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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Wed Feb 20, 2013 7:36 pm 
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Doom Metal,
Far too slow,
And so the adrenaline
Just doesn't flow;

Where is the power,
Where is the glory?



In any case, enough of this dour, mellow doom metal ****.


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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Sat Feb 23, 2013 8:45 pm 
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Wedard - Auferstanden aus Ruinen



yeah a depressive black metal cover of the anthem of my birth country, i guess....

speaking of covers



Darkthrone - Dead Early



awsome song from the upcoming album.

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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Thu Feb 28, 2013 5:36 pm 
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Hey, fuckers, SETI.



Also, new Holocaust.

So, extraterrestrial intelligentsia and theological love songs. What more could you want?


(Incidentally, counting the coming Fates Warning and Devin Townsend albums, it seems that most of my favourite bands are putting out albums in the near future, other than OSI, who released one last year. Pure '80s metal can get fucked.)

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"The thing [calculus] has taken such a hold of me that it not only goes round my head all day, but last week in a dream I gave a chap my shirt-buttons to differentiate, and he ran off with them."

- Friedrich Engels.

Vocatus atque non vocatus Deus aderit.

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Was an Admin when RM was important. Was since confused with Negative Creep for being active.


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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Fri Mar 01, 2013 6:06 pm 
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Worst **** ever:


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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Mon Mar 04, 2013 12:31 pm 
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You were wrong.

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"The thing [calculus] has taken such a hold of me that it not only goes round my head all day, but last week in a dream I gave a chap my shirt-buttons to differentiate, and he ran off with them."

- Friedrich Engels.

Vocatus atque non vocatus Deus aderit.

2x Security Reasons. DANGER DANGER.

Was an Admin when RM was important. Was since confused with Negative Creep for being active.


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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Fri Mar 15, 2013 12:06 pm 
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Zero will be proud, I decided to stop being a little ***** about the whole John Arch getting kicked out thing and get into Alder-era Fates Warning properly. His voice on the early material is pretty grating compared to APsoG but it's growing on me ever so slowly.

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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Fri Mar 15, 2013 5:18 pm 
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Been getting into Conan lately.



It's like being buried alive. In riffs. Or something, I didn't really think this through.
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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Thu Mar 21, 2013 3:44 am 
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[quote2="Zanthorus"]Zero will be proud, I decided to stop being a little ***** about the whole John Arch getting kicked out thing and get into Alder-era Fates Warning properly. His voice on the early material is pretty grating compared to APsoG but it's growing on me ever so slowly.[/quote2]
To be honest, I think that his earlier voice, though flawed, is pretty much perfect for 'Perfect Symmetry.' I'm not convinced that his APSoG-era vocals would have fit it nearly as well, while John Arch would have also been unsuited to the atmosphere (imagining him on 'Static Acts' or 'Part of the Machine' results in something rather awkward, for example.) I mean, while PS-Alder's vocals can often get somewhat strained, and the later-subtle transitions within lines seem a fair bit more laboured than in APSoG (quite clear in, for example, the first verse of 'Through Different Eyes,' as compared to APSoG part IV), this actually seems to work in its favour in quite a few ways, because it complements the general way of listening that PS requires.* PS is an album about emptiness, and the general situation of alienation and lack of relations for one within it, and generally speaking seems to be most effective when listened to as a process of 'emptying out' the listener. Alder's vocals there tend to have a sense of uncertainty and instability to them (not simply referring to any lack of technique, but their general tone and effect), and it feels like what's strongest about them is often not so much the vocals by themselves as the gaps which they leave, with the waxing and waning of these creating a fairly strong sense of active emptying.

So, for example, in 'Part of the Machine,' the general sense of emptiness is probably at its most acute during the higher vocals (eg. 'A harmless voice...'), not so much because of the vocals themselves, as in, say, 'Giant's Lore,' as of the sense of a widening gap which they create. Listening to Alder's vocals from a detached, technical perspective, one can often hear issues with it (although this isn't really my natural way of listening to things, and I didn't really notice it until it came up in a discussion), but that's not a particularly fruitful way of listening to PS, which is probably why it doesn't appeal to the 'no emotion in my metal brah' part of the USPM fanbase. Post-Arch FW aren't really about the physical force of the music or the riffs in the same way that most USPM is (APSoG has more in common with an Emily Dickinson poem than with the USPM-tinged prog of '...And the Devil Cried'), so if there isn't an emotional engagement in the listening then there's not much happening. The technical perspective may well give a bit more security to the listener than PS would allow, and indeed an early Geoff Tate on vocals here would just come off as inappropriate.

Structurally, PS tends to oscillate between the effects of this emptiness on a personal ('Through Different Eyes,' 'A World Apart,' etc.) and social/political scale ('Part of the Machine,' 'Static Acts' (although that's somewhere in between to a degree), 'The Arena'...), and is ultimately a pretty unique and unified album, although I have heard it called a Queensryche ripoff and can only assume that somebody's noticed something that I haven't.

As far as the other pre-APSoG albums, go, I hardly ever listen to 'No Exit' (it sounds like a bit of a transitional album, kind of Alder-Fates' 'Night on Brocken'), while 'Parallels' is an extension of the more personal and interpersonal aspect of PS (eg. 'Through Different Eyes'), in some ways a development towards the style of APSoG - while it improves on songs like 'Through Different Eyes,' it ultimately doesn't have either the unification or general strength of PS, with its song structures sometimes seeming a bit enforced and not quite organic enough, while it also tends towards a more song-oriented style of writing; at the same time, songs like 'Life in Still Water' (comparable with 'Static Acts'), 'We Only Say Goodbye' (Matheos apparently liked this a fair bit, according to Arch), 'The Road Goes on Forever' (part of Fates' great-final-song series of 'Nothing Left to Say,' this, 'Afterglow,' and, um, APSoG I guess (well, part XII if you like, either way)), and 'The Eleventh Hour' are pretty great. 'Inside Out' might be somewhat underrated, with its stronger songs including 'The strand,' 'Island in the Stream,' 'Monument' and 'Afterglow;' songs like 'Outside looking in,' 'Shelter Me,' 'Face the Fear' and such seem to suggest that there was a certain idea of where they wanted to go with this album, although this doesn't seem to be realised except as a vague idea as it is, and most of the stronger songs listed above don't exactly fit into this pattern, making it perhaps FW's least coherent album at around this period.

All in all, though, while APSoG is my favourite album by Alder-era FW/by FW/ever, the earlier stage of Alder-era Fates is definitely worth a listen. The general difference between Alder- and Arch-era Fates is that Arch's Fates Warning generally took place from a mythological, epic and collective viewpoint, while Alder-era Fates allowed a shift to a more lyrical, personal mode, from the more dramatic PS to the, as said, Emily Dickinson-esque APSoG. Even when Arch-Fates took on a dramatic perspective, as in most of TSW, it's still of it as an invasive, oppressive force, as compared with the more consistently dramatic 'A Social Grace,' so that even in 'Sympathetic Resonance' it's a tale of the death of the inner child, becoming a stone, the dissolution of society and so on. It's tragic rather than simply portraying a dissolved world, a Fall narrative of sorts, and the alternative presented is generally altruism, generosity, imagination, etc. Ultimately, Alder and Arch are different vocalists who allow different forms of music and thematics, and as such an entirely direct comparison would seem to be missing the point.

But anyway, enough of this cheesy 80's prog ****, have some HEAVY FUCKING METAL.



* By 'way of listening,' I'm referring to the fact that different albums on different themes often also require the listener to take on a different orientation towards them to really experience their full effect. So, for example, focusing on the clash and interchange of layers of music in 'A Social Grace' (eg. the drums sometimes coming into the foreground, sometimes the background, the dominance of the guitars over the vocals in 'In This Place'), or seeing SYL's 'The New Black' in terms of the overall situation of SYL at the time. Hence the phenomenon that sometimes one has to understand what an album is trying to do before one is really able to 'get' it.

PS. I'm proud of you, Zanthorus. You'll go far someday.

_________________
"The thing [calculus] has taken such a hold of me that it not only goes round my head all day, but last week in a dream I gave a chap my shirt-buttons to differentiate, and he ran off with them."

- Friedrich Engels.

Vocatus atque non vocatus Deus aderit.

2x Security Reasons. DANGER DANGER.

Was an Admin when RM was important. Was since confused with Negative Creep for being active.


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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Wed Mar 27, 2013 2:29 pm 
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Tim Finnegan wrote:
Been getting into Conan lately.



It's like being buried alive. In riffs. Or something, I didn't really think this through.


Saw them live half a year ago or so, felt like every fucking molecule in my body vibrated while the skin was being blasted off my skull.

Also:


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 Post subject: Re: Official RedMarx Heavy Metal Thread
PostPosted: Thu Apr 25, 2013 1:38 pm 
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Burzum - My Journey To The Stars



my favourite burzum song.

MayheM - Carnage


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It is true that labor produces for the rich wonderful things – but for the worker it produces privation. It produces palaces – but for the worker, hovels. It produces beauty – but for the worker, deformity. It replaces labor by machines, but it throws one section of the workers back into barbarous types of labor and it turns the other section into a machine. It produces intelligence – but for the worker, stupidity, cretinism.


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