#Rock band called instruments of destruction

[cannibalovers]

yo another will analysis song (cuz i'm crazy over him and my music taste fits his situation the most i think)

Hannibal song of the day: song no.3

a bit about the song (and album) :

"Underneath it all"(released in 1999) is a song by Nine Inch Nails (my fav band ever i swear i can talk about them for hours sorry). It was written by the frontman of the group, Trent Reznor. It's a part of "The Fragile" album, a quite important album for Reznor's career. "The Fragile" (banger) is a concept album, based on a man known as "mr. self destruct" and is a sequel to "The Downward Spiral"(another banger), dealing with personal issues, including depression, angst, and drug abuse - attempting to find order in chaos and find their way out, but ultimately, failing. "Underneath it all" fits the industrial rock and alternative rock genre, including scratchy synthesisers and distorted guitars and harsh beats, combined with soft vocals that build up to be louder and harsher. The instrumental build up on itself, looping and stuttering. The song talks about trying to move on from a hurtful situation but feeling "stained", the pain and trauma and it's effects it had on the man not going away, no matter what extremes he takes.

I could honestly talk about The Fragile for hours just on its own, it's so vulnurable and angry and it's history makes me so fucking sad, considering how much shit Trent was going through(substance abuse, depression, anxiety, death of his grandma who raised him), but this is a hannibal centered post so. I think the song can fit Will pretty well considering his mindset and feelings by the end of season 1 + prison, not much today cuz its so straight forward

------------------------------

chorus + verse since it's quite short and repetitive

"All I do, I can still feel you (x5)

Numb all through, I can still feel you

Hear your call, underneath it all

Kill my brain, yet you still remain

Crucified, after all I've died

After all I've tried, you are still inside

All I do, I can still feel you(x4)"

the narrator feels plagued, stained, he can't get rid of whatever he is trying to get rid of. The impact the subject had on him was so big that the memories of it and erasure just feels impossible, he feels hopeless, numb. When taking in the themes of the album into account, it's most likely about drugs - trying to recover, but the symptoms of withdrawal just being too intense, feeling like the addiction is punishing and mocking him for ever choosing drugs or even thinking that he can escape them - or it can even be about God. Trent explored the theme of religion in many songs like Heresy or Terrible Lie, blaming God for everything that is happening to him and for causing suffering, yet still coming back, never forgetting him, switching between heretic and devotional tendencies back and forth. He's just so rooted into his mind that it's impossible to not come back, no matter how much he tries to change his faith, maybe even feeling judged and punished by God for his choices.

Whichever one it is, Mr. Self destruct feels hopeless, as his oppressor has become so powerful that it has become a part of his mind, starting to haunt him and latch onto them, almost like a leech. He has tried everything, kill his brain (end it all) or even crucifying (most likely referring to trying to repent for his sins or give up his unhealthy lifestyle and mindset, crucifying them) and yet the little voice in his head still remains present, taunting him.

That's what Will seems to feel like, like Hannibal plagued him with a disease of his own, making Will lose his own mind, identity and sanity in the process - he is becoming him and he can't get rid of him or stop it. Will admits in the series that he keeps hearing Lecter in his head, his head voice sounding like his and even started to think like him, not to mention the various visions where Will grows antlers just like wendigo, as well as once and for all, Will got reborn as wendigo, finalising his transformation. Hannibal has officially stained him and made him what he wanted Will to be.

The way the song builds up, the layers becoming noiser and gritter as well as the vocals louder and more desperate just ties the overwhelming feeling together.

------------------------------

Outro

"All I do, I can still feel you(x2)

(You remain, I am stained)"

the song suddenly drops, stuttering instead, becoming weaker and weaker, which to me represents giving up. The narrator gives up and accepts the fact that the oppressor remains and that he will forever be changed and affected by what has been done to him.

In the show, Will didn't exactly want to accept that, but I guess through his method of manipulating Hannibal back, he has just reinforced Hannibal's effects on him, making Will become Hannibal, he has been stained and can't do anything about it - although he seems to accept his faith and even lets him remain in his life (literally came back for him like damn...tiny bit gay if u ask me).

additional notes :

i couldn't recommend to listen to the fragile more, if you enjoy harsh noises, electronic, rock and industrial sounds and ambience sound, lots of layers and build ups and instrumental and absolute emotional damage then i recommend. this album is so dear to me its insane

my playlist

hope u enjoyed <3

[rivetgoth]

Nobody asked but over the last couple of days I decided to listen through every mainline Skinny Puppy album (all formal LPs + Remission which is for some reason considered an EP, never fully understood that) from beginning to end in order of release. I've listened to all these albums 5 billion times and know them more or less by heart but it occurred to me after the last show that I don't know if I've ever done this.

After each album I wrote a little Twitter-sized review of it and highlighted a few standout songs. This is, of course, because I originally did this on Twitter. It was a really fun little post-concert activity so I figured I would share it here too.

Maybe even a good introduction if I still have any followers putting off checking them out...? 👀

Remission (1984). The one that started it all. Kind of. Simpler than the rest maybe but still so iconic. “Far Too Frail” continues to be my favorite, hearing it live for one of the encores blew my mind. “Film” as the encore opener also brought tears to my eyes.

Bites (1985). Still simpler than later outputs but also still a classic. Has a ton of really underrated instrumental-heavy/atmospheric tracks, and “The Choke” and “Last Call” are perfect songs. “Assimilate” is legendary but unfortunately gets hardcore overplayed lol.

Mind: The Perpetual Intercourse (1986). The addition of DRG is palpable. SP starts coming into their own and sounding less like a Cabaret Voltaire tribute band. Lol. Moodier, more complex, and lush with dark soundscapes. “God’s Gift (Maggot)” is one of the best.

Cleanse Fold and Manipulate (1987). From the first beat of “First Aid” onwards, this is one of THEE quintessential Skinny Puppy albums. IMO the real start of their “golden era.” Contains some of my favorite songs of ALL time. “Addiction” is easily a no contest top 5 SP track.

VIVI SECT VI (1988). One of the greatest. Noxious war zones, sterile hospitals, choking, burning, cold clanging cages in animal laboratories. One of the darkest, most nightmarishly psychedelic, heaviest, absolutely masterfully crafted albums. “VX Gas Attack” remains unparalleled.

Rabies (1989). Hi Al. This album just oozes sex appeal. I never get tired of it. It has a deranged masculine militaristic machine gun energy unlike anything else. I’ll never tire of “Hexonxonx,” “Worlock,” or “Tin Omen.” And ending on the dreamy delirious “Spahn Dirge”… Goddamn.

Too Dark Park (1990). A lot of people call this one THE supreme SP album. It’s legendary. Pure unadulterated Skinny Puppy. Sounds like home. An endless barrage of chaos and stormy monstrous polluted amorphous landscapes. “Grave Wisdom” is an all time favorite ever.

Last Rights (1992). The most utterly mindblowing devastating masterpiece of an album maybe ever made. The cohesiveness of the themes, sounds, lyrics, imagery—pure art. It’s a terrifying and desolate hellscape. Flung into sonic Knowhere. “Mirror Saw” is pure perfect transcendence.

The Process (1996). I have some trouble with this album—It can just make me very sad. You can both feel and hear the devastating loss. Barren and hopeless. Still, it’s TEEMING with absolutely rocking, heavy, guttural bangers. “Cult,” “Blue Serge,” and “Curcible” stand out.

The Greater Wrong of the Right (2004). A personal fave. Forever enthralled by the dreary smoking futuristic cityscapes painted by the various textures across each track. An epic journey through destruction of civilization and the mind. “Goneja” is an easy top 5 SP song for me.

Mythmaker (2007). Used to struggle with it, was even my least favorite, but it’s grown on me and I love it. A high octane reality-bending journey through alien dimensions and human mythos. If Ogre’s alien Other belonged to an album it’d be this one. I adore “Dal” and “Pedafly.”

HanDover (2011). Grossly underrated and constantly written off, I ADORE this album. It captures a sort of dreamlike melancholic sharp surrealism unmatched by anything else, like rain falling softly atop a rusting metallic dystopia. “Gambatte” is a stand-out forever favorite.

Weapon (2013). A fitting end. Nostalgic familiarity rejuvenated with sharp crispness. This one taps deep into my imagination; post-apocalyptic fantastical mechanical wastelands haunted by ghosts of the past. “Plasicage” is an all-time fave, and I love the reimagined “Solvent.”

[byjillianmaria]

As I dive into the umpteenth draft of A Colder Home, I decided to do a meta dump similar to the one I did for Behind You! Very similar, actually... you'll notice that all of the photos are more or less in the same place. And that is because I am lazy. But not too lazy to ramble about inspirations under the cut!

SONGS

Once again, my eight track playlist for this WIP goes extremely hard, and once again, I could easy ramble about all eight of those tracks. I will stick to the three I selected for this graphic.

This Unrest by Siouxsie and the Banshees - In general, I associate this WIP with a lot of post-punk and goth rock, so of course I had to lead with an iconic goth rock band. The lyrics are haunting and capture a feeling of deep unease, which is the sort of feeling that pervades this book. Also, there are a lot of weird vocalizations in this... gasping noises that sound like someone being strangled, along with echoing, ghostly shouts. Both become very relevant.

Blue by The Birthday Massacre - I started associating this song with A Colder Home immediately upon hearing it. It absolutely calls to mind a house haunted by ghosts that are slowly being twisted by their anger the longer they stick around, the singing switching back and forth between calm and violent. The lyrics even reference a car crash! And the notion of "casting shadows in a pale shade of blue" does remind me of limited light making its way through snow-caked windows...

Double Dare by Bauhaus - Okay, I'm going to be real with you. I don't associate the lyrics of this song so much with this WIP. I mean, if you want to stretch it, you can say that Cleo's whole arc deals with her learning to "dare" to hope and to not live her life ruled by fear, but that's about it. What really gets this song for me is the heavy, oppressive instrumental. It absolutely sounds like a house that's weighted down with decades of pain and anger and guilt... a house that is now reflecting those emotions in destructive, violent ways.

BOOKS

Writing that influenced A Colder Home! Like the books I referenced for Behind You, I wouldn't consider these comp titles, just inspirational.

My Heart is a Chainsaw by Stephen Graham Jones - SGJ is such an influential horror writer for me, with The Only Good Indians probably being one of my favorite books of all time, and is also a heavy influence for A Colder Home as far as pacing and tone. I haven't actually finished MHIAC yet — I have to read it slowly, because Jade's specific flavor of paranoia does not play very nicely with mine — but I included it as the reference title here because, like A Colder Home, its main character is a teenaged horror movie nerd.

The Haunting of Hill House by Shirley Jackson - I mean, Hill House is THE haunted house novel. Of course I'm going to include it as a reference! The opening paragraphs of this novel are burned into my mind, and its characterization of a haunted house definitely influences how I write the house on Brewer Street. I'd also be pretty remiss not to bring up the Mike Flanagan adaption here... while it's decidedly its own thing separate from the novel, his specific brand of emotionally-fueled horror writing has definitely left its mark on me.

The Shining by Stephen King - I mean. A Colder Home is a book about people trapped by snow in a haunted location. Need I say more? Interestingly, both of these books also deal with themes of alcoholism and addiction, although they come from very different emotional places. Cleo also references the Stanley Kubrick movie at one point, which is, again, very different from the book. But as a film nerd, I think it makes sense that she'd think of that over the book... I do also wonder if the film's less sympathetic portrayal of Jack Torrence might have stuck with her more. She probably wouldn't like me pointing that out, though.

The Fall of the House of Usher by Edgar Allan Poe - Another work that gets directly referenced in the book! It's not a direct comparison or anything, but it gets referenced early, and over time more parallels can be drawn... Overall, thematically, this borrows a lot when it comes to complicated family dynamics, skepticism vs. rationality, and that sort of overall inevitability/hopelessness thing that goes on.

VIDEO GAMES

I'm not much of a gamer myself, but the way that the medium is able to tell horror stories is fascinating! I've enjoyed watching Let's Plays of both of these titles.

P.T. by Kojima Productions - P.T. was a playable teaser for a (tragically) scrapped Silent Hill game, and it remains one of the absolute creepiest things I have ever seen in my life. The sound design haunts me... every time I hear something that sounds like that creaky light, I break out in goosebumps. I cannot replicate the feeling of this thing in ink and paper, but goddamn it if I'm not going to at least try. Also, you can definitely feel Lisa's design in Virginia, one of the main ghosts of A Colder Home, haha.

Devotion by Red Candle Games - I'm really fascinated by the way the story unfolds in this, how the player is given these little vignettes and has to piece the story together from that. I think you can sort of see that in the way I approach some of the ghost scenes in A Colder Home... but, also, I'm very inspired by just how personal this game feels. The little details in the set design just really add to the sense that you know these characters, and makes the scares hit all the harder.

POETRY

Poetry can express in just a few lines the same emotion that it takes me thousands of words to dig into! One is not better than the other, but I'd lie if I said I wasn't inspired by it.

In The Pines by Alice Notley - Technically, I think the version of it in this graphic is from the song #6 by AroarA, but they pulled their lyrics directly from Alice Notley's book of poetry, so I feel like that's where the attribution lies. This poem absolutely gutted me the first time I read it... It makes me think of loving someone who is unwilling or unable to stop their self-destructive tendencies, and how hopeless that can feel. Which is, really, what's at the core of this book.

Selfishness by Margaret E. Bruner - This book deals a lot with complex feelings of grief, and some of the less savory feelings that comes from that. Anger, guilt, blame... these are all really human and understandable reactions to a loss, especially if that loss is sudden. The horror in A Colder Home comes from watching what happens when those emotions are all that's left... I think that poem really captures that energy.

[chorusfm]

Highly Suspect – “The 8th Of October (To August 17th)” (Song Premiere)

Today is a great day to share the new single from Highly Suspect called “The 8th Of October (To August 17th).” The track comes from the band’s forthcoming LP As Above, So Below that will be released on July 19th. The band is about to embark on a sold out U.S. tour this summer, and is looking forward to testing out their new material. If you’re enjoying the early listen to the new single, please consider pre-saving As Above, So Below here. I was also able to catch up with Highly Suspect’s front-man, Johnny Stevens, for a brief interview below. Can you share the inspiration behind “The 8th of October (To August 17th)”? What significance do these dates hold for the band? Yeah of course! Essentially this song is about two different people. In the first half I’m singing to my ex and in the second half I’m singing to the woman who snapped me out of a really dark place and taught me how to love again. It probably takes a couple listens but eventually that will be an easy thing to discern if you’re digging into the lyrics. The dates are pretty simple, like the song says, “The last time I saw you was the 8th of October-” and that’s that. I’m describing the tear filled and painful day I walked away from my ex for the last time. We hadn’t even broken up yet, I had to get back on tour though and we both knew without having to say anything that it was over. I still have nightmares about that day. Many tears were shed.. and would continue to fall for almost a year. Lo and behold August 17th of 2023 came around and I would meet someone who would change my life forever. This is who the second half of the song is sung about. So, This period in between these two dates were some of the most fucked up times I’ve had this decade. It was dark, but I pulled through. This is why I wanted to put a really hopeful and triumphant instrumental on the end of the song to help lift that weight off. I’m Happy now! For the most part anyway.. at least happier. That song kind of closes the album in my mind. It finishes the main story… the ACTUAL last track on the album is more of a modern hidden bonus reprise to a lesson that continues to show its face at different stages of my life. Perhaps it sets up the next chapter. How do you balance raw energy and introspection in your music, particularly in this single? Sheesh, I don’t know…lol…as best as I can? I wish I could say I knew what I was doing or how I was doing it but it’s purely feeling. I just write based off of what I think feels and sounds good. So, in this case I really needed to admit that I didn’t deserve my ex. She was an Angel. Absolutely way too good for me in so many ways, and I was just an asshole If I’m being real. I was so self-absorbed, and I wasn’t patient. I have no excuse for this.. I could try and blame this or that, the pandemic or whatever but the reality is I just wasn’t happy with myself, or my life and I was too stupid to realize I had a pure love in my life. Constantly suspicious of this or that, constantly scared I was gonna get fucked over, and so I had this natural defense up and rather than give my true happy funny normal self I was cold and selfish. I really let this person down as a human and it haunts me. Like fully fully haunts me. I guess the silver lining here was that she learned she needs to be treated better than what I was capable of, and I learned a LOT about myself and how to not be a jerk. I realized only after we split up just how much I need love in my life and how dangerous things get for me when I don’t have someone to ground me. I hate admitting that it took me 37 years to become a man, but I have to be real with myself otherwise I’ve learned nothing. Now I’m 38 and I feel pretty fucking rock solid to be honest. I’m not where I want to be yet fully as a human, but I’m pretty confident that I’m making forward progress instead of destructive anti-progress. So yeah, I guess you take all that and if you’re being 100% raw then you couldn’t not have the… https://chorus.fm/features/highly-suspect-the-8th-of-october-to-august-17th-song-premiere/

[gerogerigaogaigar]

OutKast - Stankonia

This is OutKast at their most stylistically varied. At times they hit the G-funk so hard that they sound almost exactly like P-funk, and at others they are experimenting with drum and bass instrumentals, and yet other tracks see them integrating guitar riffs. OutKast, and Andre 3000 in particular, are always balancing creativity with corniness and Stankonia has the best balance. Plus the hooks are unbelievably catchy. You will have Gasoline Dreams, Ms. Jackson, So Fresh So Clean, I'll Call Before I Come, B.O.B., or maybe We Luv Deez Hoez stuck in your head after listening to this album.

Steely Dan - Aja

This is one of the most meticulously produced albums of all time. You don't even need $1k headphones to hear it. The balance is perfect, every instrument in its right place, crisp and clear. The vocals rise to the top but never overtake the piano or horns, the drums are crisp and punchy yet never overtake the mix. Even if the music sucked ass I would still praise the production. Thankfully the music is also teally good. Steely Dan have perfected their crisp and sleazy brand of lightly funky jazz rock. In typical Steely Dan fashion the songs can mostly be described as 'about some guy or girl'. There's one weird caveat that has nothing to do with Steely Dan but the song Peg is ruined for me because, as big of a Steely Dan fan as I am, I'm an even bigger De La Soul fan so Peg is forever the sample from Eye Know for me. If you don't have the same brain worms as me this shouldn't be a problem.

Guns N' Roses - Appetite For Destruction

I don't hate this album, I actually like it, but I do hate Rolling Stones' attitude towards metal. I can think of like five better metal albums from 1987 that they could shove in here, but no it is only the shit that's most palatable to dadrock audiences. Napalm Death - Scum, Laibach - Opus Dei, Mayhem - Deathcrush, Anthrax - Among The Living, Death - Scream Bloody Gore, King Diamond - Abigail. There that's six, none of them sound at all similar and they are all better than Appetite For Destruction. Sure I could do a real review for this album, but why? What could I say that hasn't been said? That Slash only jas one guitar solo in him that he reuses every song? Old news. That their whole aesthetic is corny as fuck(derogatory)? That their whole aesthetic is corny as fuck(affectionate)? Nothing I say here matters. I do like Nightrain tho. That song kinda goes.

Eric B. & Rakim - Paid In Full

The dynamic duo of 80s hip hop. Rakim was one of the best rappers of the 80s and Eric B. serves as a reminder that hip hop is more than just rapping. In fact Eric B.'s turntablism skills are more often the centerpiece than the rapping such as in Eric B. Is President or the instrumental tracks Eric B. Is On The Cut, Chinese Arithmetic, and Extended Beat. Although Rakim is no slouch and his dedication to internal rhyme schemes influenced a generation of lyrical miracles who would crash and burn trying to live up to Rakim's skill level.

Van Morrison - Astral Weeks

Astral Weeks is jazz pop with folk rock sensibilities. It features lengthy songs with a jazz band backing, but a lot of the instrumentals are also very folk influenced and the production feels more pastoral than jazzy. It's a hazy dreamlike mix of sounds that is fun and delightful to listen to, although I'm a little surprised at how high on the list it is. I'm confused and concerned that we have gotten two Van Morrison albums and zero Tim Buckley's.

Stevie Wonder - Talking Book

Throughout the 60s Stevie Wonder went from child prodigy to teen hit machine and when the 70s began is when he finally entered his 'classic era'. Talking Book was his 15th record but it spawned the biggest hit of his career, Superstition. Talking Book also sees Stevie Wonder evolving as a lyricist. You Are The Sunshine Of My Life expresses a very pure, innocent love that sits a bit outside of how Motown love songs were usually written and Big Brother is the start of Wonder's blunt, serious political songs with upbeat melodies. A landmark album in the funk and soul scene and the start of an era where no one else was allowed to win Grammys

Led Zeppelin - Led Zeppelin IV

Oh here come the very cool tough hard rock boys singing about Tolkein again. Fucking nerds. What is that a mandolin? Lol. This album is so fucking good.

The Band - s/t

Oof, I'm conflicted. On one hand this is an amazing album, on the other it isn't better than Music From The Big Pink. The Band nail a sense of Americana here, especially on The Night They Drove Old Dixie Down and Up On Cripple Creek, but where Big Pink is a fantastic whole album this one is just a very good collection of songs. Swap their places and I have no complaints.

Liz Phair - Exile In Guyville

You have no idea how happy I am to see this album here, let alone at such a high place on the list. Exile In Guyville is one of the most perfect pieces of lo fi indie rock ever made. Liz Phair hits a unique place between the grunge and indie scenes without ever feeling like she's trying for anything other than sincerity. The sparse instrumentation makes it so every note is important and every emotion is laid bare. The rawness of emotion is essential when she's navigating the nuance of different kinds of disappointed and dispassionate. Liz Phair comes off as deeply cynical about men, but also very horny. I respect that. She roasts handsome confident men and then sings longingly about pathetic weirdos. I really couldn't relate more. This album above all others really makes me feel like I could, should make an album myself. The raw production, the simple short songs, the simple but honest lyrics. Exile In Guyville is one of the greatest indie albums of all time.

[doomedandstoned]

Pittsburgh’s MELT Airs Astounding New Spin, ‘Replica of Man’

~Doomed & Stoned Debuts~

By Billy Goate

Armageddon, religion, technology, shame and greed -- here's a band dealing with some heavy lyrical themes, and doing it with excellence. It's prog-stoner metal trio MELT from the Steel City, and today they're giving us an advance listen to the upcoming album, 'Replica of Man' (2023)

The album opens with narration from an interview long past from the incredible age of Pandora's Box tampering that the 20th century was: "The concept of the thinking machine has been man's dream for centuries, also his nightmare." To accompany this roving commentary on creeping technocracy, the bass slaps out a wicked jazzy stoner groove with vivacity and conviction. By the time drums join in earnest, it feels like we're in Prodigy territory, with metal vocals and doomy riffs. Recording engineer Nate Campisi takes great care in capturing a lusty sound from all of the instruments, and this serves as a captivating vessel for the message:

It fulfills the prophecy Unstoppable technology Steel has seized the upper hand We concede as it commands It’s too late to intervene Mating man with machine No forgiveness for the damned Heed the replica of man

Indeed, we are several chapters deep into a fledgling Technological State and already the human animal is being stretched and contorted in ways that are alien to his nature, but somehow pleasing to the great labyrinth of circuits that make up our computers and smartphones. It's no longer fodder for fun sci-fi blockbusters like Terminator, but an urgent question for our time as to what makes us truly thrive as human beings and how technology can assist us toward that end, not hurt us. Obviously, the band struck a chord with me straight away!

"It isn’t passive music," remarks frontman Joey Troupe. "It has weight, inertia and leaves a mark. We are writing the soundtrack to global annihilation. That includes elements of destruction, despair, gratitude and sometimes, hope."

Elsewhere on the album, the band conjures Lucifer's Friend vibes on "Problem Child" and "Skeleton Girl" exhibits an infectious nu-metal energy -- both captured within a cocoon of fuzzy low-end and performed with all the vibrancy of the garage experience. "Swamp Water" is a good, old-fashioned swampy stoner romp that would make a good companion to Weed Is Weed's "Alligator Crawl." And "Shame" would fit in great with the likes of Mudhoney and Coal Chamber.

The album closer is bathed in dank, watery shadows, with a grungy, forlorn bass groove. It's called "Hive Mind" and lives in the neighborhood of Black Sabbath and Electric Wizard. The song is about how the secrets of life evade us because we're stuck in rigid mindsets ("Sacrament is our demise"), and struggle to find a meaningful role in this artificial maze of concrete and asphalt ("Disguised by life, destroyed by time"). At least that's my interpretation. As I said, the lyrics are thought provoking -- but there's no mistaking the last lines of the track:

We all seek a higher mind So take your breath and blaze a fire Take flight. Ignite. Leave them all behind

Melt's Replica of Man is a virtuosic blend of influences, captivating themes, and crisp, joyful musicianship. Out Friday, July 7th (pre-order here). Stick it on a playlist with Snail, GoodEye, Rickshaw Billie's Burger Patrol, Null, and Deep Purple.

Give ear...

Replica of Man by Melt

SOME BUZZ

Melt is a Pittsburgh-based fuzz rock band formed by Joey Troupe, J.J. Young, and James May – three seasoned musicians with a diverse range of experience in the music industry.

Joey Troupe (lead guitar/vocals) has played in various bands around the city since 2007, including Blackbird Pie, The Electric Pear, and Paddy the Wanderer — which released several LPs and EPs, toured regionally, and had a song featured on a Netflix series.

J.J. Young (drums) has played in or appeared with over 10 different musical projects, including Fortune Teller, Daisy Chain, and his own solo project, BITE. He is also a co-founder of Steel City Death Club, a Pittsburgh music multimedia collective.

James May (bass/vocals) started Aberrant Kingdom in 2008 and has also played with Spare Arrows. In July 2021, Melt released their self-titled debut and performed live for the first time, quickly making a name for themselves in Pittsburgh music for their lively stage presence and unique extraterrestrial-inspired aesthetic.

Since, the band has headlined shows across the region, been named the WYEP Artists of the Week, held a featured spot on the Deutschtown Music Festival mainstage, and opened for Silver Synthetic of Third Man Records. Their second studio album, Replica of Man, will be released July 7, 2023.

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[thisoldguitar]

(3) Dave Boyer

The first two people to sign my guitar (see previous posts) were Larry Norman and Jamie Owens, both at the Joyland Christian Music Festival in Wichita, KS. There was one more fellow that signed it on that trip: Dave Boyer.

Dave Boyer was something of a misfit at the show. This was at a time when "Christian Rock" was just coming into its own. Larry Norman was the big daddy of the movement. Others there were already well known (Jamie Owens, Darrell Mansfield), but all of the music was contemporary or rock. Except Dave Boyer.

For starters, he was a generation older than everyone else. Born in 1934 he was 13 years older than Larry Norman and 20 years older than Jamie Owens.

But more than that, his music was completely different from what was happening on all the other stages. Everyone else was rock, Dave was Big Band.

When Boyer was a teenager he was the master of ceremonies for the 500 Club in Atlantic City, NJ. Also known as "The Five," the club was owned by mobster Paul "Skinny" D'Amato and hosted acts including Frank Sinatra, Sammy Davis, Jr., Dean Martin, Jerry Lewis, Milton Berle, Eartha Kitt, Nat King Cole, Liberace, and a host of others. On the advice of his manager, Dave changed his name to Joey Stevens, and ended up performing with these superstars. His two instruments were his saxophone, and his crooner voice.

In 1965 Boyer was caught up in fast living, drug and alcohol abuse, and a road headed to destruction. He was on his way to a planned suicide when he passed a little church that reminded him of his childhood, called his brother who was a pastor, committed his life to Christ, and began playing and singing "Big Band Gospel."

As of this writing, Dave is 91 years old, and still performing concerts regularly.

[yhwhrulz]

Charles Spurgeon's "Morning & Evening" Devotional for April 1

Morning

“Is not the Lord gone out before thee.”

Judges 4:1-23

Judges 4:1

That sentence, “the children of Israel again did evil in the sight of the Lord,” comes over and over again so often that it seems to be the only invariable fact in their history. Would not such words frequently occur in our biographies if they could be fully written?

Judges 4:3

When we read of Israel crying, we know that deliverance will come. Prayer has mercy at its heels.

Judges 4:4

God uses all classes and both sexes for his work. In this case a man plays a very secondary part, and two women share the honour. One strikes the first blow, and the other the last. Although women do not go out into public preaching, or to fight in the open field like Barak, they can do much at home with the tent-pin of personal address, and in society by encouraging the soldiers of the Lord.

Judges 4:5-7

The Lord has not only leading strings to draw his people, but fatal cords with which to draw his foes whithersoever he wills.

Judges 4:9

He had not faith enough to go alone, and therefore, though he won the battle, he had not the honour of the victory. We lose much when we lean upon an arm of flesh. At the same time he showed a noble spirit in entering upon a conflict in which another was to receive the chief honour.

Judges 4:10

Many good men only need a call from some brave leader, and they will rally to the standard. God has his ten thousands in our Israel yet. O for the man and the hour! Rather, O for the Lord’s own Spirit to call us to the combat!

Judges 4:11-13

Little dreamed he when he sallied forth in his pride that he was being lured to his destruction. Some trust in horses, and some in chariots, but vain are such defences against the Lord of hosts

Judges 4:14

The word of Deborah sharpened the sword of Barak. Holy women often encourage the Lord’s ministers.

Judges 4:15

The Lord did it, Barak was but the sword in his hand.

Judges 4:16

God’s sword never misses one whom he means to smite. This is fatal news for the impenitent.

Judges 4:17-20

This instruction was very like the shameful custom which is so common, for servants to be ordered to say, “my mistress is not at home,” when she is in the house all the time. Let not Christians borrow lying habits from heathens.

Judges 4:21

This would have been a dastardly action had she been moved by motives of gain, but as an act in which she became the executioner of a man condemned of God, and the slayer of the great enemy of her adopted country, her conduct is rightly praised. The patriotic heroine recognized in the fugitive the enemy of her God and of his people, and her eye had no pity, neither did her hand spare him.

Judges 4:22

So the proud tyrant was disgraced as well as killed. Somewhere or other God has feeble instruments who will be made wise to put down error, and drive a nail through the head of false doctrine. O Lord, arise and plead thine own cause.

O God, be thou no longer still,

Thy foes are leagued against thy law;

Make bare thine arm on Zion’s hill,

Great Captain of our Holy War.

As Amalek and Ishmael

Had war for ever with thy seed,

So all the hosts of Rome and hell

Against thy Son their armies lead.

By Kishon’s brook all Jabin’s band

At thy rebuke were swept away;

O Lord, display thy mighty hand,

A single stroke shall win the day.

O glorious hour! O blest abode!

I shall be near and like my God;

And flesh and sin no more control

The sacred pleasures of my soul.

My flesh shall slumber in the ground,

‘Till the last trumpet’s joyful sound;

Then burst the chains with sweet surprise,

And in my Saviour’s image rise.

Sleep not, soldier of the Cross!

Foes are lurking all around;

Look not here to find repose:

This is but thy battle ground.

Up! and take thy shield and sword;

Up! it is the call of heaven:

Shrink not faithless from thy Lord;

Nobly strive as he hath striven.

To the God of all creation

Let us sing with cheerful voice

In the Rock of our salvation

Let us heartily rejoice.

In his presence let us gather

With glad hearts and thankful lays,

And to God, our heavenly Father,

Show our joy with psalms of praise.

He is King among all nations,

God above all gods is he;

In his hand are earth’s foundations,

The strong hills and rolling sea.

He created land and ocean,

He with beauty clothes the sod;

Let us kneel in deep devotion,

Bless our Maker and our God.

Evening

“Lead thy captivity captive.”

Judges 5:1-18

We shall now hear Deborah sing her right noble poem of victory. She was both prophetess and poetess. All powers of poetry should be consecrated to the honour of God who bestows them.

Judges 5:1 , Judges 5:2

Unto God all the praise is given. The people were willing, but God made their zealous valour to be successful.

Judges 5:3

To such a woman, upon such a theme, the loftiest monarchs might wisely listen.

Judges 5:4 , Judges 5:5

All the kings around are bidden to remember the glorious marching of Jehovah, when he led his people from Egypt to Canaan; even on the road to battle the Lord displayed the glory of his majesty.

Judges 5:6 , Judges 5:7

Trade and travelling were at an end, for the country was unsafe.

Husbandry could not be carried on, the people fled to the walled towns for fear.

Judges 5:8

On account of Israel’s idolatry, they had become so reduced, and their oppressors had so completely disarmed them, that they had no fit weapons for war.

Judges 5:9

It is indeed a blessing when the governors lead the way in good things.

Judges 5:10

Justice could not be dispensed, civil affairs were all unkinged, no one was safe, but Deborah and Barak changed the scene.

Judges 5:11

In times of peace, when no robber was to be feared at the well, this song of gratitude would be sung, and the Lord would be praised.

Judges 5:12

Mark how the poet glows and burns.

Judges 5:13

God put Deborah first as ruler, but she did not fail to make honourable mention of all who shared in the fight, nor afterwards to rebuke those who shunned it.

Judges 5:16

Divided in council and indolent in spirit, Reuben lent no assistance. This was a sad business.

Judges 5:17

Some with no excuse, and others with a bad excuse, refrained from the patriotic war, and missed its glories. How disgraceful not to do their utmost in such a cause. Lord, save us from cowardice and slothfulness, and let us rather be such bold, self-sacrificing spirits as those the poet sings of in the next verse.

Judges 5:18

Here we are compelled to make a break, until our next reading.

Copyright Statement This resource was produced before 1923 and therefore is considered in the "Public Domain".

[neurowinter]

16 Songs I Liked in No Particular Order (2024)

Dang, humans keep making music, and I keep liking songs. Once again, I've assembled a collection of songs with some thoughts here on tumblr dot com! Each title is a link to a YouTube video where applicable.

glass beach - Rare Animal

It's jazzy. It's poppy. It's emo. It's proggy. And it's so damn catchy!

Hikaru Utada - Electricity

Their work with Floating Points continues to produce fuckin' bangers. Just an incredibly fun, breezy, and groovy pop song. I'm a big fan of the woodwind arpeggio adding a jazzy flavor.

Caroline Polachek - Spring is Coming with a Strawberry in the Mouth

Every time Polachek covers a song, it's as if it was made for her. She just understands what makes Operating Theatre's original work so well. Polachek's voice an the synth melodies are the perfect counterplay, acting like first warm day after the depths of winter.

Cindy Lee - Realistik Heaven

Cindy Lee - 24/7 Heaven

Wow, Cindy Lee, why do you get TWO songs on my list? Their latest album, Diamond Jubilee, is just that good. The album is a miracle of modern internet social media collapse. Available only through their YouTube channel or their delightful Geocities site, Patrick Flegel creates a moody, warm, dreamy soundscape through the 2-hour runtime. I can only describe it as falling asleep in the back of a car with the radio warbling between fragmented songs of the past century. So why the hell are the instrumental closers to each half of the album here over the gorgeous lyricism and craft of the other tracks?

I don't have formal music training or much knowledge of production, so my thoughts are very emotion heavy. When hearing the these tracks, I teared up. A melancholy, a yearning of something i had been ignoring, welled up withing me. Things that I had gained and lost during my post-college years, being borne forward unceasingly on time's stream, and a small space in the span of two songs to catch one's breath. There is something haunting the album, and these two tracks crystalize it. Shimmery strings and brightly dissolving guitar dance before dissipating to somewhere (somewhen?) else.

A.G. Cook - Soulbreaker

Cook always prods the boundaries of pop production. Here his trademarks (glitched autotune, bubblegum hooks, etc.) form a melancholic banger. The music video's clear influences 60s and 70s science fiction art and the anxiety of the impending millennium in 90s further build on that haunted nostalgia.

Girl and Girl - Call a Doctor

An incredibly confident release! I love the story-telling here, of anxiety and depression eating you up, of self-destructive habits, and of wanting desperately to change. God, I hope this motherfucking record sells.

Charli xcx - Sympathy is a Knife [flashing/strobing lights warning]

Holy shit.

Jamie xx feat. Robyn - Life [flashing/strobing lights warning]

Holy shit!

Xiu Xiu - Common Loon [NSFW video warning (spitting, nudity, regurgitation)]

Xiu Xiu is back on their noise pop cycle. It's funkier and squelchier than their last few albums. The lead single is so, so catchy and feverish and head-bopping while maintaining the band's haunting edge.

Vampire Weekend - Mary Boone

I love it when Vampire Weekend goes full luxurious chamber pop. The entire instrumentation is lush and gorgeous.

Cloud Nothings - Golden Halo

They're still at it! It's a banger! It rocks AND rolls! What else do you need?

Kishi Bashi - Icarus IV

I did not expect Kishi Bashi to go full ELO. His new album, Kantos, runs the gamut of genres. However, this one is the most emblematic of his current stylings. Truly epic guitar riffs and synth hooks reminiscent of Twilight-era ELO combine with Kaoru's earnest open-hardheartedness. Fly, don't walk, to this song.

FKA Twigs - Eusexua [NSFW video warning]

She's back with a hell of a trance banger! Gorgeous syncopated percussion and FKA Twigs signature whispy singing are so enrapturing. It'll make you feel as good as the title suggest. Move over brat summer, Eusexua winter is here.

Magdalena Bay - Death & Romance

A point of fascination for me has always been how musicians blend multiple genres. Magdalena Bay's new record, Imaginal Disk, is such a glorious melange. This single is so joyous, fun, and ebullient. That hook won't leave my head.

Los Campesinos! - Feast of Tongues

I was late to the Los Campesinos! train. Thankfully their first release in - what? - 7 years is a fantastic place to start. Not as harsh as their previous efforts, but just as filled to the brim with shout-along lyrics and earnest melancholic optimism. Plus the lyric "We will feast on the tongues / of the last bootlickers," is incredible.

It's been a hard year. I hope that - whether you read this fully or just scrolled on by - that the rest of your year passes restfully for you.

[liugeaux]

Greatest Songs Ever - Part 27 (Delightfully Diverse)

No need for a huge intro on this one. There's no theme and no through line, just 10 delightfully diverse classics. Oh shit, now I have a name for this post.

1998 "New Noise" - Refused

I have to thank The Bear for this one. "New Noise" was used to great effect in the 3rd season of Hulu/FX's hit restaurant show. Refused has always been a band much cooler than my tastes. Sticking to the punk ethos rather than just the sound, the band has some strong feelings about conformity. This track's intro is a perfect walk-up song, and a perfect first track at a live show, so naturally, it goes first. Blending elements of punk, hardcore, and techno, Refused has a sound that's hard to nail down. "New Noise" sounds at home anywhere between 1975 and 2025 and that's hella exciting.

1965 "In My Life" - The Beatles

My love for The Beatles started when my aunt Lisa made 2-3 mix tapes with basically everything you'd want to hear from them. "In My Life" was one of the tracks she gave me. It wasn't until much later that I realized it was kind of a deep cut. Sure, everyone knows it, but it was never a single and doesn't get the play other Beatles tracks get. It's one of those songs whose words and instruments miraculously communicate the same sentimentality which leads to tears more often than expected.

2024 "Not Like Us" - Kendrick Lamar

One of the newest tracks I've ever included also doubles as the end of Drake's career. I'm not huge fan of 'diss' tracks. They seem petty and short sighted. The shelf life of a diss track is typically VERY short, but "Not Like Us" has transcended being just a diss-track. It does this on the strength of the sample and Kendrick's undeniable flow. As for the diss, the most memorable one is of course the pediphile call-out, the track could have been solely about that and coasted to the hall of fame, but the last verse where Kendrick buries Drake's credibility is absolute destruction. It doesn't take much to see that Drake came into the rap world through the side door, but to lay it all out with the climax calling Drake a colonizer is murder.

1982 "There's Only One Way To Rock" - Sammy Hagar

Not much to say about this one. Hagar is a rock king, and has been on this list before, but last time it was a Van Hagar situation. I know a lot of people would probably include "I Can't Drive 55" but for my money this track is the definitive Sammy Hagar track. It's energy is pure rock and it's self awareness is a mark in its favor.

2021 "good 4 u" - Olivia Rodrigo

Speaking of coming in through the side door, Olivia Rodrigo is not a rock star. I'm not trying to be a gatekeeper here, but anyone who gets their start on a Disney show cannot simply step into the "Rock" genre and be taken seriously. I like to call what she's doing Costume Rock. It's an outsider cosplaying as a rock star either because it's trendy or they think they can make it their niche. Obviously, that doesn't take away from the artist's ability to write great tracks. "good 4 u" is quite perfect from start to finish, but at its core, it's a pop song with chunky guitars, and in the end that's perfectly fine.

1993 "John Deere Green" - Joe Diffie

I've got a country problem. Most of the country songs I've highlighted have been from the early 90s, during the Garth-fueled renaissance of the genre and I don't know how to get out of it. "John Deere Green" is one joke away from being a novelty track, which is really the Joe Diffie sweet spot. All the troupes are here, story-telly lyrics, twangy guitars, and a southern drawl, hell Diffie even sported a mullet in '93. Despite the song's inherent silliness, there's something endearing about the whole love story, and it's hard to hear the song without at least smirking. Oddly enough I want a movie adaption of this weird little tale.

1960 "Will You Love Me Tomorrow" - The Shirelles

Raise your hand if you knew this song was co-written by Carol King. Yeah, me neither. Such a simple song with a pure tone and beautiful performances throughout. As a song from 1960, it sounds exactly of its time, it even feels like a Motown track. If you told me this was a Supremes, Marvelettes, or even Martha and the Vandellas track I'd believe you. I don't have much else to say, except I'm glad this song has made it as a permanent staple of pop culture.

2016 "Death of a Bachelor" - Panic! At the Disco

I've been trying to choose a Panic song for this dumb project for nearly a decade and as you can tell here, I'm a huge fan of the band. However, as consistent as they were for about 13 years they never had a song that just knocked me off my feet. Think of it as a bunch of 7.5s and never a 10. Well "Death of a Bachelor" a song I've always loved, but always overlooked, finally has made the list. As the title song from the album of the same name, this track seems to mark the beginning of the end of the band. Thematically, it's Brenden Urie saying goodbye to a chaotic Bachelor life and thus giving in to the end of youth. It's a beautifully eclectic song with everything from a horn section to an unmistakable hip-hop beat. All of that pairs nicely with Urie's booming vocals.

1988 "Mother" - Danzig

Written as a brash condemnation of the late 80s PMRC, "Mother" is a hard-hitting set-ending banger that is instantly recognizable. Released originally in '88, the song didn't get major airplay until it was released in '93. Maybe the world just wasn't ready for it in '88. What's wild is, that the rock landscape in '93 was wildly different and much less friendly to Danzig's genre of Heavy Metal, but "Mother" was still able to crack through the grunge-filled airwaves.

1980 "Redemption Song" - Bob Marley & the Wailers

This is a song that's been on deck FOREVER. The only reason I know any Bob Marley is because my Music Appreciation professor at Hinds Community College in 2001 insisted on using him heavily in the curriculum. "Redemption Song" feels more powerful than it probably is. Its got a plodding rhythm and a light guitar plucking backing a clearly emotional message. This track can easily sneak up on you, especially if you haven't heard it in a while. Before you know it, there you are, in a pool of tears, wondering where all the emotions came from.

See you next time. I've already got some wonderful tracks to share with you.

Cheers

[smashlawlai]

Here’s a Super Smash Bros. Lawl moveset for Live-Action Roderick Heffley from Diary of a Wimpy Kid:

Reveal Trailer:

The trailer opens in a Smash Bros. high school hallway with characters like Mario and Link walking to class. Suddenly, loud drumbeats echo through the hall, causing chaos. A disheveled Roderick Heffley skates by on his skateboard, knocking things over and causing a ruckus. The screen flashes: "Roderick Rocks the Stage!" with Roderick smirking and holding his drumsticks.

---

Playstyle:

Roderick plays as a trickster fighter, focusing on unpredictable movements, setting up traps with his drum kit, and skating around the stage. He uses his rebellious attitude and instruments as weapons, keeping his opponents off balance with chaotic energy.

Moveset:

Neutral B (Drumstick Beatdown):

Description: Roderick whips out his drumsticks and rapidly smacks his opponent, dealing quick, close-range damage. The move has fast speed but shorter range. If held, he slams his sticks together to create a soundwave that pushes enemies away.

Inspiration: Roderick is the drummer of Löded Diper, and he uses his instruments to fight.

Side B (Skateboard Ram):

Description: Roderick hops on his skateboard and charges forward. If he hits an opponent, they’re knocked back. He can also jump off midway to perform a trick that deals damage.

Inspiration: His rebellious, carefree personality fits well with a skateboard attack.

Down B (Löded Diper Drum Kit):

Description: Roderick slams down his drum kit, which stays on the stage as a trap. If an opponent touches the kit, it explodes in a burst of sound, damaging and launching them. Roderick can only have one kit on the stage at a time.

Inspiration: This references his role as the drummer in his band and his love for causing mayhem.

Up B (Reckless Dive):

Description: Roderick jumps into the air and does a divebomb headfirst, crashing into the stage below. If he hits an opponent, they take heavy damage, but if he misses, Roderick is left vulnerable.

Inspiration: Roderick's chaotic nature is showcased by his willingness to throw himself into danger.

Final Smash (Löded Diper Concert):

Description: Roderick calls his band Löded Diper to the stage. A huge concert begins, with blinding lights, loud music, and stage pyrotechnics. The music blasts across the stage, launching opponents with powerful soundwaves as Roderick takes center stage.

Inspiration: Roderick’s dream of becoming a rockstar is realized in this loud and destructive Final Smash.

---

Taunts:

Up Taunt: Roderick flips his drumsticks around his fingers, saying, “You’re not cool unless you’re in Löded Diper.”

Side Taunt: Roderick gives a sarcastic thumbs-up and says, “Nice try, dork.”

Down Taunt: Roderick pulls out a copy of Diary of a Wimpy Kid, looks at it, and tosses it over his shoulder dismissively.

---

Victory Poses:

1. Victory Pose 1: Roderick stands behind his drum kit and smashes it with his drumsticks, laughing wildly as confetti rains down.

2. Victory Pose 2: Roderick skates across the screen, doing a trick before landing and giving a mock salute.

3. Victory Pose 3: Roderick leans back on a couch, sunglasses on, saying, “Being awesome isn’t easy, but someone’s gotta do it.”

Defeat Pose:

Defeat Pose: Roderick sulks with his drumsticks broken in half, muttering, “Whatever.”

[existentialmagazine]

Review: The Trusted’s newest punk-laced single ‘Self Destruct’ offers gritty noise, anthemic attitude and never-ending adrenaline

The indie rock four-piece The Trusted have been hailing from Southend-on- Sea for a while now, creating some of the most daring releases to shake up the music scene in a long time. Their newest single ‘Self Destruct’ is no exception to that either, channeling the essences of punk, indie rock and new wave sounds into one hell of an anthem to be reckoned with.

From the squeaky amp feedback and gritty electric guitar that comes with pressing play on ‘Self Destruct’, The Trusted set the stage for a track that feels like it was born in a grungey, dimly lit garage venue, met with the sweaty packed-out moshers that feel the bass pounding through the floor. If that isn’t one hell of an opening picture to be painted, we don’t know what more you could want. It’s not long before things ramp up even further, boasting dark bass twangs, intermittent guitar strums and quickly tapped drums, with ‘Self Destruct’ bringing the energy before you’re even ready to let it sink in. The vocals are tinny and distant, like someone shouting through a wall begging to be heard while a band’s performance bleeds through, partially drowning them out. The two parts are far from separate though, with the blaring instrumental noise making the perfect home for lyrics made to be filled with attitude, force and in-your-face meaning.

The chorus absolutely explodes off the rails, still moving just as quickly as the verses racing momentum, but with one hell of an instrumental back up to deliver the fierce dominance that powers through the sound. With aggressively strummed electric guitar, booming bass, thunderous drums and vocals at their loudest yet, this moment is determined to be heard, felt and above all else, seriously mind-blowing.

The lyrics mesh perfectly with the never-ending racing spirits, delivering a narrative all about self-sabotage, and when you never get a chance to stop or think it’s certainly made clear that the protagonist in this new single is doing plenty of that. This message comes to life just as much through the sound as it does the words, caught up in the highs, always moving and indulging, and doing so with a recklessness that feels laced into every instrument’s raw tones and forceful performance. With the harsh vocal delivery adding more depth however, we hear some lines that make the experience what it truly is: ‘I’m in control, burn out like a cigarette.’ From feeling in control one second to swiftly falling apart and watching it become a blur, ‘Self Destruct’ is really built upon that internal false confidence we get when we’re out of out heads, not to mention a little self-destructive just through the mention of cigarettes. The chorus hook is most poignant though, coming in when the track is at its loudest and most self-assured, perhaps mirroring the peak of drinking and feeling completely out of it: ‘I wanna self destruct, I know I like it.’ The acknowledgement that they enjoy these damaging behaviours is far from a positive though, ringing out like a catchy line you want to chant, but carrying so much weight in the reality that sometimes you can take it too far. Continuing ‘my mind is spinning but I don’t wanna fight about it’, it adds a little defensiveness to match, feeling called out for their behaviour but ignorant to making a change. As they continue to delve into the experiences of an individual who is pushing their body and mind to dangerous extremes for the sake of a fleeting thrill, ‘Self Destruct’ comes to life as something you can’t get enough of (which is blatantly intentionally ironic, for the message), while preaching enjoying things in moderation.

Things simmer back down for the bridge’s intermission, slowly building tensions with more of a paired-back sound and rising instruments, getting back into the anthemic high that makes ‘Self Destruct’ the high-energy experience that it is. It doesn’t hurt that it ends off the back of an epic guitar solo either, so if you’ve been searching for a tune that’s unapologetically bold, you won’t want to miss this one here.

Written by: Tatiana Whybrow

Photo Credits: Jordan White

// This coverage was supported and created via Musosoup, #SustainableCurator.

[gaykarstaagforever]

Multiverse Exploration File No. 342998345 -- "Discordia"

Notable Deviations from Dimension 1:

Their "music" is terrifying, pained screams from one or more people, set to random patterns of banging metal and wet slopping sounds. This typically goes on for anywhere from 2 and a half to 20 minutes. They have all the expected bands and genres, but system analysis detected no discernable difference between any of them. Listeners and claim and video proves that traditional instruments are present and being played; but only in ways that generate the cacophony, usually resulting in the quick destruction of the instruments. Analysis also did not detect any known rhythmic or melodic structure, though inhabitants of this dimension dance and clap along in unison, across multiple instances, as if there is some sort of structure our methodology cannot detect. They will also hum and sing along with these "songs," emulating the shrieks and pained cries. When Scout asked if the performers of the recordings were in pain, Scout was met with confusion in all cases. This situation has been noted by Scout in at least three different countries, so is assumed to be a worldwide phenomenon.

There is currently a new youth art movement called "Discordia," that claims to "rediscover the foundational roots of art via PURE CHAOS." It is generally reviled by mainstream audiences as awful nonsense, and even generous dimensional art critics term it avant-garde experimentation primarily interested in shocking traditional sensibilities. Analysis indicates, and Scout confirms, that "Discordia" music sounds like Dimension 1 late 1970s "yacht rock," with smooth melodic instrumentation and tight multilayered harmonies.

Scout Notes:

Their music is ear-splittingly awful. But they seem to have more independent record labels and stores, so

File Closed

[tonkigospel]

Rock band called instruments of destruction

#Rock band called instruments of destruction for free#

It is time for a reintroduction of A Man Called Destruction. With the renewed interest and appreciation for his work in Big Star, it is the perfect time for Chilton’s solo work to get the same due. The first pressing will be a translucent blue double album, which includes all of the bonus tracks, and Mehr’s essay in the gatefold sleeve. To make this reintroduction even more special, the title is making its vinyl debut. Two decades later, Destruction reappears-complete with 7 previously unissued tracks from the original sessions and new liner notes from best-selling writer Bob Mehr (Trouble Boys: The True Story Of The Replacements). In 2001 the duo of brothers Rimmerfors, making Swedish folk music on traditional instruments, joined forces with three members from prog/thrash metal outfit. A mix of garage rock, jazz and R&B, A Man Called Destruction was very well received by fans and critics, and even landed him a spot on Late Night With Conan O’Brien performing the album’s “Lies.” Returning to Memphis and the legendary Ardent Studios, Destruction was a classic Chilton mix of originals and covers, this time with a full-horn section. The ’90s found him crooning a set of standards (on Clichés, his first full-length in seven years), touring with a reformed Big Star, and releasing 1995’s A Man Called Destruction. An enormous music fan himself, he consistently reinvented himself musically throughout his career. But, he was never one to rest on his laurels. GATES OF DESTRUCTION is a great testament to their sound.Chilton’s 1995 return to rock-on LP for the first time!Īs lead singer of The Box Tops and co-founder of Big Star, Alex Chiton’s place in rock history would have been solid. If they continue to work with this clarity and above all with the commitment to deliver something sincere, we will surely be facing a new album of great quality. The group is supposed to be working on a new release, with a view to playing live as soon as contingency allows. His work on the mix allows you to listen to all the songs without any problem. The destruction of musical instruments is a ritual performed by a few pop, rock and other musicians during live performances, particularly at the end of the. The level of the instruments is well balanced, as well as the recording quality. The sound quality is very good, especially if we take into account that the album is a work made by the same band, specifically John Hébert, who in addition to being the founder of the group is also the guitarist and vocalist. One of the most striking features of the songs on this album is that they are very short, the longest barely lasting three and a half minutes, however, at no time is it a point against on the contrary, it is surprising how well they managed to build very complete compositions in those time spans. The album is called: GATES OF DESTRUCTION, it includes eight songs where we witness a well-established band, with a clear intention of how they want sound and what kind of songs they want to compose. In fact, that is the first element that captures the ears when listening to their music.Īt the end of 2020 Empyre Rock Club finished their debut album, which was released in mid-2021.

#Rock band called instruments of destruction for free#

The band offers a thrash sound with a lot of groove, this means that they don’t indulge in speed for free but they try to create an interesting rhythm in their songs. Empyre Rock Club is a band born in 2017 in the depths of the Philadelphia scene.

[chorusfm]

Northvale – Where We Go When There’s Nothing Left (Track By Track)

Today, New Jersey alternative rock/pop-punk band, Northvale, are releasing their debut LP called Where We Go When There’s Nothing Left. Northvale is Keith Karol (Vocals), Mike Piacentini (Guitar), Chris Stroz (Guitar), and Aren Millan (Drums), and their great band chemistry shines through brilliantly on their debut album. If you’re enjoying the insight given by Northvale, please consider streaming the album here. For The Moment ”For The Moment” is a reflection on a deeply transformative chapter of my life, marked by love, loss, and the pursuit of self-preservation. The song narrates my relationship with a woman I once believed was my destined partner, whose free-spirited nature both enchanted and eventually estranged us. This track delves into the tragic event that irrevocably changed our relationship. The weight of the unknown and the aftermath of the incident created an insurmountable rift between us. As she withdrew, I grappled with the dual pain of her trauma and the erosion of our bond.  Better When I Can “Better When I Can”. The song details coming to grips with aging, dealing with your addictions as we get older, and the tendency for them to be more destructive as we age. We teamed up with the band Palettes to bring this first track to life, alongside the video director, Tom Haas. Chica Go Bills ”Chica Go Bills” is a wistful ode to a memory from a trip to Chicago with a past love, weaving a narrative of longing and retrospection. The song captures the bittersweet realization that some moments, once passed, linger in the heart with a mix of fondness and regret. But “Chica Go Bills” is more than a song about a city; it’s a journey through the landscapes of memory and emotion, inviting listeners to explore their own pasts and the places that hold significant meanings in their lives. It’s a reminder that sometimes, the places we visit with others become landmarks in our personal histories, colored forever by our experiences and the people we shared them with. Already Dead ”Already Dead” confronts the profound disillusionment with structured belief systems—not just religious faith, but also the societal norms that dictate our lives. At its core, the song explores the liberation from these impositions and the empowerment of steering one’s own fate, encapsulated in the resonant hook, ”I gotta live like I’m already dead.” Our collaboration with AJ Perdomo of The Dangerous Summer was almost predestined. Having previously worked with him on “High Tide,” we envisioned his involvement from the early stages of writing. AJ’s unique voice and energy have profoundly enhanced the track, making it a standout piece in our repertoire. Hang in There Kid ”Hang In There Kid” is a poignant exploration of despair and the brink of giving up, narrated through the lens of someone contemplating the finality of suicide. The song navigates the emotional turmoil and isolation that can lead one to consider such a drastic escape. With “Hang In There Kid,” we hope to reach anyone who feels overwhelmed, reminding them that there is strength in perseverance and that they are not alone in their battles. Just Because You Paint A Picture, Doesn’t Mean It Fits The Frame ”Just Because You Paint A Picture, Doesn’t Mean It Fits The Frame” is a deeply introspective track that explores the haunting return of inner demons derived from past relationships, traumatic experiences, and the ongoing battle with mental illness. This song delves into the complex interplay between personal responsibility and external influences in shaping our struggles and perceptions. The song mirrors the emotional turbulence of its lyrics with a blend of stark melodies and raw, powerful instrumentation that accentuates the sense of conflict and introspection. The track is both a personal confession and a universal query into the nature of fault and self-awareness. What if You Fly? ”What If You Fly?” is an anthem of defiance and determination,… https://chorus.fm/features/northvale-where-we-go-when-theres-nothing-left-track-by-track/

[guidepiner]

Rock band called instruments of destruction

#Rock band called instruments of destruction series

He famously burned two guitars at three shows, most notably the 1967 Monterey Pop Festival. Jimi Hendrix was also known for destroying his guitars and amps. Jeff Beck, then a member of the Yardbirds, reluctantly destroyed a guitar in the 1966 film Blowup after being told to emulate the Who by director Michelangelo Antonioni. VH1 later placed this event at number ten on their list of the twenty Greatest Rock and Roll Moments on Television. Moon was also injured in the explosion when shrapnel from the cymbals cut his arm. Moon overloaded his bass drum with explosive charges which were detonated during the finale of the song, " My Generation." The explosion caused guest Bette Davis to faint, set Pete Townshend's hair on fire and, according to legend, contributed to his later partial deafness and tinnitus. television on the Smothers Brothers Comedy Hour in 1967. The most famous episode of this occurred during the Who's debut on U.S. Keith Moon, the Who's drummer, was also known for destroying his drum set. A student of Gustav Metzger, Townshend saw his guitar smashing as a kind of auto-destructive art. Rolling Stone Magazine included his smashing of a Rickenbacker guitar at the Railway Tavern in Harrow and Wealdstone in September 1964 in their list of "50 Moments That Changed Rock & Roll". This piece of performance art inspired guitarist Pete Townshend of the Who, who was the first guitar-smashing rock artist. Page threw his guitar off stage and kicked it out of the ICA’s front door and down Dover Street until it broke totally apart. The artists who gathered around this art movement and its development were opposed to the senseless destruction of human life and landscapes engendered by the Vietnam war.ĭuring the Festival of Misfits in 1962, Fluxus-artist Robin Page performed his event named "Guitar Piece". Two years later, New York City hosted the second Destruction in Art Symposium at Judson Church in Greenwich Village.

#Rock band called instruments of destruction series

During the course of the symposium, Raphael Montañez Ortiz performed a series of seven public destruction events, including his piano destruction concerts, which were filmed by both American Broadcasting Company and the BBC. According to the event's press release, the principal objective of DIAS was "to focus attention on the element of destruction in Happenings and other art forms, and to relate this destruction in society." Two events were scheduled to occur throughout London. In London, 1966, a group of artists from around the world came together to participate in the first Destruction in Art Symposium (DIAS). Nam June Paik's "One for Violin Solo", performed on 16 June 1962, featured Paik very slowly and intently lifting a violin, then smashing it with one blow on a table. Jazz musician Charles Mingus, known for his fiery temper, reportedly smashed his $20,000 bass onstage in response to audience hecklers at New York's Five Spot. Several contemporary musicians, including Annea Lockwood, Yōsuke Yamashita, and Diego Stocco, have incorporated piano burning in their compositions. Jerry Lee Lewis may be the first rock artist to have destroyed his equipment on stage, with several, possibly erroneous, stories of him destroying and burning pianos in the 1950s.