cmd files may technically be programs, but people interact with them like text. they're more like modern-day scripts, really.
in trying to salvage old files off my working drives (to replace the files on the trashed one), i've noticed that i'm often able to pull text files up that have been deleted for up to five years but i can't pull off cmd files that were deleted last month. it doesn't seem to be dependent on size. i'm led to conclude that ntfs is filing cmd files as programs and they're getting easily corrupted as binary.
but they're not really programs. they're certainly not binary they're text...
i realize that there may be some security issues with treating scripts as text files. but how serious an obstacle is this nowadays really? i mean, if you can launch notepad remotely, you're pretty much in control, are you not? even so, wouldn't it make more sense to block at the kernel than the file system? even backup drives crash. rather, this strikes me as an ancient windows artifact from the early 90s or the late 80s when cmd files really were programs and that should be updated for modern usage. i can't be the first person that's run into this.
i don't know enough about other file systems to comment.
Thursday, April 10, 2014
Wednesday, April 9, 2014
uploading the souls that create to youtube
just put this up..
so, i'm going through some old files and decided to put this up...
the backstory is connected to a covers compilation put together by cleopatra records called "hymns of the warlock", as well as a remix compilation put together by nettwerk records called "remix dystemper". this compilation was put together between the releases of those two compilations.
the easiest thing to say is simply that there were always two different types of skinny puppy fans, related to a now historical split in electronic music between those who preferred "ebm" (that is electronic booty/body music) and "idm" (intelligent dance music). ebm is only reasonably listened to in clubs because it's simplistic and repetitive; idm is the kind of thing you put on when you're doing homework or reading a book. the separation has been much maligned, but it is intuitively obvious that there are some types of electronic music that do not have much depth (and yet are fun to dance to) and some types of electronic music with dozens of layers to disentangle (and may be less danceable), so i see little point in getting silly about it. skinny puppy existed in a middle point; they always had the ability to attract both audiences because their music was both highly danceable and yet also in an art rock and political/punk rock tradition. this is not unique within electronic music, but it *is* rare. they're not considered to be the high point of electronic art music in the modern era for no reason.
throughout the 90s, skinny puppy fans connected with each other and discussed various topics over the epilogue internet mailing list. within this list, there was much derision directed at the cleopatra compilation due to it's over-representation of the ebm side of the band's sound. the more musically inclined members of the list claimed they could put together a better record, were challenged to do so and eventually did.
i was a fairly recent addition to the list and volunteered for distribution for the sole reason that i had the tools to do so (cd burners were still relatively rare in 1998). the cover art was put together by other members of the list and sent to me for reproduction.
while i would argue that the disc more accurately represents the experimental aspect of the band than either of the officially released compilations did, i listen to it now and wish i would have been more selective. the reality is that i didn't really have the standing necessary in the list (you have to have an understanding of 90s internet communications to get that, i guess) to act as a filter on material coming in. nor did i receive enough material to have the luxury of cutting tracks. there's some interesting remixes/reconstructions, but some of it is very blatantly the work of amateur musicians. i should also point out that i considered some of those amateur musicians to be my friends.
it's up here, as is, for listening ears. should either of the kevins express an opposition to this (i doubt that, but i am not able to tap into their consciousnesses from a distance), they own it and get to make the choices.
tracklisting:
1) the intonarumori project: rain (souless mix)
*2) dmt: blackout
3) animoid row: jahya (meld)
4) livesidog: smothered hope
5) pool-a: downlode
6) krewl: meat flavour
7) inri: hexonxonx (featuring ogrebot)
8) j deell: 200 years
9) triptamine: circustance (vitriol remix)
10) amputate: shore lined poison (deformed)
11) lunar caustic: worlock
12) dmso : anger (adrenergic brap)
13) jesus h. christ: assimilate (ambient mix)
14) lichaem: who's laughing now? (offended)
15) j deell: basement
*16) dj billpheus and oscar the grouch (with special guest vocals by the infinite hheathen): love
* - features bill van roy, later briefly of download
also, i got a copyright notice on this. that's reasonable - some of the remixes differ only mildly from the originals. when i initially put it together, i was selling it roughly at cost (i set up a flat rate, meaning i was at a gain or a loss depending on shipping in a way that mostly washed out. i got some complaints from people that didn't understand shipping rates from canada to the us, but the reality is that it balanced out to something like $50 over a few hundred shipped discs. that just means my estimate of a good flat rate was accurate.) but it hasn't been for sale in 15 years. i don't and never did claim any exclusive rights over distribution (i actually emailed the tracks to some people), it was just something the fan community wanted amongst itself and i volunteered to do because i could and most others couldn't.
the point is i can't control the ads if they appear (i can't tell, i run adblock). i'm guessing nettwerk controls most of this. i don't know what lingering relationship, if any, exists between that label and the remaining members of the band.
so, i'm going through some old files and decided to put this up...
the backstory is connected to a covers compilation put together by cleopatra records called "hymns of the warlock", as well as a remix compilation put together by nettwerk records called "remix dystemper". this compilation was put together between the releases of those two compilations.
the easiest thing to say is simply that there were always two different types of skinny puppy fans, related to a now historical split in electronic music between those who preferred "ebm" (that is electronic booty/body music) and "idm" (intelligent dance music). ebm is only reasonably listened to in clubs because it's simplistic and repetitive; idm is the kind of thing you put on when you're doing homework or reading a book. the separation has been much maligned, but it is intuitively obvious that there are some types of electronic music that do not have much depth (and yet are fun to dance to) and some types of electronic music with dozens of layers to disentangle (and may be less danceable), so i see little point in getting silly about it. skinny puppy existed in a middle point; they always had the ability to attract both audiences because their music was both highly danceable and yet also in an art rock and political/punk rock tradition. this is not unique within electronic music, but it *is* rare. they're not considered to be the high point of electronic art music in the modern era for no reason.
throughout the 90s, skinny puppy fans connected with each other and discussed various topics over the epilogue internet mailing list. within this list, there was much derision directed at the cleopatra compilation due to it's over-representation of the ebm side of the band's sound. the more musically inclined members of the list claimed they could put together a better record, were challenged to do so and eventually did.
i was a fairly recent addition to the list and volunteered for distribution for the sole reason that i had the tools to do so (cd burners were still relatively rare in 1998). the cover art was put together by other members of the list and sent to me for reproduction.
while i would argue that the disc more accurately represents the experimental aspect of the band than either of the officially released compilations did, i listen to it now and wish i would have been more selective. the reality is that i didn't really have the standing necessary in the list (you have to have an understanding of 90s internet communications to get that, i guess) to act as a filter on material coming in. nor did i receive enough material to have the luxury of cutting tracks. there's some interesting remixes/reconstructions, but some of it is very blatantly the work of amateur musicians. i should also point out that i considered some of those amateur musicians to be my friends.
it's up here, as is, for listening ears. should either of the kevins express an opposition to this (i doubt that, but i am not able to tap into their consciousnesses from a distance), they own it and get to make the choices.
tracklisting:
1) the intonarumori project: rain (souless mix)
*2) dmt: blackout
3) animoid row: jahya (meld)
4) livesidog: smothered hope
5) pool-a: downlode
6) krewl: meat flavour
7) inri: hexonxonx (featuring ogrebot)
8) j deell: 200 years
9) triptamine: circustance (vitriol remix)
10) amputate: shore lined poison (deformed)
11) lunar caustic: worlock
12) dmso : anger (adrenergic brap)
13) jesus h. christ: assimilate (ambient mix)
14) lichaem: who's laughing now? (offended)
15) j deell: basement
*16) dj billpheus and oscar the grouch (with special guest vocals by the infinite hheathen): love
* - features bill van roy, later briefly of download
also, i got a copyright notice on this. that's reasonable - some of the remixes differ only mildly from the originals. when i initially put it together, i was selling it roughly at cost (i set up a flat rate, meaning i was at a gain or a loss depending on shipping in a way that mostly washed out. i got some complaints from people that didn't understand shipping rates from canada to the us, but the reality is that it balanced out to something like $50 over a few hundred shipped discs. that just means my estimate of a good flat rate was accurate.) but it hasn't been for sale in 15 years. i don't and never did claim any exclusive rights over distribution (i actually emailed the tracks to some people), it was just something the fan community wanted amongst itself and i volunteered to do because i could and most others couldn't.
the point is i can't control the ads if they appear (i can't tell, i run adblock). i'm guessing nettwerk controls most of this. i don't know what lingering relationship, if any, exists between that label and the remaining members of the band.
yeah. the spindle motor was broken
i'm a dumb chimp with any kind of tool. taking a pair of vice grips to it pretty much destroyed the platter.
but i couldn't fix that in a freezer, anyways. and the idea that i was going to pay $600 or more for recovery is flat out laughable.
this is precisely why i can't hold a job :)
it took no more than fifteen seconds for me to irreversibly damage the drive. and i'd be no less patient with your face, or a power plant.
or care more than i do about the drive.
so be happy i realize that.
that's going to cost me several months.
there was no answer....
i was hoping i could get the drive spinning by unjamming it, but it was clear within seconds that the motor was burnt. the drive was burning up. zero movement.
to replace the motor would mean removing the platters. i neither have the tools nor the co-ordination to carry out something like that. so, removing the platters means trashing the drive. simple as that.
i panicked and twisted hard with the vice grips, hoping a harsh tug would pull it free (but knowing the motor was burnt). i'm clumsy; it shot out of my hands, and pushed the heads deep into the platters, as well as taking a chunk out of the top platter itself.
which was foreseeable the second i grabbed the vice grips. i mean, i knew. but i also knew it was dead.
my only hope at the point was to just tear it apart trying to get the motor to spin. nope. dead.
i know it wasn't electrical because i swapped the boards out. plus, the heat indicates the electricity was getting there.
lost: install scripts going back 5 years, the musical work i'd done over the last six months.
the motor in this unit is actually connected directly to the board. it would have been a (de)soldering job.
the musical work was mostly compiling and remastering. i have the final files, and the source files. what i lost was the intermediate work, which is unfortunate but not catastrophic.
i could theoretically reconstruct the script from my old pc, which has a more stripped down version of it. i don't know if i'll bother.
now that the drive is officially kaput, i'm going to start the process of reconstructing what i had compiled - which was a total of three isos i had put aside to burn at a later date.
right now, i should try to sleep.
i'm a dumb chimp with any kind of tool. taking a pair of vice grips to it pretty much destroyed the platter.
but i couldn't fix that in a freezer, anyways. and the idea that i was going to pay $600 or more for recovery is flat out laughable.
this is precisely why i can't hold a job :)
it took no more than fifteen seconds for me to irreversibly damage the drive. and i'd be no less patient with your face, or a power plant.
or care more than i do about the drive.
so be happy i realize that.
that's going to cost me several months.
there was no answer....
i was hoping i could get the drive spinning by unjamming it, but it was clear within seconds that the motor was burnt. the drive was burning up. zero movement.
to replace the motor would mean removing the platters. i neither have the tools nor the co-ordination to carry out something like that. so, removing the platters means trashing the drive. simple as that.
i panicked and twisted hard with the vice grips, hoping a harsh tug would pull it free (but knowing the motor was burnt). i'm clumsy; it shot out of my hands, and pushed the heads deep into the platters, as well as taking a chunk out of the top platter itself.
which was foreseeable the second i grabbed the vice grips. i mean, i knew. but i also knew it was dead.
my only hope at the point was to just tear it apart trying to get the motor to spin. nope. dead.
i know it wasn't electrical because i swapped the boards out. plus, the heat indicates the electricity was getting there.
lost: install scripts going back 5 years, the musical work i'd done over the last six months.
the motor in this unit is actually connected directly to the board. it would have been a (de)soldering job.
the musical work was mostly compiling and remastering. i have the final files, and the source files. what i lost was the intermediate work, which is unfortunate but not catastrophic.
i could theoretically reconstruct the script from my old pc, which has a more stripped down version of it. i don't know if i'll bother.
now that the drive is officially kaput, i'm going to start the process of reconstructing what i had compiled - which was a total of three isos i had put aside to burn at a later date.
right now, i should try to sleep.
Tuesday, April 8, 2014
it's not firewire, but hdmi. *grumbles*. screwed...
...except...
....i could in theory work out the crux of what i was working on by installing the pod drivers direct through usb.
and on that note, i've wanted to set up my other (half broken) laptop as a real-time sound processing device for a while. guitars, mostly, of course - but drums, too. see, the hard drive comes up and down. i was going to wait until i could replace it....
i also wanted to dual-boot it. that's something to keep me occupied as i'm waiting...
i'm just finding the idea of blowing this time reading to be depressing. i jumped through hoops to set this up. i'm pissed off that i'm dealing with broken hardware, and depressed that it's my own stupidity at the root of it.
the problem with the hard disk, btw, is physical. and the way the heads are aligned in the model is really tricky. i don't want to open this up, but i'm going to have to. however, i'm also only going to touch it under the precise circumstance that the arm is unaligned. anything else, and i'm screwing it back up and throwing it in the freezer, because it's pretty much hopelessly broken.
...except...
....i could in theory work out the crux of what i was working on by installing the pod drivers direct through usb.
and on that note, i've wanted to set up my other (half broken) laptop as a real-time sound processing device for a while. guitars, mostly, of course - but drums, too. see, the hard drive comes up and down. i was going to wait until i could replace it....
i also wanted to dual-boot it. that's something to keep me occupied as i'm waiting...
i'm just finding the idea of blowing this time reading to be depressing. i jumped through hoops to set this up. i'm pissed off that i'm dealing with broken hardware, and depressed that it's my own stupidity at the root of it.
the problem with the hard disk, btw, is physical. and the way the heads are aligned in the model is really tricky. i don't want to open this up, but i'm going to have to. however, i'm also only going to touch it under the precise circumstance that the arm is unaligned. anything else, and i'm screwing it back up and throwing it in the freezer, because it's pretty much hopelessly broken.
i didn't realize that my bus pirate was being shipped from asia. i'm pretty sure that the website was registered to chicago. i would have picked somewhere closer, if i realized that.
as far as i can tell, it's sitting in a boat off the coast of singapore, waiting to be filled up with mail.
and it could be there for weeks...
so, i'm considering converting the laptop, which is what i'll have to do if the bus pirate doesn't work anyways. i'm going to do some reading and decide in a few days.
i don't see any rational reason that this couldn't handle a firewire device. i just really don't like the idea of mixing with a laptop sound card. ugh...
but, at least if i get the tracks down, i can remix it later.
as far as i can tell, it's sitting in a boat off the coast of singapore, waiting to be filled up with mail.
and it could be there for weeks...
so, i'm considering converting the laptop, which is what i'll have to do if the bus pirate doesn't work anyways. i'm going to do some reading and decide in a few days.
i don't see any rational reason that this couldn't handle a firewire device. i just really don't like the idea of mixing with a laptop sound card. ugh...
but, at least if i get the tracks down, i can remix it later.
obligatory "influential on song of the day" post.
i think it's a shame that corgan never fully explored his cyber-metal. i mean, there's some material out there, but he never did an opus and sort of ended up getting upstaged on it by bands like boris.
this was about as metal as i ever really got or ever wanted to get (not due to lack of looking, it's just that the genre becomes self-parody at nearly the moment it amps itself - through the course of my life, and since the 80s at least, it's been virtually impossible to do metal without sounding like an idiot), and informed my punchier outbursts on the track in question. i specifically remember thinking to myself "i want it to hit as hard as xyu". :).
(relevant track: teenage jesus (viewless), liquify, first movement)
i think it's a shame that corgan never fully explored his cyber-metal. i mean, there's some material out there, but he never did an opus and sort of ended up getting upstaged on it by bands like boris.
this was about as metal as i ever really got or ever wanted to get (not due to lack of looking, it's just that the genre becomes self-parody at nearly the moment it amps itself - through the course of my life, and since the 80s at least, it's been virtually impossible to do metal without sounding like an idiot), and informed my punchier outbursts on the track in question. i specifically remember thinking to myself "i want it to hit as hard as xyu". :).
(relevant track: teenage jesus (viewless), liquify, first movement)
obligatory "influential on song of the day" post.
guitars, and song structures. i haven't analyzed it, but this sets itself apart from a lot of fuzzy riff music by the fact that it's written in a weird modal key (rather than just building itself up on boring old fifths. those iommi riffs are fun, but they're fucking dead on any level of musicality. this isn't.). love the unexpected intervals that show up in the lead part near the end, but it's the way the riffs shift through the chorus underneath the fuzz like some kind of demented cello that really captured my attention and my imagination...
(relevant track: teenage jesus (viewless), many others)
guitars, and song structures. i haven't analyzed it, but this sets itself apart from a lot of fuzzy riff music by the fact that it's written in a weird modal key (rather than just building itself up on boring old fifths. those iommi riffs are fun, but they're fucking dead on any level of musicality. this isn't.). love the unexpected intervals that show up in the lead part near the end, but it's the way the riffs shift through the chorus underneath the fuzz like some kind of demented cello that really captured my attention and my imagination...
(relevant track: teenage jesus (viewless), many others)
obligatory "influential on song of the day" post.
guitars, and song structures. this is one of corgan's guitar masterpieces and one of the corgan tracks that i took the time to teach myself how to play. during this brief period over '98, i was actually trying to keep the excessive soloing down, but the bridge in this track, specifically, was important in the writing of viewless.
(relevant track: teenage jesus (viewless), many others)
guitars, and song structures. this is one of corgan's guitar masterpieces and one of the corgan tracks that i took the time to teach myself how to play. during this brief period over '98, i was actually trying to keep the excessive soloing down, but the bridge in this track, specifically, was important in the writing of viewless.
(relevant track: teenage jesus (viewless), many others)
obligatory "influential on song of the day" post.
song structuring. also, the jazz chords he's using (not just here but throughout the record).
again: i loved this record as a compromise between heavy riffage and melodic content. regardless of your views of his later work, you can't take this raw pop-punk classic away from the guy.
(relevant track: teenage jesus (viewless))
song structuring. also, the jazz chords he's using (not just here but throughout the record).
again: i loved this record as a compromise between heavy riffage and melodic content. regardless of your views of his later work, you can't take this raw pop-punk classic away from the guy.
(relevant track: teenage jesus (viewless))
obligatory "influential on song of the day" post.
anybody else pick up the similarity between this track and sdre's "8"?
i loved this disc - great compromise between the heavy and the melodic. it's truly a shame what's become of dave grohl, but it's not fair to take this first disc away from him.
(relevant track: teenage jesus (viewless))
anybody else pick up the similarity between this track and sdre's "8"?
i loved this disc - great compromise between the heavy and the melodic. it's truly a shame what's become of dave grohl, but it's not fair to take this first disc away from him.
(relevant track: teenage jesus (viewless))
obligatory "influential on song of the day" post.
it's always weird for me to cite sdre as an influence, given how oblivious i was to what they supposedly represented (i remain convinced that the history written around the band is mostly bullshit) and the reality that i only ever really liked lp2. but, i did love that record for a few years and do still come back to it
...and i did rip the riff to 8 off pretty blatantly in my tune viewless, which was first demoed in late '96.
(relevant tracks: teenage jesus (viewless))
it's always weird for me to cite sdre as an influence, given how oblivious i was to what they supposedly represented (i remain convinced that the history written around the band is mostly bullshit) and the reality that i only ever really liked lp2. but, i did love that record for a few years and do still come back to it
...and i did rip the riff to 8 off pretty blatantly in my tune viewless, which was first demoed in late '96.
(relevant tracks: teenage jesus (viewless))
obligatory "influential on song of the day" post. i used to listen to this on repeat for hours...
(relevant tracks: teenage jesus (epilag), jesus gets fucked on robitussin, others)
(i think this was a link to nurse with wound's spooky loop, from the foxtrot comp for jhon balance, which does not appear to be available on youtube)
(relevant tracks: teenage jesus (epilag), jesus gets fucked on robitussin, others)
(i think this was a link to nurse with wound's spooky loop, from the foxtrot comp for jhon balance, which does not appear to be available on youtube)
Monday, April 7, 2014
Shawn Murphy
at first i thought his was new Offspring. They have similar sound.
Skylineblue
I don't think they sound similar at all, I hate The Offspring yet I love Rise Against.
alwayssum41
"I hate the Offspring" omfg, go listen to "Smash", or "Ignition", or "Ixnay" albums u_u
dinkum83
I hate them to except for no brakes.. they sound NOTHING alike..
alwayssum41
Nothing alike ? Seriously ? And you're taking for example a song from Americana ? Rofl... As I said before go take a serious look at their first albums...
deathtokoalas
the vocalists sound similar, and the woahing is very characteristic.
in a certain, sense, though, every punk band from california since 1978 has sounded broadly similar. this does very much sound like the offspring trying to sound like bad religion.
i don't normally find myself agreeing with sum41 fans, but smash isn't just a punk classic but a general rock music classic. ixnay is kind of mixed, but the jerden-driven jane's addiction phase was definitely more interesting than anything they've done since. i've tried to listen to a few of their later records repeatedly, and the biggest problem isn't that they started working in poppier aspects (i could actually deal with that just fine if it were a bit more tasteful; soundgarden's later work is very different but just as interesting as their early work) but that they just started recycling their own songs. i mean, how many times have they redone dirty magic? there was a punkier one (i think it was splinter) that i gave a really close listen to and it's...it's just subpar by any way of measuring it. it's a shame.
but i really just wanted to add that their first record, the self-titled one from the 80s, is a really good listen as well. "kill the president", "tehran", etc.
also, if you like ignition, please check out the damned's classic "smash it up".
alwayssum41
They've redone "Dirty Magic" just once. The original was on Ignition and they've made it again on Days Go By, 'cause it was Ignition's 20th anniversary. I'm not into their new stuff so much even if "DGB" clearly deserve to be listen compare to "R&F/R&G".. And yeah, the self-titled one and Ignition are totally insane albums. Not to mention "Smash" is completely insane too, even if it was their first record on major label.
deathtokoalas
smash was on epitaph - it was actually the best selling independent record ever for a long time (might still be, i don't know). but i meant that they used the chord progression for dirty magic on three or four albums straight. i'd have to look it up to be more specific...
i actually did a cover of dirty magic myself, back in the fall of '98. it draws a little on their sense of humour.
i remember downloading americana and being borderline heartbroken, lol. haven't paid much attention since.
alwayssum41
Sad, since i consider Conspiracy of One a great album as well (the last one with Ron Welty.. :'( ) And yup Smash was on Epitaph, like Ignition was. I just meant this was the first album being able to be this big 'cause of Epitaph's "explosion" (Hope you got me, I'm french and it's hard to explains my feelings in english). Just noticed the "i don't normally find myself agreeing with sum41 fans", ahah I don't get why, they're so great :)
Shawn Murphy
Well. I believe the singers sound similar. The guitar is a more complex than the typical Offspring song but the rhythm guitar is using a simple power chord arrangement like a typical offspring song. I would consider them the same genre.
deathtokoalas
i suppose the complexity in the offspring's guitar work has taken a nose dive since about '97. it's weird to hear somebody say that, though, because one of the things that initially separated the offspring from most of their peers (bad religion notably excepting) was more elaborate, noticeably thrash-influenced guitar work. noodles used to be an interesting player. now that you mention it, that might be the biggest factor in the offspring going substantially downhill.
there are a few breaks that sound a lot like early green day, especially in the open bass notes. and there's a certain melodramatic poppiness that ultimately stems from bon jovi (people get upset when i point out bon jovi's massive influence on modern punk, but it's true). but it really sounds the most like mid 90s bad religion...
...as mentioned, though, all the so-cal punk bands sound very similar (i know they're not from there, but they sure sound like they are). it's never really made a lot of sense to accuse one of ripping the other off. the thing is that this kind of punk is like a type of modern folk: yeah, folk only produced a handful of original compositions, but they kept being redone with different lyrics. that's really what it's about.
it's the same thing with this. there's not a lot of point in questioning it's musical originality. what do people think of what he's talking about? i do get it, though. i have nothing bad to say about their messaging, but, personally, i'd like these guys a lot better if they were a tad less arena rock. i just can't get my fists pumping like that...
at first i thought his was new Offspring. They have similar sound.
Skylineblue
I don't think they sound similar at all, I hate The Offspring yet I love Rise Against.
alwayssum41
"I hate the Offspring" omfg, go listen to "Smash", or "Ignition", or "Ixnay" albums u_u
dinkum83
I hate them to except for no brakes.. they sound NOTHING alike..
alwayssum41
Nothing alike ? Seriously ? And you're taking for example a song from Americana ? Rofl... As I said before go take a serious look at their first albums...
deathtokoalas
the vocalists sound similar, and the woahing is very characteristic.
in a certain, sense, though, every punk band from california since 1978 has sounded broadly similar. this does very much sound like the offspring trying to sound like bad religion.
i don't normally find myself agreeing with sum41 fans, but smash isn't just a punk classic but a general rock music classic. ixnay is kind of mixed, but the jerden-driven jane's addiction phase was definitely more interesting than anything they've done since. i've tried to listen to a few of their later records repeatedly, and the biggest problem isn't that they started working in poppier aspects (i could actually deal with that just fine if it were a bit more tasteful; soundgarden's later work is very different but just as interesting as their early work) but that they just started recycling their own songs. i mean, how many times have they redone dirty magic? there was a punkier one (i think it was splinter) that i gave a really close listen to and it's...it's just subpar by any way of measuring it. it's a shame.
but i really just wanted to add that their first record, the self-titled one from the 80s, is a really good listen as well. "kill the president", "tehran", etc.
also, if you like ignition, please check out the damned's classic "smash it up".
alwayssum41
They've redone "Dirty Magic" just once. The original was on Ignition and they've made it again on Days Go By, 'cause it was Ignition's 20th anniversary. I'm not into their new stuff so much even if "DGB" clearly deserve to be listen compare to "R&F/R&G".. And yeah, the self-titled one and Ignition are totally insane albums. Not to mention "Smash" is completely insane too, even if it was their first record on major label.
deathtokoalas
smash was on epitaph - it was actually the best selling independent record ever for a long time (might still be, i don't know). but i meant that they used the chord progression for dirty magic on three or four albums straight. i'd have to look it up to be more specific...
i actually did a cover of dirty magic myself, back in the fall of '98. it draws a little on their sense of humour.
i remember downloading americana and being borderline heartbroken, lol. haven't paid much attention since.
alwayssum41
Sad, since i consider Conspiracy of One a great album as well (the last one with Ron Welty.. :'( ) And yup Smash was on Epitaph, like Ignition was. I just meant this was the first album being able to be this big 'cause of Epitaph's "explosion" (Hope you got me, I'm french and it's hard to explains my feelings in english). Just noticed the "i don't normally find myself agreeing with sum41 fans", ahah I don't get why, they're so great :)
Shawn Murphy
Well. I believe the singers sound similar. The guitar is a more complex than the typical Offspring song but the rhythm guitar is using a simple power chord arrangement like a typical offspring song. I would consider them the same genre.
deathtokoalas
i suppose the complexity in the offspring's guitar work has taken a nose dive since about '97. it's weird to hear somebody say that, though, because one of the things that initially separated the offspring from most of their peers (bad religion notably excepting) was more elaborate, noticeably thrash-influenced guitar work. noodles used to be an interesting player. now that you mention it, that might be the biggest factor in the offspring going substantially downhill.
there are a few breaks that sound a lot like early green day, especially in the open bass notes. and there's a certain melodramatic poppiness that ultimately stems from bon jovi (people get upset when i point out bon jovi's massive influence on modern punk, but it's true). but it really sounds the most like mid 90s bad religion...
...as mentioned, though, all the so-cal punk bands sound very similar (i know they're not from there, but they sure sound like they are). it's never really made a lot of sense to accuse one of ripping the other off. the thing is that this kind of punk is like a type of modern folk: yeah, folk only produced a handful of original compositions, but they kept being redone with different lyrics. that's really what it's about.
it's the same thing with this. there's not a lot of point in questioning it's musical originality. what do people think of what he's talking about? i do get it, though. i have nothing bad to say about their messaging, but, personally, i'd like these guys a lot better if they were a tad less arena rock. i just can't get my fists pumping like that...
obligatory influential post.
joy
division was more a late 90s thing for me. up until that point, i'd
heard bits and pieces, but it was one of the many "before my time"
things. about mid-98, i was listening to a lot of adore-period pumpkins
bootlegs (that much maligned record was better in bootleg form), and
corgan was routinely doing a cover of "transmission" (edit: there is a
corgan version of isolation under the name starchildren. that was a long
time ago...). that convinced me to pick up still second-hand, and i was
hooked...
i'd argue this is a more engaging listen than either of their official records. joy division was at it's best when it was existing in that space between punk and goth. there's this sort of malevolence in his voice...
(relevant track: idiotic, too cold, drive, teenage jesus, others)
i'd argue this is a more engaging listen than either of their official records. joy division was at it's best when it was existing in that space between punk and goth. there's this sort of malevolence in his voice...
(relevant track: idiotic, too cold, drive, teenage jesus, others)
Sunday, April 6, 2014
deathtokoalas
well, given that my song of the day is the remix of this i did for the souls that create back in '98, it is obvious that this is where i need to make my post for the day.
it's really incredibly ironic that the military picked an anti-exxon track to torture guantanamo inmates with, as though they're fucking gloating or something. "we are the evil empire, we kill and maim with impunity and don't you fucking forget it.". it's enraging....
well, given that my song of the day is the remix of this i did for the souls that create back in '98, it is obvious that this is where i need to make my post for the day.
it's really incredibly ironic that the military picked an anti-exxon track to torture guantanamo inmates with, as though they're fucking gloating or something. "we are the evil empire, we kill and maim with impunity and don't you fucking forget it.". it's enraging....
666alikat
i dont think anyone could consider listening to this torture. that just doesnt seem reasonable. It seems more reasonable that some journo saw the name and thought "yeah thats weird enough to scare old people and anger idiot youths"
deathtokoalas
yeah, i have to admit i was a little skeptical. apparently, the band was told they used the song "according to an inside source" (i'm paraphrasing). i suspect the invoice they sent them was a pr/awareness thing.
the thing is that the torture is mostly about the volume, and they could have used just about anything to do that, so the source is largely irrelevant.
Jesse Waters-Wolfe
It was a heavily edited, distorted version of the song.
Tami Smith
“As it turned out, the soundtrack being played at a deafening volume was by the band Skinny Puppy. It bothered me greatly that they would use this music. Skinny Puppy was something that I always listened to growing up. I have memories of my life that I have assimilated to memories of the music of Skinny Puppy. Skinny Puppy has been the soundtrack to my life! So to hear something that was so personal to be used as a form of torture, that really hit home. That made it something that I was no longer able to turn a blind eye to. I really focused on it and it really bothered me.” -Terry Holdbrooks former guard
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