Released: Spring 2010
Availability: online download from band
Label: KMFDM Enterprises (independant label)
Just a moment to pause and say a few words on releases, tracks, and limited edition.
Day Of Light is a two-track single from KMFDM originally released only on 7" vinyl, limited pressing (250 I believe). Which when I first found out infuriated me. There's just something utterly anti-music about Limited Edition tracks.
I don't mind a LE package with shirts and posters and sweatbands and the like. But LE Music tracks truly annoy me. I thought artists made music to be heard by as many people as possible, at least I like to think that. I like to think that all music should be perpetually and easily available.
After all in the modern day it seems to me for very little overhead a label could keep massive catalogues of music perpetually available for digital sales and downloads. Small, steady, streams of income can't be a bad thing. It just can't.
It was several months before KMFDM relreased the tracks digitally for download. The collectors (and while I'm a very hardcore fan, I'm not a hardcore collector of KMFDM) get their LE vinyl, I get my music.
Don't even get me started on Bonus Tracks only for specific stores - that's an even bigger scam.
Day Of Light - A pretty solid industrial-rock track, positive and upbeat. Good on the dance floor.
Beach - three and a half minutes of waves crashing on the beach. The B-side on the vinyl, it's not music, but it is relaxing. If I need to take a quick break at work due to stress I put this track on and take a quick walk outside.
It's the principal of the idea - music for an audience, why limit the audience artificially.
Friday, July 23, 2010
Thursday, July 15, 2010
Kerli - Love Is Dead
Released: Summer 2008
Availabilty: easily found in actual music stores
Label: Island Records (major label)
Kerli Koiv is from Estonia, moved to the US in 2005 and managed to get a contract to cut a few records. Her debut album is a mix of goth, darkwave and europop swirled into a mix of danceable tunes and off-beat ballads.
Love Is Dead - The album starts with some hard snare hits and a pretty cool guitar riff. I'm pretty sure this is a love song, even if it's not it's a cool track to listen to.
Walking On Air - This is a really cool goth-rock track. A bit creepy, a lot about living ones dreams. I love the lyrics whole bunches.
The Creationist - A very pretty little piano track, another song about the power of self belief. There's a spiritual message in here, how you take it is based on how you look at life. I'll leave it in your hands, no matter the song is pretty.
I Want Nothing - Picking up the pace with a guitar riff, it comes off as very old-school goth-rock to me, and fast like punk rock.. I like. Also, I think this song is about a girl telling a guy off.
Up Up Up - I love this song, it's happy and upbeat, and manages to keep a medium tempo. It reminds me of laying about on a sunny afternoon.
Bulletproof - A slow ballad type song with fuzzy guitars all over the place. Not much of a fan of this song actually. It's the guitars, too much fuzzy here.
Beautiful Day - Another slower song, but more percussion and less fuzzy guitars. And also, happier in tone. I like songs that are uplifting and positive.
Creepshow - This one belongs in a club scene, at high volume. One of those high energy dance-tempo songs. The lyrics are also a bit non-sensical, but fun. Kerli also sings in her native tongue for parts of the song, the only track on the album she does so. The song almost feels like an album opener instead of stuck on the back end like it is, but it's also a good break from the more subdued tracks around it.
Hurt Me - Not quite fast, not quite slow. The song seems self-destructive in nature. Not really a fan of this one either to be honest. It seems to be missing some much needed Punch to the tone.
Butterfly Cry - Not a light song, but soft and airy. Ultimately, it's a sweet ballad that belongs on a playlist for rainy days.
Strange Boy - Another track that would be at home in a club, a hard pulsing beat with a neat little riff. The chorus is also fun, almost something to chant along to. Very danceable song, just turn it up and let it carry.
Fragile - And we end the album with a slow track, about that we're all vulnerable despite ourselves, and that we can carry on regardless. There are strings that appear here, and I think the song could have been stronger if they backed the entire song instead of being mixed in as they are. Also, I would have removed the guitar in favor of violins.
The album as a whole has its ups and downs, it doesn't really keep a pace going across the whole length. Lots of good pieces to add to playlists of various moods though. And Kerli has a voice that's pleasant to listen to.
Availabilty: easily found in actual music stores
Label: Island Records (major label)
Kerli Koiv is from Estonia, moved to the US in 2005 and managed to get a contract to cut a few records. Her debut album is a mix of goth, darkwave and europop swirled into a mix of danceable tunes and off-beat ballads.
Love Is Dead - The album starts with some hard snare hits and a pretty cool guitar riff. I'm pretty sure this is a love song, even if it's not it's a cool track to listen to.
Walking On Air - This is a really cool goth-rock track. A bit creepy, a lot about living ones dreams. I love the lyrics whole bunches.
The Creationist - A very pretty little piano track, another song about the power of self belief. There's a spiritual message in here, how you take it is based on how you look at life. I'll leave it in your hands, no matter the song is pretty.
I Want Nothing - Picking up the pace with a guitar riff, it comes off as very old-school goth-rock to me, and fast like punk rock.. I like. Also, I think this song is about a girl telling a guy off.
Up Up Up - I love this song, it's happy and upbeat, and manages to keep a medium tempo. It reminds me of laying about on a sunny afternoon.
Bulletproof - A slow ballad type song with fuzzy guitars all over the place. Not much of a fan of this song actually. It's the guitars, too much fuzzy here.
Beautiful Day - Another slower song, but more percussion and less fuzzy guitars. And also, happier in tone. I like songs that are uplifting and positive.
Creepshow - This one belongs in a club scene, at high volume. One of those high energy dance-tempo songs. The lyrics are also a bit non-sensical, but fun. Kerli also sings in her native tongue for parts of the song, the only track on the album she does so. The song almost feels like an album opener instead of stuck on the back end like it is, but it's also a good break from the more subdued tracks around it.
Hurt Me - Not quite fast, not quite slow. The song seems self-destructive in nature. Not really a fan of this one either to be honest. It seems to be missing some much needed Punch to the tone.
Butterfly Cry - Not a light song, but soft and airy. Ultimately, it's a sweet ballad that belongs on a playlist for rainy days.
Strange Boy - Another track that would be at home in a club, a hard pulsing beat with a neat little riff. The chorus is also fun, almost something to chant along to. Very danceable song, just turn it up and let it carry.
Fragile - And we end the album with a slow track, about that we're all vulnerable despite ourselves, and that we can carry on regardless. There are strings that appear here, and I think the song could have been stronger if they backed the entire song instead of being mixed in as they are. Also, I would have removed the guitar in favor of violins.
The album as a whole has its ups and downs, it doesn't really keep a pace going across the whole length. Lots of good pieces to add to playlists of various moods though. And Kerli has a voice that's pleasant to listen to.
Monday, June 21, 2010
Melissa Auf Der Maur - Out of Our Minds
Released: Spring 2010
Availabilty: still new - still available
Label: Phi Group Inc (independant label) and Road Runner Records (major label, outside North America distro only)
Melissa Aud Der Maur started her solo career in the early 2000s, formerly the bassist for Hole (and the farewell tour for the Smashing Pumpkins). Her first album in 2004 was a straight forward rock album, her second album Out Of Our Minds is both just as much a rock album as it is an experimental album. It comes accompanied with a short movie, a comic book, and other media aspects.
I own just the CD, measuring it on the merits of music alone, and it took me a while to sit down and just listen to the album. The album finds a great balance between hard rock and light meldies.
The Hunt - more an instrumental solo than a song, the introduction to the album comes in like a hearbeat, though it's almost too long. Maybe a full minute could have been cut off this track is it sounds more like an intro-track than it does a song.
Out Of Our Minds - The title track here sets up the album as one filled with lush sounds, enchanting vocals, and a solid sense of rock basics.
Isis Speaks - We continue with a song that feels mystic in nature, the bass literally hums through this song, it feels like electricity set to rhythm. The chorus is extra catchy in this one.
Lead Horse - A slow instrumental, not much more than a rather extended guitar solo. Mellow, though like the intro a little too long.
Follow The Map - Images of ships, piracy, lost treasure, and broken hearts. Or something like that. A nice melody and a good beat.
22 Below - My favorite track, I love the cadence of the lyrics. A single guitar carries most of the song, only erupting into a full ensemble as the song repeats the bridge phrase and finally ends.
Meet Me On The Dark Side - Nothing particularly special about this song, it doesn't feel like filler exactly, but it isn't remarkable either.
This Would Be Paradise - More a lullaby than a song, the only lyric is a repeated quote about man's achievements and shortcoming.
Father's Grave - A duet with Glen Danzig, his baritone is a perfect offset to Melissa's own voice. This may be a conversation with the grim reaper, or a more literal killer. Either way, the two create haunting imagery as they switch off lines. The imagery reminds me greatly of Nick Cave.
The Key - A very different take on finding one's true love. Catchy tune, ends before it carries on too long.
The One - Struggling to connect with those around us, both alone and with someone. Soft, slow song. This borders on a love song, but doesn't quite make it there. "Someone's gotta love him / Someone's gotta love him" sounds more like bleak acceptance than anything noble.
1000 Years - Another song where the cadence of Melissa's music carries the song, creating the rhythm as much as anything. The song feels constantly like it wants to pick up the pace, suddenly take off an gallop instead of the steady trot it goes at.
There's dead air and silence after the last track ends for about a minute before the album provides a piano outro.
A good album to put on and let play in the background, especially with a whole group of other mellow rock albums on a shuffle.
Availabilty: still new - still available
Label: Phi Group Inc (independant label) and Road Runner Records (major label, outside North America distro only)
Melissa Aud Der Maur started her solo career in the early 2000s, formerly the bassist for Hole (and the farewell tour for the Smashing Pumpkins). Her first album in 2004 was a straight forward rock album, her second album Out Of Our Minds is both just as much a rock album as it is an experimental album. It comes accompanied with a short movie, a comic book, and other media aspects.
I own just the CD, measuring it on the merits of music alone, and it took me a while to sit down and just listen to the album. The album finds a great balance between hard rock and light meldies.
The Hunt - more an instrumental solo than a song, the introduction to the album comes in like a hearbeat, though it's almost too long. Maybe a full minute could have been cut off this track is it sounds more like an intro-track than it does a song.
Out Of Our Minds - The title track here sets up the album as one filled with lush sounds, enchanting vocals, and a solid sense of rock basics.
Isis Speaks - We continue with a song that feels mystic in nature, the bass literally hums through this song, it feels like electricity set to rhythm. The chorus is extra catchy in this one.
Lead Horse - A slow instrumental, not much more than a rather extended guitar solo. Mellow, though like the intro a little too long.
Follow The Map - Images of ships, piracy, lost treasure, and broken hearts. Or something like that. A nice melody and a good beat.
22 Below - My favorite track, I love the cadence of the lyrics. A single guitar carries most of the song, only erupting into a full ensemble as the song repeats the bridge phrase and finally ends.
Meet Me On The Dark Side - Nothing particularly special about this song, it doesn't feel like filler exactly, but it isn't remarkable either.
This Would Be Paradise - More a lullaby than a song, the only lyric is a repeated quote about man's achievements and shortcoming.
Father's Grave - A duet with Glen Danzig, his baritone is a perfect offset to Melissa's own voice. This may be a conversation with the grim reaper, or a more literal killer. Either way, the two create haunting imagery as they switch off lines. The imagery reminds me greatly of Nick Cave.
The Key - A very different take on finding one's true love. Catchy tune, ends before it carries on too long.
The One - Struggling to connect with those around us, both alone and with someone. Soft, slow song. This borders on a love song, but doesn't quite make it there. "Someone's gotta love him / Someone's gotta love him" sounds more like bleak acceptance than anything noble.
1000 Years - Another song where the cadence of Melissa's music carries the song, creating the rhythm as much as anything. The song feels constantly like it wants to pick up the pace, suddenly take off an gallop instead of the steady trot it goes at.
There's dead air and silence after the last track ends for about a minute before the album provides a piano outro.
A good album to put on and let play in the background, especially with a whole group of other mellow rock albums on a shuffle.
Friday, May 21, 2010
Broken Bells - Broken Bells
Released: Spring 2010
Availabilty: still new - still available
Label: Colombia Records (major label)
Broken Bells is a collaboration of producer/musician Danger Mouse (Brian Burton) and Indie Rock musician James Mercer (of The Shins). The result on the debut album is a nicely mellow rock album with a very rich undertone and a subtlety that is nothing but elegance.
The High Road - The opening song comes in with a slow beat that almost leads you to believe it will break into something more of a dance beat. When Mercer's vocals come in it turns to a simple melody. An excellent song to lead the album with, setting the mood nicely.
Vaporize - A slow acoustic song with continuing a set low key mood, the album is shaping into something to listen to as the day winds down.
Your Head Is On Fire - Mercer's guitar takes a bit of a background to more complex instrumentation here, the pace picks up a little bit in this quick song.
The Ghost Inside - By this albums standards this is a bit of a hopping dance track, though not up to club-pulse speeds it's a catchy tune, one you can't help but tap your foot along to.
Sailing To Nowhere - Any other band would probably overlay far too many guitars here, as it has a kind of bluesy-rock feel to it that wouldn't be out of place on a Led Zeppelin album. It's not nearly so overproduced, using just enough to draw you into the soundscape.
Traps Doors - A complex rich song, still slow and understaded. Another track that speaks more with the strength of what it doesn't have (more instrumentation) than what it does.
Citizen - For some reason this song just reminds me of walking aimlessly down city streets and alleys looking for nothing in particular. Slow afternoons and cool air.
October - The opening piano is very cheery, an upbeat melody that sits in the background of the tune. A line in the song "don't run, don't rush" neatly expresses the way the song (and album) gently rolls along.
Mongreal Heart - A little bit of a brisk pace in this song, but not too fast for the album. Almost at the end it does slow down and a rich string section comes in to carry the tune out.
The Mall & Misery - A quiet slow start to the final song builds up slowly with mostly strings, when the beat comes in it feels like a continuation of the previous track a little bit. A nice guitar riff dances in and out.
The album ends as quietly as it started, fading out in a soft lull.
The whole album is like a slow afternoon, unhurried and patient; still full and rich with sounds. Danger Mouse shows that creating a soundspace is more than just creating sound, it's an atmosphere that carries through the entire album.
It finds itself along side the likes of Robin Guthrie (Cocteau Twins) and even subtle hints of Gorillaz - though less bounce and more melody.
Availabilty: still new - still available
Label: Colombia Records (major label)
Broken Bells is a collaboration of producer/musician Danger Mouse (Brian Burton) and Indie Rock musician James Mercer (of The Shins). The result on the debut album is a nicely mellow rock album with a very rich undertone and a subtlety that is nothing but elegance.
The High Road - The opening song comes in with a slow beat that almost leads you to believe it will break into something more of a dance beat. When Mercer's vocals come in it turns to a simple melody. An excellent song to lead the album with, setting the mood nicely.
Vaporize - A slow acoustic song with continuing a set low key mood, the album is shaping into something to listen to as the day winds down.
Your Head Is On Fire - Mercer's guitar takes a bit of a background to more complex instrumentation here, the pace picks up a little bit in this quick song.
The Ghost Inside - By this albums standards this is a bit of a hopping dance track, though not up to club-pulse speeds it's a catchy tune, one you can't help but tap your foot along to.
Sailing To Nowhere - Any other band would probably overlay far too many guitars here, as it has a kind of bluesy-rock feel to it that wouldn't be out of place on a Led Zeppelin album. It's not nearly so overproduced, using just enough to draw you into the soundscape.
Traps Doors - A complex rich song, still slow and understaded. Another track that speaks more with the strength of what it doesn't have (more instrumentation) than what it does.
Citizen - For some reason this song just reminds me of walking aimlessly down city streets and alleys looking for nothing in particular. Slow afternoons and cool air.
October - The opening piano is very cheery, an upbeat melody that sits in the background of the tune. A line in the song "don't run, don't rush" neatly expresses the way the song (and album) gently rolls along.
Mongreal Heart - A little bit of a brisk pace in this song, but not too fast for the album. Almost at the end it does slow down and a rich string section comes in to carry the tune out.
The Mall & Misery - A quiet slow start to the final song builds up slowly with mostly strings, when the beat comes in it feels like a continuation of the previous track a little bit. A nice guitar riff dances in and out.
The album ends as quietly as it started, fading out in a soft lull.
The whole album is like a slow afternoon, unhurried and patient; still full and rich with sounds. Danger Mouse shows that creating a soundspace is more than just creating sound, it's an atmosphere that carries through the entire album.
It finds itself along side the likes of Robin Guthrie (Cocteau Twins) and even subtle hints of Gorillaz - though less bounce and more melody.
Wednesday, May 5, 2010
KMFDM - Angst
Released: Fall 1993 (rereleased Fall 2006)
Availability: usually in record shops, easily online, through KMFDM.COM
Label: KMFDM Enterprises (originally Wax Trax!/TVT Records)
KMFDM (Kein Mehrheit Für Die Mitleid - you get to translate the bad German grammar) started as an Art-Music installation group in 1984. It didn't take long to become a full-on musical group. Easily one of the founding groups of Industrial Rock.
Light - the opening begs you to find the loudest stereo you can, crank it all the way up and sit tight. Building up to a crescendo it hits you with a solid guitar riff and pounding beat.
A Drug Against War - Easily one of the hardest, and best, songs ever recorded.
Blood (Evil Mix) - The beat slows down, but the social commentary becomes more scathing with each verse.
Lust - Love through physical need, the song is in German so unless you translate or speak it there isn't much here. Even so, it's a soothing song that's low and quiet.
Glory - Speaking out against Corporate Capitalism and similar social commentary. The song starts out in a slow pulsing rhythm and quickly moves into a catchy dancable beat. Comes with a call to arms to unite against oppression. A KMFDM stock in trade.
Move On - Slow, pulsing, this one gets under my skin, into my blood. Inward reflection on past mistakes and moving beyond into the future.
No Peace - Another call to arms against oppression and bigotry, almost an anthem track but doesn't quite have the energy.
A Hole In The Wall - The most off-beat love song I've ever heard, instead of how they want to live with a lover, how they want to die, and oddly affectionate.
Sucks - The other KMFDM staple is self deprication, and this is the ultimate expression, KMFDM Sucks. The lyrics are definitely amusing.
The Problem - The album ends with a slow down tempo beat, and a fairly serious note on how many 'problems' are dealt with in society, removing the focal point instead of finding the cause.
Angst is easily my favorite KMFDM ablum, it keeps momentum throughout the entire thing, not a bad track in the bunch when taken as a whole. Consistently heavy, if not overly fast or dance laden.
Availability: usually in record shops, easily online, through KMFDM.COM
Label: KMFDM Enterprises (originally Wax Trax!/TVT Records)
KMFDM (Kein Mehrheit Für Die Mitleid - you get to translate the bad German grammar) started as an Art-Music installation group in 1984. It didn't take long to become a full-on musical group. Easily one of the founding groups of Industrial Rock.
Light - the opening begs you to find the loudest stereo you can, crank it all the way up and sit tight. Building up to a crescendo it hits you with a solid guitar riff and pounding beat.
A Drug Against War - Easily one of the hardest, and best, songs ever recorded.
Blood (Evil Mix) - The beat slows down, but the social commentary becomes more scathing with each verse.
Lust - Love through physical need, the song is in German so unless you translate or speak it there isn't much here. Even so, it's a soothing song that's low and quiet.
Glory - Speaking out against Corporate Capitalism and similar social commentary. The song starts out in a slow pulsing rhythm and quickly moves into a catchy dancable beat. Comes with a call to arms to unite against oppression. A KMFDM stock in trade.
Move On - Slow, pulsing, this one gets under my skin, into my blood. Inward reflection on past mistakes and moving beyond into the future.
No Peace - Another call to arms against oppression and bigotry, almost an anthem track but doesn't quite have the energy.
A Hole In The Wall - The most off-beat love song I've ever heard, instead of how they want to live with a lover, how they want to die, and oddly affectionate.
Sucks - The other KMFDM staple is self deprication, and this is the ultimate expression, KMFDM Sucks. The lyrics are definitely amusing.
The Problem - The album ends with a slow down tempo beat, and a fairly serious note on how many 'problems' are dealt with in society, removing the focal point instead of finding the cause.
Angst is easily my favorite KMFDM ablum, it keeps momentum throughout the entire thing, not a bad track in the bunch when taken as a whole. Consistently heavy, if not overly fast or dance laden.
Tuesday, April 13, 2010
Skindred - Shark Bites And Dog Fights
Released: Fall 2009
Availability: readily both digitally and physically
Label: Bieler Bros. (independant label)
Skindred formed in the late 1990s out of a barely known band called Dub War. Originally signed with a major label, they thankfully wound up on Bieler Bros. A combo of rock, dub, reggae, metal and punk; they call it Ragga Metal, I'll go with that.
Over the course of the three albums they've released as Skindred they've refined the sound down to a well oiled machine, singer Benji Webbe brings a thankfully fresh new voice to the standard growling shout common in metal.
Stand For Something - A solid opening, Skindred's strong ties to Reggae places a lot of emphasis on social issues, and how we affect the world around us.
You Can't Stop It - Continuing on with the theme, more of a revolutionary rock anthem.
Electric Avenue - This is, beyond any doubt, the best cover of this track I have ever heard. The hard guitar edge adds a whole new dimension to this track, making it the punk song it always wanted to be.
Calling All Stations - Benji's voice goes from low rumble to melodic here. A sound that first attracted me to this group back when they were Dub War. The kind of track you want to hear let loose on the dance floor.
Corrupted - More reggae influenced than other tracks, still maintaining a dance floor stomping beat.
Who Are You? - Slowing down a bit, this track asks the ever important question; who are you to tell me I can't succeed? Interestingly the song fades out near the end and then comes right back in answering the question.
Days Like These - Picking back up again, this song occilates between slow and fast, without sounding forced.
Invicible - A solid ending to the album, another positive message song that also does well on the dance floor.
The album is short and sweet, coming in at just over 30 minutes with 8 tracks. Personally I find this a nice change compared to todays standards of packing sixteen plus mediocre tracks into an hour or dealing with solos dragging out the middle of a song.
It's good to see a group just get down the basics of delivering a solid album of hits.
Availability: readily both digitally and physically
Label: Bieler Bros. (independant label)
Skindred formed in the late 1990s out of a barely known band called Dub War. Originally signed with a major label, they thankfully wound up on Bieler Bros. A combo of rock, dub, reggae, metal and punk; they call it Ragga Metal, I'll go with that.
Over the course of the three albums they've released as Skindred they've refined the sound down to a well oiled machine, singer Benji Webbe brings a thankfully fresh new voice to the standard growling shout common in metal.
Stand For Something - A solid opening, Skindred's strong ties to Reggae places a lot of emphasis on social issues, and how we affect the world around us.
You Can't Stop It - Continuing on with the theme, more of a revolutionary rock anthem.
Electric Avenue - This is, beyond any doubt, the best cover of this track I have ever heard. The hard guitar edge adds a whole new dimension to this track, making it the punk song it always wanted to be.
Calling All Stations - Benji's voice goes from low rumble to melodic here. A sound that first attracted me to this group back when they were Dub War. The kind of track you want to hear let loose on the dance floor.
Corrupted - More reggae influenced than other tracks, still maintaining a dance floor stomping beat.
Who Are You? - Slowing down a bit, this track asks the ever important question; who are you to tell me I can't succeed? Interestingly the song fades out near the end and then comes right back in answering the question.
Days Like These - Picking back up again, this song occilates between slow and fast, without sounding forced.
Invicible - A solid ending to the album, another positive message song that also does well on the dance floor.
The album is short and sweet, coming in at just over 30 minutes with 8 tracks. Personally I find this a nice change compared to todays standards of packing sixteen plus mediocre tracks into an hour or dealing with solos dragging out the middle of a song.
It's good to see a group just get down the basics of delivering a solid album of hits.
Thursday, April 1, 2010
Lou Reed - Metal Machine Music
Released: Summer, 1975
Availability: available, usually easily found - almost always a special order (listed as a Limited Edition)
Label: Buddha Records (Sony Music imprint;) [originally on RCA Records; major label]
Lou Reed is without a doubt one of modern rocks influences. A member of the Velvet Underground, has worked with countless musicians throughout the ages. One of rocks giants.
Metal Machine Music is not music. Says so on the album cover. It comes complete with an utterly made up list of equipment.
Metal Machine Music is two guitars in feedback loops - if you put on a pair of headphones the stereo recording will put a different experience into each ear.
Part One - guitars in a feedback loop. No melody, no beat, no rhythm.
From where I listen, music is a completely visceral emotional response. You can sit people down and discuss for days composition, and execution, and quality, and everything else. But when the lights go out, all your left with is "Do I like it or not?"
From there the real discussion starts, what does it make you feel? The same song can evoke different emotions depending on the mood you started listening to it in, and sometimes the same song will always lock step you back to one single emotion. When we encounter new music is as important as what new music we encounter.
Part Two - guitars in a feedback loop, for another 16 minutes.
I could present thousands of words on the history, value, revelations, commentary and influence this album had on the music industry. The number of people who went "wow!" and the number of people are just utterly pissed off this even exists.
Here's some of the things I've done listening to this album:
Fall asleep listening to it; Clean my house; meditate; given me a migraine; soothed and relaxed my nerves; driven people out of the room leaving me in peace.
I usually put it on a very low volume and let it become background noise, overwhelming all other forms of background noise a city has to offer.
Part Thee - see part two.
Zeitkratzer managed to make a live version of this album. Translated to notes and played by orchestra. It is currently more easily found than the standard release album.
You could consider this album as a Koan. Or you could consider it as a bunch of noise. Maybe both.
There is no middle ground here, you can either listen to an hour of two guitars feeding back into amplifiers, or you have to immediately turn it off. Sometimes I can only listen to one part. Sometimes I sit on the edge throughout the entire toneless rhythmless mess of noise - captivated and fascinated by it all.
Part Four - the last several seconds actually picks up a repeating rhythm. On the original record release some of the LPs had a locked groove so this suddenly rhythmic portion would repeat until you physically stopped the record player. On the CD is lasts barely over two minutes before ending. (secretly I wish they took it all the way to the edge of the CDs recording limits.)
If you can find it (I don't believe it's that hard, but it's not that easy either) I suggested finding the "Inanition" by Controlled Bleeding, the song 'Hymn From The Shadows' is another piece that goes especially well with headphones and the quiet subtlety of that track provides an excellent counter point. If you can't find it, any quiet long piece of ambient music works as well, some suggestions:
Future Sound Of London - Lifeforms Paths 1-7 (single, possibly out of print as well)
Any recordings of Buddhst Monks (I have several, new age shops love to stock these)
Any of Chopin's Nocturnes
So what is this? Besides over an hour of two guitars stuck in a feedback loop?
Depends on when you ask me.
Availability: available, usually easily found - almost always a special order (listed as a Limited Edition)
Label: Buddha Records (Sony Music imprint;) [originally on RCA Records; major label]
Lou Reed is without a doubt one of modern rocks influences. A member of the Velvet Underground, has worked with countless musicians throughout the ages. One of rocks giants.
Metal Machine Music is not music. Says so on the album cover. It comes complete with an utterly made up list of equipment.
Metal Machine Music is two guitars in feedback loops - if you put on a pair of headphones the stereo recording will put a different experience into each ear.
Part One - guitars in a feedback loop. No melody, no beat, no rhythm.
From where I listen, music is a completely visceral emotional response. You can sit people down and discuss for days composition, and execution, and quality, and everything else. But when the lights go out, all your left with is "Do I like it or not?"
From there the real discussion starts, what does it make you feel? The same song can evoke different emotions depending on the mood you started listening to it in, and sometimes the same song will always lock step you back to one single emotion. When we encounter new music is as important as what new music we encounter.
Part Two - guitars in a feedback loop, for another 16 minutes.
I could present thousands of words on the history, value, revelations, commentary and influence this album had on the music industry. The number of people who went "wow!" and the number of people are just utterly pissed off this even exists.
Here's some of the things I've done listening to this album:
Fall asleep listening to it; Clean my house; meditate; given me a migraine; soothed and relaxed my nerves; driven people out of the room leaving me in peace.
I usually put it on a very low volume and let it become background noise, overwhelming all other forms of background noise a city has to offer.
Part Thee - see part two.
Zeitkratzer managed to make a live version of this album. Translated to notes and played by orchestra. It is currently more easily found than the standard release album.
You could consider this album as a Koan. Or you could consider it as a bunch of noise. Maybe both.
There is no middle ground here, you can either listen to an hour of two guitars feeding back into amplifiers, or you have to immediately turn it off. Sometimes I can only listen to one part. Sometimes I sit on the edge throughout the entire toneless rhythmless mess of noise - captivated and fascinated by it all.
Part Four - the last several seconds actually picks up a repeating rhythm. On the original record release some of the LPs had a locked groove so this suddenly rhythmic portion would repeat until you physically stopped the record player. On the CD is lasts barely over two minutes before ending. (secretly I wish they took it all the way to the edge of the CDs recording limits.)
If you can find it (I don't believe it's that hard, but it's not that easy either) I suggested finding the "Inanition" by Controlled Bleeding, the song 'Hymn From The Shadows' is another piece that goes especially well with headphones and the quiet subtlety of that track provides an excellent counter point. If you can't find it, any quiet long piece of ambient music works as well, some suggestions:
Future Sound Of London - Lifeforms Paths 1-7 (single, possibly out of print as well)
Any recordings of Buddhst Monks (I have several, new age shops love to stock these)
Any of Chopin's Nocturnes
So what is this? Besides over an hour of two guitars stuck in a feedback loop?
Depends on when you ask me.
Subscribe to:
Posts (Atom)
