The Syndicate

G-Man wrote: ↑Sat Feb 17, 2018 8:16 pm
Epignosis wrote: ↑Sat Feb 17, 2018 6:58 pm
I'm guessing it's prog-metal "cheese" MP is referring to, which was a common complaint on Prog-Archives.
So what is prog-metal “cheese?” Is it the concept itself, a technical element, or just a genre bias against the so-called ‘metal’ component? I’m not well-versed enough in prog to understand.

I never really understood it to mean anything other than prog-metal cliches, particularly with vocal delivery.

G-Man wrote: ↑Sat Feb 17, 2018 1:39 pm
MovingPictures07 wrote: ↑Fri Feb 16, 2018 11:15 pm Ayreon. Sigh. Still absolutely not my thing. Tough to get through it. The vocals, cheese, etc. were generally much more annoying than enjoyable. I guess it could be worse, but yeah. Not much else to say. Sorry speed.
I’m curious to know what you and others consider cheese in Ayreon. When I think cheese I think Meat Loaf. I didn’t hear anything that over the top in my first listen. Perhaps there’s lyrical cheese that I missed but I don’t recall hearing any bombastic cheese.

I'm guessing it's prog-metal "cheese" MP is referring to, which was a common complaint on Prog-Archives.

JaggedJimmyJay wrote: ↑Mon Feb 12, 2018 11:55 pm
Epignosis wrote: ↑Mon Feb 12, 2018 10:36 pm What's wrong with Dream Theater?
To me they represent the worst of a mentality I find loathsome in music: that technical skill is what's most important. I find them to be awesomely skilled players of instruments and generally terrible writers of songs. I consider Images and Words and Scenes from a Memory to be listenable at least. I don't like anything else.

I hate Images & Words.

Scenes from a Memory is my favorite metal album. I love Six Degrees of Inner Turbulence and Black Clouds and Silver Linings.

JaggedJimmyJay wrote: ↑Mon Feb 12, 2018 10:07 pm I gave the album a spin and it was generally underwhelming. I kinda figured; this stuff is not for me. It wasn't a terrible experience or anything, and thankfully it was not Dream Theater. I did think the final track was nice though.

2.5 stars

What's wrong with Dream Theater? I think select albums of theirs are masterpieces, others are good listens, and others still are trash.

I have never listened to Ayreon. I obviously knew of Ayreon, but never bothered to buy any albums. It always seemed over-hyped on PA and I am picky regarding metal bands.

No.

Just no.

I did 13 seconds. Skipped around.

Alex, is this what you consider music these days?

nutella wrote: ↑Fri Jan 12, 2018 4:59 pm Enjoyed my first listen. Loved the instrumentals right off the bat, less sold on the vocals.

Steve Walsh didn't used to sound like that.

The main vocalist you're probably referring to (the one with the serious rasp) is seriously the same guy who sang "Dust in the Wind."

Same guy.

That's drugs and alcohol and crazy-ass stage theatrics over decades at work, children.

speedchuck wrote: ↑Mon Jan 08, 2018 9:40 pm
Epignosis wrote: ↑Mon Jan 08, 2018 9:31 pm
speedchuck wrote: ↑Mon Jan 08, 2018 9:26 pm Somewhere to Elsewhere is actually my second favorite Kansas album. Which is high on up there.
And first?
I'm a normie for saying this, but Leftoverture. Magnum Opus and Miracles out of Nowhere are a couple of my favorite songs.

"Miracles Out of Nowhere" was the song that made me go, "I want to play music like that."

Nothing wrong with Leftoverture at all.

Somewhere to Elsewhere is my favorite Kansas album for a lot of reasons. First, it was a reunion of the original members. Second, Kerry Livgren wrote all the songs (and that's no offense to Steve Walsh- he's a great songwriter too- see Smackin the Clowns), but Livgren to me was always the creative genius in the group.

What may interest you is that I have read Livgren's biography, and some of these musical passages were written AGES ago- in fact, the middle section to "The Coming Dawn (Thanatopsis)" was performed by the original Kansas band (known now as Proto-Kaw) here:

Such a rich album with a lot of history in it.

speedchuck wrote: ↑Mon Jan 08, 2018 9:26 pm Somewhere to Elsewhere is actually my second favorite Kansas album. Which is high on up there.

And first?

I actually reviewed this years ago.

Kansas- Somewhere to Elsewhere

I love the Charlie Brown Christmas soundtrack. That is all.

(I didn't even listen to it to comment on it this week)

MovingPictures07 wrote: ↑Tue Nov 21, 2017 11:50 pm
Epignosis wrote: ↑Tue Nov 21, 2017 11:47 pm Wyclef and Outkast.

That is all.
Predictable.

Like Rush and Yes. Don't get cute.

Wyclef and Outkast.

That is all.

G-Man wrote: ↑Tue Nov 21, 2017 10:54 pm I don't dismiss it outright because of the swearing. There are only a few tracks where it's a distraction, the opener being one of them. I think we're on the same wavelength though that throwing those words out too often feels lazy. The same (swearing) problem exists in some corners of rock too.

I'm not just talking about profanity. If you are using the same words again and again, it's lazy writing (most of the time).

G-Man wrote: ↑Tue Nov 21, 2017 8:30 pm First thoughts on Drake:

-I like most of the beats- some EDM-esque foundations
-The mixture of R&B and rap provides nice variety
-Neither the N-word nor the P-word are a part of my vocabulary (except for pussy willow, pussy cat, and James Bond references), so hearing them so often was both distracting and disappointing
-I can tolerate the F-word and the S-word if the tone of the song is right. Drake has what I consider a pretty-boy voice, so the language doesn't sound right coming from him.
-Just because you can make an 80-minute album doesn't mean you should!

All of this tells me everything I need to know about the album.

I am by no means a prude, but I like beer and keyboards, and I wouldn't want to hear the words "beer" or "keyboard" floated around in every other stanza or verse. To me, if you need to use certain words more than a few times throughout a piece (excluding a refrain), you probably aren't writing very good lyrics.

MovingPictures07 wrote: ↑Sun Nov 19, 2017 2:42 pm G-Man, you need to hear Close to the Edge pronto. That's a perfect introduction to Yes and just prog rock in general, IMO, and stands nearly alone completely as the best of the genre.

For the longest time, the first three minutes of "Close to the Edge" turned me off big time. Were I listening to the album back then, I probably would have turned it off after two.

However, my first real Yes experience wasn't on any album: It was live. So I had no choice but to hear the entire song (and I didn't even know what it was called). It was the "I get up, I get down" part that hooked me, and I had to find out what song it was. The refrain from "Starship Trooper" also caught my ear. Even still, it took me a while before I could appreciate the introduction to "Close to the Edge."

I would say that, for someone new to Yes, the best starting point is The Yes Album, which is still complex but easier to digest. Here's "Starship Trooper," for anyone who wants to hear it:

Spoiler: show

Either way, I really want to hear this album.

MovingPictures07 wrote: ↑Tue Nov 14, 2017 9:22 pm I legit LOL'ed when reading "yours is probably Howe" though, so props for that. Now there's a Yesman who never should open his mouth to sing. Incredible musician though.

Ironically, you have to have Howe in there. He sucks alone, but singing below Anderson and Squire...you just don't get Yes quality vocals without Steve.

If you don't believe me, look up the isolated vocal track to "The Remembering." Here, I've done it for you:

https://vimeo.com/187566634

MovingPictures07 wrote: ↑Tue Nov 14, 2017 9:14 pm
Epignosis wrote: ↑Tue Nov 14, 2017 9:12 pm
MovingPictures07 wrote: ↑Tue Nov 14, 2017 8:22 pm Chris Squire's FOoW is an album I'm familiar with, but hadn't heard in ages until today. For some reason it never did a ton for me; I sometimes used to find myself wondering why I am not just listening to a Yes album instead when giving it a spin. My opinion hasn't really changed in that regard.

That said, it was cool to revisit it after so long. It's a solid album, but Squire's vocals aren't as good when he's a lead, and although the compositions are generally pretty engaging and intriguing, my enjoyment can shift a bit throughout the listen. The album is also mood-dependent in that I still just can't imagine reaching for it too often. Overall though the album is good and it's an easy 3.0 stars.
Lies. Squire is my favorite vocalist from Yes (yours is probably Howe ). "Does it Really Happen?" and "Can You Imagine" (huh, two questions) are a couple of Squire's vocal highlights for me. Granted, they came later on, after his male voice had a chance to mature I suppose.
Yeah, those songs are quite good, and I do think his vocal delivery is better on those than on FOoW, but in comparison to Anderson -- it's always an easy choice for me. I'm a Jon Anderson man.

I think Anderson's voice is unique and is critical to the sound of Yes. I've just always liked Squire's a little more. Something about his delivery- a nice, powerful, choir-boy contrast to Anderson's airiness (and maybe because he so rarely got solo spots). Now that neither are in the band...

MovingPictures07 wrote: ↑Tue Nov 14, 2017 8:22 pm Chris Squire's FOoW is an album I'm familiar with, but hadn't heard in ages until today. For some reason it never did a ton for me; I sometimes used to find myself wondering why I am not just listening to a Yes album instead when giving it a spin. My opinion hasn't really changed in that regard.

That said, it was cool to revisit it after so long. It's a solid album, but Squire's vocals aren't as good when he's a lead, and although the compositions are generally pretty engaging and intriguing, my enjoyment can shift a bit throughout the listen. The album is also mood-dependent in that I still just can't imagine reaching for it too often. Overall though the album is good and it's an easy 3.0 stars.

Lies. Squire is my favorite vocalist from Yes (yours is probably Howe

). "Does it Really Happen?" and "Can You Imagine" (huh, two questions) are a couple of Squire's vocal highlights for me. Granted, they came later on, after his male voice had a chance to mature I suppose.

G-Man wrote: ↑Mon Nov 13, 2017 10:28 am Note to self: Don't listen to soft prog-rock first thing in the morning.

Chris Squire very nearly put me to sleep at my desk this morning. That's not a firm knock against the artist/album but more so a reminder to me that I can't listen to anything too light before I'm fully awake.

At the risk of starting controversy, I pondered to myself if Fish Out of Water could be considered soft rock as well as prog. While technically, soft rock normally involves acoustic instruments, why can't it include electric? I would consider Chris Squire's sound to be soft because it lacks any edge whatsoever. It's mellow but it is still artful. Perhaps soft rock is derided because it is mellow without being artful?

It's not boring but it's also not gripping. I don't know where that leaves me.

The album is meant to highlight Squire's gritty Rickenbacker bass work and his vocals, as the latter was always primarily featured as a harmony behind Jon Anderson's lead.

The album was called Fish Out of Water because Squire's nickname is "Fish" (because of his long baths), and this was his first go at recording outside of his main band Yes.

"Hold Out Your Hand" is my favorite track on the album. I think it kicks off the record mightily, with that bass right there front and center. The second track highlights Squire's influences, those British bands of the previous decade (like The Beatles, of course). I think the chord progressions and melodies in the first half of "Silently Falling" are incredible. "Lucky Seven" is a jazzy change of pace, with the song in 7/4 time (in case you missed that). I love the main section of the final track, with that bearing the brunt of my main criticism: The piece carries on six or seven minutes longer than it should have.

This is my favorite of the Yes men's solo albums.

I'll submit Chris Squire's Fish Out of Water.

I find Townes Van Zandt boring. I love country music. I grew up on it. Townes Van Zandt to me was a talentless, drunken, drug-addled mess who didn't write very good songs or execute them well.

"No more than a two" indeed. 2/5.

Spoiler: show

So in the background.

I finally got around to Toehider.

I imagine in the late 70s some music aficionados would balk at the seemingly oxymoronic label "progressive punk," but it exists, and What Kind of Creature Am I? fits.

For me to appreciate punk anything, the musicianship and composition has to win me over from the usually grating guitar tone. The band that springs to mind that does this the best was The Mars Volta (though I admittedly hated their sound the first few times I ever heard them- it wasn't until I just went ahead and bought a few albums and listened to everything in context that they became my favorite band of this subgenre).

The standout element of the opening track is the bass work- no question. Otherwise the track is a little too peppy for my taste. "Whatever Makes you Feel Superior" is certainly catchy enough, though the guitar solo sounds more like a technical exercise. "The Thing With Me" strikes me as more of a parody than anything.

By the middle of the album, I grow desperate for a respite. "Spoilt for Choice" offers that, but it feels so strange on this album. For one, it sounds like a band in the 80s with a hit single to please the record company. It sounds like a completely different band. Very pleasant listen all the same.

The highlights of the album are "Under the Future, We Bury the Past," which really caught my ear, and "Meet the Sloth," which is by far the most satisfying song offered. It is adventurous and so similar to a favorite epic piece of mine by a band called Ritual, "A Dangerous Journey."

It really should have ended there. The acoustic conclusion is magical.

I cannot understand the creative thinking that decided tacking "Geese Lycan" on the end was the best way to end the album. No thanks.

I would say the first half is good for those who are really into the style and get their kicks on technical showmanship, but I don't fall into either of those categories (so 2/5). The second half (until that final wtf), is brilliant, and would score either a 4 or 5 out of 5.

I'll be revisiting what I like for sure. 3/5

"The Working Hour" would be #3 for me. "Shout" #4.

I'll keep my remarks brief.

Songs from the Big Chair is my favorite pop album of all time. It was one of several soundtracks to my fondly-remembered childhood, and the skating rink was a frequently visited place of recreation.

"Everybody Wants to Rule the World" and "Head Over Heels" are the highlights. This album takes what Tears for Fears did right on their debut (another great album merely overshadowed by its successor) and magnifies it.

If I had any complaint whatsoever, it would be that I wish Smith sang lead more, as I consider him to have the better voice.

This is the best answer to the question, "What did the 80s sound like?"

5/5

When I was a teenager, I had a thing for Native American music. I didn't like how it was packaged and promoted as "cultural kitsch," if that makes any sense.

Faces in the Rocks isn't what I would call Native American music though. It's Native American-inspired folk music.

What caught my ear were the tempo and rhythmic changes throughout. Just when you've got the pace, it shifts in a brilliant, unexpected way.

The vocal harmonies are ethereal. She has a delivery like Jewel and Grace Slick.

I initially thought the sixth track was a bit silly, but those lyrics are haunting in a way that makes the haunting beautiful. It is my favorite track alongside "Buried in Teeth."

If I could add something, it would be a tad more instrumentation and direction. I felt like I was listening to "Dust in the Wind" on repeat. But eight versions of "Dust in the Wind" like this is all right by me.

4/5

Love this.

That's a relief. All day while I was at work (yeah, I worked today) I was afraid my joke fell flat and that I came across as rude. I don't like when that happens.

I have an image to maintain.

nutella wrote: ↑Sat Aug 19, 2017 5:52 pm Epi did you ever get to Toehider? I really wanted to hear your impression on it

I have not, but I aim to directly.

By the way, my earlier mention of "prog rock done right" was meant to be a self-depreciating jab, but I realized it sounded like I was having a go at 3J's opinion, which wasn't my intention. Being funny on the Internet is hard.

My review hasn't changed much. The original is here.

Spoiler: show

Laden with acoustic instruments and a hectic, almost chaotic nature almost unheard of in progressive folk circles, Comus is an entirely different beast. Wild, tribal-like rhythms with strange crying out can make this an almost uncomfortable listen. The female vocals are strikingly gorgeous, and a much needed contrast to the unbridled male lead singer. There are several parts to the album that have a weird appeal, but it isn't enough to keep me coming back to this creepy one.

"Diana" Discordant violin and screeching voices make up the bulk of this bizarre first song. There is a hand drum interlude and other odd musical fare. In the end, the title is repeated in a low growl.

"The Herald" Take the eerie whistling noise of Genesis's "The Waiting Room" and add gentle acoustic guitar, and that's the beginning of this track. After almost four minutes, a brief silence ensues, and more pleasing guitar returns. The violin is far more pleasant here than on the first song, as is the instrumentation in general. After another four minutes, there is another silence, and an airy, almost desolate sound rises from the nothingness. A lovely feminine voice carries on over it with other singers, like a choir of spirits in the ether.

"Drip Drip" Dobro and an acoustic guitar give this an old-fashioned swamp blues feel at first. The music is far harsher than the calm sounds of the previous song. The male vocalist is astringent with his singing over hand percussion, incessant violin, guitar, and hypnotic rhythms. The mesmerizing dance degenerates eventually, and becomes something even more unspeakable. The sound is akin to some distant tribe attempting to conjure their gods. The bass riff reminds me very much of "The Talking Drum" from King Crimson. The third part of the song begins abruptly, with gruesome vocals that are almost madness-inducing.

"Song to Comus" A repetitive bass riff, punctuated by a rhythmic striking of guitar and echoing vocals begins this bizarre track. A woodwind instrument makes an appearance from time to time, and the repetitive violin is actually a nice touch. "The Bite" Eccentric vocals and wild instrumentation make up this shorter track. The woman voices long notes in the background while, for once, the man is restrained a bit. The acoustic bass is very audible on this, and sets a good riff for the other instrumentalists to work over. The lyrics, however, are dark, describing the execution of a Christian by hanging.

"Bitten" The one short piece on the album is an avant-garde bunch of quirky noises that maintain the dark tenor of the album. A lone violin peeks through.

"The Prisoner" The conclusion of the album involves odd acoustic guitar bends and rapidly plucked chords before becoming something far more coherent than anything else present on this record. The soft, muffled vocals and lighter instrumentation make this sound like a classic acoustic rock song of the 1960s. The final part of the song, however, is one last bite from the monster of frenzy, full of tribal rhythms and peculiar voices.

If anything, I'd award "The Herald" another point. That is something I could listen to on a regular basis.

3J, I hope you don't mind- I changed the poll to allow changeable votes since Rico wanted to peek before voting.

Ricochet wrote: ↑Sat Aug 12, 2017 1:52 pm Ok, I know I'm supposed to be a tech guy and such (:ninja:), but I just locked myself out of voting by trying to view the current tally.

Wat do

Refresh the page and see if you can vote now, Rico.

I see I'm not as terribly behind as I thought I was.

If that's the case, then I am going to roll with Songs from the Big Chair by Tears for Fears.

I'd offer an album gladly. I just haven't commented on anything in a while and would feel rude suggesting something.

If this isn't an issue, I will suggest something and promise it isn't a double album like last time.

Rico, I thought I had mentioned that APP was five stars for me. I guess I hadn't.

speedchuck wrote: ↑Mon Jul 31, 2017 9:45 am
Ricochet wrote: ↑Mon Jul 31, 2017 2:14 am
Spoiler: show

Oh wow.

You listened to it all. Or, most all of it. I'm impressed.

You're impressed that Ricochet listened to a full album?

I tend to give up when I get too far behind in something.

Which is weird considering this is just listening to music.

I'll give this one a listen and maybe try to catch up.

At least Mika was honest about it.

Quin wrote: ↑Wed Apr 19, 2017 1:31 am I'll go with Last Dinosaurs - In a Million Years

Find it here

The search function still works.

You are such a dick. An incredible, wonderful dick.

I still have two albums to comment on, which I will do this weekend now that school is out (although my opinion of A Passion Play hasn't really changed since I wrote about it almost ten years ago). I'll comment on Echolyn too, since I actually interviewed the lead songwriter years ago and then contacted him again just last summer. He sounded excited to talk to me me, as strange as that sounds. Very cool fellow.

G-Man wrote: ↑Tue Jun 06, 2017 10:23 am
Epignosis wrote: ↑Mon Jun 05, 2017 4:45 pm
G-Man wrote: ↑Mon Jun 05, 2017 11:54 am Halfway through and it's been enjoyable. Of the four tracks, the longer two have been better. I'm not completely sold on the singer's voice though yet. On the opening track he sounds like Justin Hawkins without the theatricality.
Which one? They have two leads. Ray Weston is the lead singer on "Headright," while Brett Kull is the lead singer on "Past Gravity," if that helps.
The first track, "Island." It's a pretty solid tune but the vocals don't gel with me. I'll have to listen for the different vocalists the next time through.

Both vocalists sing lead on that track. Weston is the first vocalist you hear. Kull sings "To me you are an island..."

G-Man wrote: ↑Mon Jun 05, 2017 11:54 am Halfway through and it's been enjoyable. Of the four tracks, the longer two have been better. I'm not completely sold on the singer's voice though yet. On the opening track he sounds like Justin Hawkins without the theatricality.

Which one? They have two leads. Ray Weston is the lead singer on "Headright," while Brett Kull is the lead singer on "Past Gravity," if that helps.

nutella wrote: ↑Sun Jun 04, 2017 4:21 pm Wait, my research shows that this band has 2 self-titled albums that appear to be totally different, one from 1991 and one from 2012. The link above is for the newer one, but is that the one Epi intended or not? I guess I could listen to both

That is correct.

The 1991 album was the debut. I spoke with the lead songwriter inquiring about this duplicate title (among many other things), and he told me that at the time, the band believed this was going to be their last album (it wouldn't be), hence the "bookended eponymity" as it were. My pick is the latter work.

I say give APP some more time.

JaggedJimmyJay wrote: ↑Fri Apr 21, 2017 12:36 pm I consider "skill" to be irrelevant as a factor for determining the artistic merit of something.

I know you say so, but I'm skeptical regarding how true that really is.

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