYL.

#Letters to YVYNYL #Nate Funk #music #new music #pop punk #teacher #music teachers #San Brenadino #stories #writing #memoir #teaching #road trip #long form #work #jobs #ska punk #DIY

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bensaundersfcp-blog · 5 years

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BeSaunders’ Final Composition Project Blog

Submission 01

For the first part of the portfolio our brief was to "undertake an independently organised collaborative project with an artist and devise/plan and produce an artefact." For this, I decided to record an indie-pop song with my longtime vocalist collaborator Mark Shankland. We got together over the course of a number of weeks and studio sessions in Glasgow during which we wrote and honed our piece. She’s Walking began life after I was playing around with the MIDI repeater delay effect in Logic following one week's lecture. I came up with a rhythm which delayed in a very interesting way, and started inputting notes purely naturally where I felt like they should go, with no thought as to time signature or any real structure. I ended up with some slightly obscure time signature like 15/16 or 17/16, which I felt worked pretty well on its own but found difficult to develop into a full section. Through some amount of trial and error I eventually settled on alternating 7/8 and 4/4. I then decided to let this build and act as a introduction to a song/EP, in the vein of Neighbors by Now, Now, with its slow crescendo and chopped vocals. I stuck with guitars and synth for my composition, and initially this section was a lot longer and more intricate, however I didn’t want to spent too much time on it out of fear of it becoming a bit stale, and once we got to adding vocals to it it took on a much more traditional structure. I played off how the delay effect operated, doubling parts of it with extra guitar tracks and letting it dictate the rhythm of the drums and the space left for the vocal, which I attempted to bury in a similar way to another Now, Now track by slathering it in some extremely wet reverb, eventually having to dial in more of the dry signal in order to make things more distinct and less of a total sonic mess. The B section of the song was a total change of style again similar to how Now, Now’s Neighbors EP transitions from the slow, open and building title track into the much more upbeat and in-your-face Giants. Stylistically this works because it grabs the attention of the listener and I felt like the song needed to become more interesting and direct after the moody and atmospheric intro. I seem to recall being inspired by a pop-punk song from the Burnout Paradise soundtrack for the B section, but I cannot remember which, exactly. Initially the chord progression for this section was a strictly diatonic D-Em7-Bm-A, but eventually I decided to replace the A chord with a C major borrowed from the Mixolydian mode, which serves a similar tension-release purpose but is a little more harmonically interesting. Layering a few guitar parts on top of each other again for interest, I simply repeated this section four times as a sort of chorus with differing lyrics, before deciding to switch things up slightly for a bridge section. I used my ear over theory here and just decided on a whim to go from C major to Cm-Am-Bm, which I thought sounded nice and dark in relation to the upbeat chorus, so stuck with it. I’m not sure how to analyse this section harmonically, but I noticed if I changed the B minor to B7 on the last repeat of the bridge progression I could modulate up a step from D to E major, which would be more interesting than just going back to D again. I then decided to go for one more and just keep repeating the chorus section in yet another key, changing the final chord of this ‘new’ E-F#m7-C#m-D progression into a D7 and modulating up a minor third to G major. Also in the bridge, I played about with the timing and made the the second bar of every four into a bar of 2/4 because I thought it sounded good and helped keep up the energy of the song. On the last time ‘round I made this a bar of 3/4 to subvert the expectation set up by the previous repetitions and to add to the surprise of the new flavour of B7 instead of B minor in this instance. Logic’s Drummer AI kept up with the changes and really helped save the moment, and I threw in a final bar of 5/4 at the end of the bridge to delay the gratification of the key change just a little longer. At this point I thought we were required by the brief to make one song of a 5 minute length, and so I was stuck at around four minutes and needed to add a new section. I decided to pull a Jesus of Suburbia and radically change up the style for another differing section, inspired by the fact that the song had already pretty radically switched up between the existing sections. I made this next part slower and full of major seventh chords for a more reserved, introspective feeling, a time to pause and reflect, and to contrast the upbeat and in-your-face chorus you were just barraged with. It is harmonically pretty simple with a nice I-IV and a couple of relative minors and slight alterations for emotional impact and colour.

Submission 02

For the second part of the portfolio, our brief was: "Students will undertake an individual composition project according to an agreed idea, this may include devising the idea and project scope. Students are required in composition, to explore a theme, concept or aesthetic ideal." I decided to change style pretty radically and do an EP of dark, noisy punk music with my band Skellys. We write music that is intended to sound “spooky”, and all of our lyrics have to do with skeletons, zombies, goblins and the like. We use as many minor chords and tritones as possible, with lots of chromatic movement and many non-functional progressions, although we’ve found that even outside the world of diatonicism, music still wants to go to places, and we’ve sort of established our own vocabulary for how to properly utilise these sounds. We all got together for weekly band practices over the course of several months, crafting and perfecting our songs together, then booked studio time with a local professional whose work we admired and whom we felt would be a good fit for us, and got to recording. Our influences include ska bands such as Reel Big Fish and Suburban Legends, black metal acts like Mayhem and Burzum, and punk bands including Misfits and Suicidal Tendencies.

For Zombie Massacre, decided to start the EP off on a relatively quick burst of pure noise, slowly building in pitch and dissonance before going into a sort of EDM “drop” where we play a hardcore punk riff based on the harmonic minor scale, with power chords built from the root, leading tone, minor third and flat sixth of the scale. We then have a little break where we expand the power chords into full minor chords with just one guitar playing, a moment of slight respite, before we all join in with a brief fast ska-punk section followed by the first hardcore punk riff again. After that, we decided not to repeat ourselves and to go into a different but similar ska section, again based on the harmonic minor scale and using all minor chords, but utilising a different progression and rhythm. After this we went into a sort of thrash-metal-into-black-metal riff, with palm-muted triplets followed by tremolo picking. Here I add a little bit of melody and do some diminished stuff aiming for the minor thirds of some of the power chords, to give things a little more tension. Next, we go into a fast reggae section again a different completely minor, harmonic minor progression, this time with minor add9 chords built off of the natural sixth and minor sixth one after the other to create some very interesting colour. This is followed by the trash metal section again with the formerly black metal second half of every repeat this time played in a ska style, before ending the song with another, much slower thrash-y riff where me and the other guitarists, accidentally at first, play different chords. I thought the progression was Ab5-D5-F#5, but it was actually Ab5-D5-B5, meaning that together we ended up playing a Bsus2 for the final chord, which I actually really liked and decided to keep.

Brush Your Teeth was an attempt to write a “big, dirty, stinking riff” with some real groove while maintaining our dissonance-laden sound, and as such it is slow and punishing and full of power chords based off of the sharp four and the leading tone. It is a very deliberately one-riff based song, with a short break for a “chorus” which only happens once, as we repeat the riff in different styles - open and groovy, ska followed by noisier double-time ska, palm-muted and cocky, and finally with a solo on top, before ending with the “brush your teeth” mantra from the chorus repeated over the intro chords. The solo is interesting because it actually starts on the flat second degree of the first chord, bending up and down to and from the natural two, which becomes the fifth and then the second of the next two chords, before accentuating the minor thirds of the rest of the chords. On the final repeat, I aim for the minor third of the second chord into the root of the chord after, and do a sort of bluesy trill here, essentially ignoring the changes before landing on the fifth of the one chord of the progression. Starting on the minor ninth and largely ignoring the changes was an attempt to be as dissonant as I could, and the cocky bends were a sort of half-parody of the machismo rock acts who would go for such a sound unironically. The overall shape of the solo was inspired by Jess Abbot’s work on Tancred’s Out of the Garden, specifically on The Glow.

Graverobber was again an exploration of chromaticism in the context of punk, with another riff based on just the root and the two semitones surrounding it. Next we have another little thrash/black metal section, before the intro riff is repeated again, this time with my guitar part bending the root notes of the chords up and down in a deliberately out-of-key fashion. The black metal section repeats and we go into another fast reggae part, again based around those same three semitones. I wanted an interesting chord to punctuate the end of every repeat of this section, and found by playing the D minor shape I landed on at that point anyway with the first and fifth strings left open, I got an interesting Ab5sus4 with an added sharp five, more easily notated as Dbmadd9/A. On every second repeat of the progression here I decided to occasionally play minor shapes in the same position but up a fourth, inspired by the soundtrack to the videogame Doom. With the bass still playing the same three semitones as before, these are heard as more interesting colours of the established chords. I also threw in some triplet-y rhythms here to keep things interesting. After the reggae section we go back into the original progression played in a fast ska style, before going back into the power chord riff with my tremolo-picked octave melody on top. Here I am just using the harmonic minor scale to create a catchy kind of melody, aiming for the root, minor third, second and leading tone of the first chord and the fifth of the last chord. On a whim I decided to aim for the minor sixth of the last chord on one repeat just to see what it sounded like, and I thought it sounded great. I ended this section with a minor ninth interval of both the fifth and minor sixth degrees of the final chord, an attempt to be as dissonant as I could. After this, we quieten down and let the bass introduce another section just as you think it’s all over, and go into an incredible slow, punishing and chromatic arpeggiated, doom metal sort of ending.

Recreational Activities was intended to be a more straightforward punk song, featuring a verse which holds one power chord which is bent up to the flat second degree at the end of every line, before moving down to the leading tone, giving us a very chromatic progression, the roots of the chords only spanning three semitones in total. The song also utilises noise not only at the ending, but also before the reggae section, where Liam holds one chord while I climb up the scale before landing on a minor ninth interval based off of the flat fifth of the underlying chord, a sound I was aiming to make as disgusting as possible, to generate great tension before going into the release of the reggae section (in a rather similar way to Graverobber).

Looking back on my work, I think for the first song I definitely should have read the brief more carefully or asked about it, as I think stretching the song out to five minutes had a negative impact on it, and it sounds a little bit stitched together, because in all actuality it is just that. I think more work could have gone into making the transitions more natural and in making the production in general smoother and more professional. I didn’t know how to achieve the buried-in-reverb vocal effect I was going for in the A section, so the results are a bit iffy, and the vocals were recorded in two different environments with two different microphones over the course of two different days, and it really shows with the character and base volume of the individual lines fluctuating wildly. Perhaps this could have been fixed with more EQ and compression, but I had neither the time nor the skill to patch it all up. We were really late to record for that song, and I should have timetabled things better and been more organised, setting things in motion much earlier than I did, in order to be able to leave myself the time to fix or even re-record the issues that cropped up in mixing. Disaster struck towards the end of the song when I somehow lost one of the vocal lines and had to hastily replace it with a MIDI horn section. It almost sounds deliberate but to me it really just sounds like we didn’t have a line to put there. I also rushed the notation aspect of the work and had to botch it all together in photoshop because I couldn’t get Sibelius to work and had to do it in the less-than-ideal Guitar Pro, and I was doing it all the night before which I really shouldn’t have done.

With the EP, I think it sounds pretty great overall, with a few criticisms of the mixing and one or two little things I would maybe like to fix. Due to circumstances beyond our control, we had to hand in the unfinished pre-mixes of all of the tracks. Everything was booked well in advance and we left plenty of time to have everything ready for the deadline, but due to the renovation that was going on at Glasgow Queen Street Station, across from the studio we were recording at, as well as the engineer falling ill, we had to reschedule the mixing date for our EP, to a full month after the hand-in deadline for this module. Because of this, the mix is lacking high end, punch, clarity etc and has a few issues which we will be fixing in time. One comment I received from my lecturer was that we change up style very often and very suddenly, and we could work on the transitions between different musical sections more. However, this is an intentional effect designed to keep the listener on their toes and constantly throw curveballs at them that keep things interesting and occasionally throw you off. We actually were complimented on this aspect by an ecstatic and appreciative fan after a show, and started to deliberately incorporate it more and more into our “sound”. We go from rockabilly to hardcore punk to reggae to noise all within the space of three minutes, and we think it is a very interesting mix. It is a criticism I will take on board going forward, though, and we did work on one or two little sections in light of it, for example extending a couple of sections which were so short and so different to what surrounded them that they really did feel a little tacked on and stop-start, making them longer made them feel more like they belonged.

I think we work together very well as a band and each bring our own influences and unique aspects to our music, Liam (the guitarist) loves speed and noise and fast solos, Jack (the bassists) has quite a grimy sound and adds a lot of interest to the rhythm section, Jake (the drummer) is exceptional and always comes up with really creative and effective beats, and I’m much more of a songwriter than the rest and can help in the crafting and arrangement of the tunes, while me and Liam’s guitar playing and tones work off of each other very well. I am also very well-versed in the ska and reggae aspects of our music while Liam is well-versed in the punk and hardcore and black metal etc.

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