The snare sounds like a cheap bongo & the cymbals like sheets of alfoil.
Yep. He need new skins. Single overhead. Pretty average cymbals.
The distortion seems to be all fizz and no substance was this a pod or something like an emulator?
Crappy Marshall amp unfortunately recorded with an SM57. I wont have that problem with the Fender Metalhead I will have in a month. And the new Jackson guitar.
Bass, where for art though bass? MIA?
Told yah in the intro. No bass. Three-piece. Might have to record one since the kicks are terrible.
The arrangement seems OK for the guitars & the vocal line and the drums pattern is as required for the form, (it's a form that has severe restriction really isn't it!)
The arrangement is boring as. We’re working on that, this is easily one of the most straight forward tracks we’ve done. Check out Genghis Tron and The Dillinger Escape Plan. I think it has the potential to be quite a malleable genre when it comes down to it, though I don’t think I’ve progressed enough to take advantage of that.
The vocal - I have to admit to having said that to me such is...like a bloke having his haemorrhoids removed by a dentist... so, as I don't "get" it, I won't comment.
He’s angry. He’s passionate. He’s yelling but not ‘growling’. Haha.
Isn't post modernism the co-opting of other forms, media (esp mass) and symbols often with an emphasis on photorealism, hyperrealism or surrealism in a self conscious way that is deeply rooted in the ironic?
It’s more than just an art period mate, it’s a multifaceted, technological, economic and socio-cultural progression into a new age. I’m talking more from a sociological view – it’s the idea that no truth is absolute, no reality is absolute, that nothing is certain, chaos (or complexity far beyond our comprehension) is inevitable and the realisation that humankind will not automatically progress towards enlightenment (so you’ve got some nice nihilistic undertones in there).
Chaos and nihilism marked by extreme uncertainty and rapid change across the world. Where it was once though that the modern would better everyone, it’s proving not to be the case. I think grindcore is a great soundtrack to that chaos.
I think the self imposed strictures of your form are the antithesis of what happened in '76 though.
Well the way I interpret the genre is this: it progressed out of the hardcore punk scene in the early 80s coupled with the speed on thrash metal and the heaviness of death metal. As such it melded the socio-political consciousness and concerns of the hardcore scene with the technicality and (scant) philosophical introspection of death metal.
I believe the genre is infinitely more flexible, and it is a genre that prides itself on experimentation, progression and the continued incorporation of a wider range of influences (be that metal, punk, rock, jazz or so on) – whereas I believe a genre like death metal rewards rehashing the same concepts and structures. People blend grindcore nowdays with death metal, hardcore punk, punk, d-beats, powerviolence, jazz, swing, blues/rock, hard rock, techno, electro, noise, doom, ambience (and so forth).
The Dillinger Escape Plan are responsible for a massive progression since they are all highly education and highly trained jazz musicians. They blended the idea of structure-less free jazz with dissonant jazz scales and patterns combined with intensely complex rhythm and time signature changes. See their album ‘Calculating Infinity’ – everything after that became more structured and easier to digest.
Anyway while no one has quite reached that level since, I believe the genre continually progresses and rewards experimentation rather than rehashing old generic concepts in more restrictive forms of music like thrash, death metal or punk. Bands like Genghis Tron (Cloak of Love EP) have utilised electronic influences to new levels. Cephalic Carnage have blended many styles of metal and punk with rock and psudeo-jazz. Nasum introduced huge walls of noise with massively thick multi-layered guitar textures. Pig Destroyer incorporates a large range of influences, refusing to stick to one riff for more than ten seconds – it all goes on.
The bottom line is, I love this genre because I interpret it as extremely flexible musically and free from a lot of the silly social and cultural associations of metal (satan, obsession with gore and brutality) and hardcore (obsessions with being tough). The lyrical content is usually rooted in the social, cultural, political and the philosophical rather than meaningless drivel about satan.
I could happily go on but I’m at work and should technically be working. However if you do want to discuss interpretations of the genre then I’m more than happy to accommodate!
Thanks again for the input. This mix is just to give a few people some tracks to listen to until we do all our new songs professionally in January/February. I have 3 other tracks (much less linear in structure/content) that I'll be mixing based off this track.
