Dawes – So Well – 7/29/2012 – Paste Ruins at Newport Folk Festival
Listen beyond the tearing guitars and unusual vocals. Although the rough guitar sound and guttural vocals that permeate much of death metal can take a little getting used to (especially if your ears are accustomed to softer sounds), it’s more than just idiotic noise. There are melodies, patterns, and complexities to be realized and appreciated if enough time is spent soaking it all in.
Watch a live death metal performance. Observe how the group members manipulate the instruments. It can be quite an experience especially since the shows are often small and you can walk near or behind the stage to observe the musicians up close. If you’ve ever tried to play those instruments yourself, you’ll probably be amazed with how skillfully they play. It takes practice and dedication, which challenges the stereotype of metal heads being lazy and careless. You might also be surprised about how energetic some of the performers are.
Remember that in death metal, unlike many other genres, each band almost always writes their own music. That includes the riffs, drums, solos, and lyrics. Writing your own music demonstrates another dimension of instrumental mastery and talent, as well as making the music more personal and less manufactured.
Don’t take the context and subject matter personally. Death metal lyrics and themes aren’t intended to be taken literally. They document the outer extremes of human experience which other genres don’t dare touch, such as the motivations of serial killers, the activities of the walking dead, death itself, and isolation. Also, many bands will cover other topics not usually associated with death, such as Norse mythology. Many bands explore political and religious issues, and write about historical events.
Keep in mind that some death metal lyrics, especially the gore and brutal varieties, often, but not always, elaborate on the details of extreme acts, including mutilation, dissection, rape and necrophilia. Use your best judgment, including independent online band and album reviews, as well as skimming lyrical content before buying, if you are particularly concerned about the issue.
Be careful not to completely rule out a listening test based solely on lyrical content. Many online music stores have thirty-second clips that can demonstrate the groove of a song, and if the musical content sparks your interest, perhaps the lyrics can be taken more lightly.Look up the lyrics. A common misconception of heavy metal is that all heavy metal bands lyrics are very vulgar, using a lot of bad language. You might be surprised by the complexity and large vocabulary found in the lyrics in some death metal bands.
Look up the lyrics. A common misconception of heavy metal is that all heavy metal bands lyrics are very vulgar, using a lot of bad language. You might be surprised by the complexity and large vocabulary found in the lyrics in some death metal bands
Learn about the sub-genres. Not all death metal is the same. The genre contains many sub-genres that can frequently mix and intermingle with each other. As a result, it may be difficult to ascribe a band under a single sub-genre. Here’s a general guideline to get you started:
Uploaded on Jul 28, 2011
Banger Films, 2005
dir: Sam Dunn, Scot McFadyen & Jessica Joy Wise
dop: Brendan Steacy
by: Sam Dunn, Scot McFadyen & Jessica Joy Wise
Sam Dunn, a 30-year old headbanger-turned anthropologist, sets out on a quest to explore heavy metal’s origins and cultural impact. His mission? To get to the bottom of one burning questions: Why is heavy metal music so beloved by its devoted fans and yet so controversial?
This ground-breaking film examines the history of heavy metal stereotypes and illuminates the truth behind the music. Witness performances and candid interviews with metal icons and members of legendary bands including Black Sabbath, Iron Maiden, Slayer, Twisted Sister, Motley Cure, Motorhead, Rob Zombie, Alice Cooper, Ronnie James Dio, Rage Against The Machine and Rush, as well as extremists like Slipknot, Cannibal Corpse and more.
Shot on location in the UK, Germany, Norway, Canada and the US, this documentary is an exhilarating tribute to metal’s dark side, and an outsider’s window into a complex spectacle and fascinating subculture.
Reaching only moderate levels of success in Dublin, but selling out huge venues in far flung corners of Eastern Europe, Russia and (increasingly) New York, there’s a real argument for God Is An Astronaut being Ireland’s most ‘underappreciated at home’ band. Not that it bothers songwriter, guitarist and occasional instrumental-style vocalist Torsten Kinsella – “We don’t do as well in Ireland as we do in places like Eastern Europe,” he explains, “It’s hard to say why, really, aside from that Ireland’s radio tends to be very commercial, but I don’t have a chip on my shoulder about it. It’s just the way things are.”
It’s been ten years since Torsten and co. started up, releasing the aptly titled ‘The End Of The Beginning’ as “a farewell to the music industry”, and soon found that what had been a studio-only project took off in a big way. As international tour offers came in, the band decided to carry on. “It came as a surprise to us”, Torsten recalls, “but it worked out really well. If I was to give any advice to bands now, I’d say don’t sign to a label. We had to seriously consider whether we wanted to carry on when all our gear – €25,000 worth – was stolen on our first New York trip in 2008. But we decided to follow our hearts and carry on, and it paid off. We’ve had some very successful American tours since then, particularly in New York, with the Bowery Ballroom.”
Given the global success, there must always have been a temptation to head out of Ireland and base themselves elsewhere, but God Is An Astronaut remain pretty loyal to their Wicklow base. “If we were to relocate anywhere it would probably be the US, simply because things seem to be taking off there, and when we go over there to tour we have to pay 60% tax on all our income”, Torsten suggests. “If we were based over there we’d have to pay a lot less. But we like the European lifestyle so I can’t see it happening. My favourite place to tour, though, is probably New York.”
God Is An Astronaut’s current tour – which comes to an end at Dublin’s Vicar Street this weekend – is to celebrate a decade of the band, and has been accompanied by a re-mastering of the band’s entire back-catalogue. “We’re delighted with the remastered versions”, Torsten explains, “they sound so fresh to us, even ‘The End Of The Beginning’ sounds like a new record. It’s amazing the work Tim Young, the producer, put in. He also worked on The Beatles remastered series and on Massive Attack, and his work is incredible. ”
As well as celebrating, though, God Is An Astronaut are using the ten year mark as a turning point, and heading off in a new direction, with Torsten defining the time as “a chance to reinvent ourselves”. With a new album due “probably around April or May of next year”, Torsten is writing heavily, and “in a way that’s different to what we’ve done before. It’s hard to explain, in some ways it’s more commercial than our previous stuff, but in others more obscure. I’m writing with the more off-the-wall moments included from the start, rather than layering them over the top, and there are a few vocal elements that have been added in a different way to before. It’s pretty hard to describe, but all will be revealed.” What that won’t lead to, though, is hefty changes to the live set up. “We’ve always been a band that plays career-spanning live sets. These ten year anniversary gigs obviously fall in that category, but it’s not going to change with the new material, either. It’s what people who come to see us want to see.”
God Is An Astronaut have always walked the line between rock and ambient music, and Torsten seems to be pointing towards a rockier next album, as well as edging in that direction generally. “If I had to pick, I probably see myself as slightly more of a rock musician”, he concludes, “though obviously there are large elements of both that and electronic/ ambient styles. The last album ‘Age Of The Fifth Sun’ was more ambient. My song writing this time is really reflecting my mood, so if I’m up or down when I write you’ll really hear that in the music that comes out at the far end.”
Perhaps there’s an element of that emotional delivery that led to the dropping of the band’s once infamous live visuals, but Torsten eyes more practical concerns: “We let go of the visuals because we felt too many people were doing it, it was a bit too cliché. We’re a different band now, with five members instead of three, and there isn’t the same need to add to the stage set up. It also gives us more spontaneity than we had with the visuals in place.”
Not many bands start with a last hurrah of an album and end up touring the world to hundreds of thousands of people. Far fewer can headline at the Bowery Ballroom and still find themselves so far from a household name back home. God Is An Astronaut, admittedly, operate in a niche area of music – ambient and instrumental styles have almost never found huge pop audiences in Ireland – but their touring record and global acclaim speaks for itself. So, as it happens, do their records; after all the early fears, a decade looks like only the start.
God Is An Astronaut played their final 10th anniversary celebration show at Vicar Street the 15th of December 2012. ~ James Hendicott
Watch the Brooklyn band Grizzly Bear performing @ Letterman Show – Dec 13, 2012
Vernon: “the grammies aren’t a measure of much that is calculable or quantifiable by our own contexts for music. why you create is most important.”
The nominations for the 2013 Grammy Awards were named. Frank Ocean, Fiona Apple, Jack White, M83, the Black Keys, and many more are up for awards. But not Grizzly Bear, which appears to have upset the band’s Ed Droste, who expressed his feelings in a string of Tweets last night. His thoughts provoked Justin Vernon of Bon Iver, who took home several awards last year, to reply with words of encouragement for Droste and disdain for the Grammys. It seems winning those Grammys has not changed Vernon’s feelings towards them.
Here’s how the conversation went down. First, Droste described his sad (“:(“) feelings:
2k12 has been a mixed vibe.
We won’t win the Grahmees! 😦
So the Grammies are literally based off sales and nothing else?#bummerzone
Super relieved Taylor Swift is up for another award. Was worried she didn’t have enough! #phew
He then @-replied Vernon:
@blobtower bb, want to know the Grammy secret! ❤
Don't know how you managed to infiltrate @blobtower, what's the secret?
or maybe we gotta make better music point is a year ago I was so excited you were nominated, and nobody from "our world" 😦
Vernon then explained why he hates the Grammys:
this is why i hate the grammies. because it allows you to question what you've done. don't question what you’ve done Ed.
y'alls music is pure as fuck and there is nobody making music like you and i think it's truly unique. the grammies aren’t a measure of much that is calculable or quantifiable by our own contexts for music. why you create is most important.
All this being said, FUCK those morons for not knowing enough about GB [Grizzly Bear] #jordongotcutfromhighschoolbasketball
Finally, Droste said, "thanks boo! Not really questioning what we've done, definitely questioning other things tho."
Since Purity Ring, Death Grips and Tame Impala didn’t exactly take off this year like Arcade Fire or Animal Collective, Pitchfork’s cultural influence might be cooling off, which is bittersweet since their writer stable is probably better now than it ever was (some of us don’t miss those novelty reviews), and their point-of-view has gotten less indie-elitist and more friendly to female artists, pop and r&b in particular in 2012. But the overarching editorial tastes still tend toward a certain narrative that so many artists do not follow, the whole “victory lap” adage, people ascending until their career crashes and burns, before a triumphant comeback. This sort of sensationalized trajectory really doesn’t happen with most artists, who sometimes make good albums and sometimes make disappointing ones. And many artists who’ve stagnated or are on their way “down” still make more essential music than whoever du jour is on the rise. So here’s a bunch of good records that Pitchfork missed the forest for the trees on. (Full disclosure: I’ve written there in the past. We didn’t agree a lot. Also a few fellow Sound of the City people write there too, don’t judge them based on my haterade.)
David Byrne/St. Vincent – Love This Giant
Pitchfork rating: 5.9
What they said: “With precious few exceptions, neither Clark nor Byrne seems willing to push the other into new musical territory that might contain revelations about either. The songs merely stand apart from life and dryly comment on its strangeness.”
Au Contraire: As someone lukewarm on St. Vincent and completely astringent towards Byrne’s post-Talking Heads career, I’ll definitely vouch for the falseness of that first part. The herky-jerky horn arrangements give Annie Clark an upright, marching urgency that her own albums lack (this year’s Big Black-channeling “Krokodil” single also helped show she can do more than boring art-prog indie), and somehow she must’ve edited Byrne’s songwriting into funky little nuggets again. The leadoff “Who” and oddly danceable “Lazarus” take rhythm ideas from tUnE-yArDs, while “The One Who Broke Your Heart” unabashedly recalls Buster Poindexter’s ’80s craze “Hot Hot Hot.” That’s not new musical territory? Giant is Byrne’s best venture since Music for the Knee Plays, which was also horn-based. As for the dry comments on life, they have their moments, like Clark’s gorgeous Occupy-inflected chorus for “Optimist”: “I’m the optimist of 30th street/ How it is is how it ought to be.”
s/s/s – Beak & Claw
Pitchfork rating: 4.8
What they said: “The downcast, emo-rap slam poetry he works in has a perilously high carnage margin, but he keeps from plummeting off a cliff here”
Au Contraire: As a huge Serengeti fan, I’ve gotta shut down that “emo-rap” claim right quick. Serengeti is a Chicago-based indie rapper who creates sitcom-like characters he raps as, most notably Kenny Dennis, a 40-ish suburban husband who loves non-alcoholic beer and the Bears. Maybe it’s “emo” or “slam poetry” to work completely outside of the rubric typically associated with rap (drugs, money, swag blah blah), but more likely the involvement of Sufjan Stevens on this experimental one-off is the reason the reviewer signed on. So yeah, of course he keeps from plummeting off a cliff, he’s goddamn Serengeti. This is one of four very good records he made this year.
Big K.R.I.T. – 4Eva N a Day
Pitchfork rating: 6.8
What they said: “The problem with K.R.I.T.’s rapping is not that he lacks a personality; it’s that he refuses to settle into the one he has.”
Au Contraire: So much of this review places the onus on K.R.I.T.’s personality and how he fails to live up to it on this mixtape. But he really doesn’t have much personality unless you’re really, really impressed by the wizened-old-pimp thing. His two best assets are in tandem: 1) he doesn’t distract from the beats 2) that he produced himself. 4Eva N a Day was very quietly the year’s best rap album on a purely musical level; if some young buck producer released it as his debut instrumentals tape a la Clams Casino he’d be drowning in year-end hype. And in hindsight, now that we know how much the Big Boi album sucked, maybe it’s time to revisit this perfect synthesis of down-home Aquemini spaciness and butt-simple bedroom production. And if you actually remember any of the words on this thing, they’re pretty winning and sweet: “You help me sleep,” he says to his girl. That’s enough of a personality for me.
A Place to Bury Strangers – Onwards to the Wall and Worship
Pitchfork rating: 5.8 and 6.5
What they said: “It amounts to a mostly homogenous, toothless EP that seems to be aiming for a greater appeal, but ends up appealing very little.” … “Perhaps the most problematic thing about Onward to the Wall is its timing.”
Au Contraire: The absolute worst tendency of Pitchfork is the assumption that the artist makes music for them and has to change their music according to current shifts in the landscape or risk being branded as “more of the same,” unless it’s a pet artist where all the reviewer wants is more of the same (see: M83, Real Estate, any rapper). A Place to Bury Strangers made a debut that excited everyone (8.4 Best New Music), then people were dismayed that they made the same record over and over (although they really didn’t), and that reviewer’s own boredom with covering the artist somehow becomes diminishing returns on the page. A Place to Bury Strangers do one thing and they do it well: stiff, macabre ’80s guitar noise with vampiric vocals buried in the momentum. Over four records they’ve subtly added a pop chorus here, a female voice there, but they are and will remain unfashionable until someone suddenly decides they’ve made a comeback. Their two records this year were as good as everything else they’ve done.
Lana Del Rey – Born to Die
Pitchfork rating: 5.5
What they said: “Del Rey’s gem-encrusted dreamworld, meanwhile, relies on clichés (“God you’re so handsome/ Take me to the Hamptons”) rather than specific evocations. It’s a fantasy world that makes you long for reality.”
Au Contraire: Lindsay Zoladz did a great job of explaining the Lana Del Rey conversation and major pitfalls by fellow critics about it, like the shots at her appearance and her perceived inauthenticity, but like most reviews of Born to Die, it doesn’t quite climb out from under the rock of that anti-hype itself. Yes, she’s sexually backwards–so’s Waka Flocka Flame, Rick Ross, Tyler, the Creator and Drake, all recipients of an 8.0 or higher last year. Yes, she rather joylessly crawls around looking for money and dominant males. But all that does is point to how truly harrowing the point of view is. These are expert pop songs slowed to a miserable crawl by a singer who doesn’t have it in her to rebel against her basest desires for validation. That’s more horrifying and vivid than any of Kendrick Lamar’s tales of being jumped. So many pop stars are strong women in 2012; the one who uncomfortably is not can be a compelling artist too. And Lana really is a true original weirdo: “She laughs like God/ Her mind’s like a diamond”–what the hell is that?
[Except Lana Del Rey’s album really is garbage. I don’t read Pitchfork and I think they missed the point on Big KRIT but the 5 point whatever they gave Lana’s magnum of piss is actually too high. Combining knock-off old movie soundtracks with meaningless lyrics isn’t art.]
Dan Weiss – Village Voice
END OF THE WORLD
Thursday | December 20th 2012
@ The Lab (aka the Electric Warehouse)
1428 Fulton Street Brooklyn, Bed-Stuy, Brooklyn
Admission is 21+
– SUPER HI-FI
– DJ HAR UKA SALT
– DJ FREE RADICALS
$20 Advance ticket
$35 VIP ticket (only 125 available) includes access to VIP mezzanine w/ premium bar, appetizers by Do or Dine + 1 free drink.
Bed-Stuy’s Do or Dine and Sound Liberation Front are teaming up again, this time with local watering-hole One Last Shag, to welcome the end of the world with “Armagedd-it-on!”, an apocalyptic dance party featuring indie-dance band Rubblebucket, the afro-dub sounds of Super Hi-Fi, DJs Haruka Salt and Free Radicals on SLF’s massive ‘Tower of Sound’ and live projection artwork by Nuit Blanche. Building off the sold-out success of Labor Day’s ‘Rub-a-Grub’, Do or Dine and SLF are excited to bring One Last Shag on board to Bed-Stuy’s infamous underground venue, The Lab (Electric Warehouse). Do or Dine’s culinary rebels will be hosting VIP guests in the Lab’s mezzanine, featuring an apocalyptic menu of appetizers and speciality cocktails while Rubblebucket and Super Hi-Fi rock the ‘Tower of Sound’ for the last party, ever!