Why Comparisons and Expectations Ruin Music, Part II

Earlier I wrote an article called, “Why Comparison and Expectations Ruin Music.” This is a part II to that article, because I realized that I had a few more things to say concerning that subject. In the previous article I stated how comparing a band to other similar bands can change your perspective on how you perceive what you’re listening to, and also how expecting that a band will sound like one thing will disappoint you when it sounds even slightly different. This article is a revisiting of that second point, as well as some new ones.
Often when a critic reviews an album, he will have a certain idea of what the feel and sound of the album will be, based on any previous work that group may have released. But sometimes if the new album that he is reviewing does not sound like anything that band has done before, the critic will give the album a negative review based on the lack of similarity, instead of the actual quality of the album. I have seen this done before many times. Often the change will not even be a good one, but this should be touched on as a fact instead of as a comparison to previous material. Sometimes bands will pull off slight changes in their sound that give it more variety while still maintaining their original sound, but other times the change will be so different as to almost sound like a totally different band. An example of this is the album “The Effects of 333” by the group Black Rebel Motorcycle Club (BRMC). Prior to this release, the band had been an indie/garage rock band, but “The Effects of 333,” was not even recognizable as a BRMC record. It was made up entirely of guitar effects and ambient noise, and was rejected by even some of the most hardcore fans of the group. Listening to the album, it is apparent that the band should have released the album as a side project, or under a different name. However, instead of comparing it to previous albums the group had released, it should be reviewed as it sounds. Granted, it is by no means a unique record when compared to other drone or post rock albums (a genre which “The Effects of 333” could possibly fit into), and is rather boring, but this is a better perspective to have on the album than as a BRMC release. Even if it itself is not a good album, it should be considered with a blank and accepting perspective to start with.

The opinions of the critics and reviewers themselves can also hurt one’s perspective of the music. If you read a review or description of the album, this will have an effect on you as a listener where you will expect certain things about the album, whether good or bad, that can often ruin what could have been an accepting reception of the music. But instead let the person did not form their own opinion. This is why I generally stay away from sites like Pitchfork and Sputnik Music, where every album I’ve ever loved is up for criticism from people who do not share my tastes, and have their own ideas about what the music should sound like. Too many times have I visited such a site and looked up a review for one of my favorite albums, only to find a reviewer criticizing faults I didn’t even realize the music had and thus forever scarring my perception of it. 

Why Comparisons and Expectations Ruin Music

There is a quote from Theodore Roosevelt that reads, “Comparison is the thief of joy.” This quote applies to everything, especially music. When listening to a newly discovered band, many people (including myself) often compare what they are hearing to another sound that they are familiar with. People like to find similarities that they are comfortable or familiar with, because it is just how the human mind works. However, when a song or group is compared to other bands, it constantly reminds the listener what they are “supposed to be listening to,” even if the similarity was not intended by the band and was only applied by the listener. It can definitely suck the joy out of listening to anything. This can apply to genre comparisons as well. Metalheads are known for subdividing everything into an absurdly extensive range of subgenres, and I, being a metalhead, tend to do this during initial listenings of a band. However, if the band does not exactly fall into the classifications I have set aside for it, I can get disappointed and think, “this doesn’t fit that genre.” This is all ridiculous, of course, because the band itself likely never set out to achieve that classification in the first place. An example of this was when I first discovered the band Fudge Tunnel. I initially classified them as grungy sludge metal, but after repeated listens, I began subconsciously comparing their sound with that of early Tool. Eventually, I began to wonder why this “prog-sludge” band didn’t sound more like what I thought they should sound like. But then I realized, that was MY classification. The band in no way meant to sound like whatever I had dubbed it to be, and I realized that my classification of the song had sullied my expectations of it. It is best to pay attention to what something actually sounds like, instead of trying to invent a new comparison in your head.

Another factor which could ruin a person’s interpretation of music is expectations. If a band or song is recommended, and the person tells you that it sounds exactly like Led Zeppelin, then until you hear the song, you will have built up in your mind an expectation for the song that can in no way be matched by reality. So when you actually hear it, you will of course be disappointed by the fact that whatever you are listening to does not sound like what you thought it would. So even if the song is perfectly good, you will be listening to it with a bad perspective, in a constant state of disappointment that it does not sound “exactly like Led Zeppelin.” Once again, it is best to try to appreciate music as you hear it and to not have any ideas in your head about what it should sound like. This can be difficult sometimes. For instance, if you are listening to music on Spotify, and you look through the list of recommended artists, anything you see you expect will sound somewhat like what they are allegedly “similar to.” If the recommended artist sounds nothing like what you are expecting, you may not like it even if it is a great band that you would normally like if you didn’t already have an expectation for it. 

When listening to music, it is usually best to keep expectations and comparison out of the mind, no matter how hard that may be sometimes.

sorry for the lack of posts lately, I have been very busy. I've been working up some ideas though, and I promise new posts soon.

Comparisons between The Sword an Amon Amarth

Amon Amarth and The Sword are bands that come from very different subgenres of metal, but their image and lyrical themes are similar. 

Amon Amarth is a well known metal band that partakes in a unique brand of melodic death metal that I like to call "Viking Metal." Every one of their albums are completely devoted to Viking themes, with the lyrics being about charging into battle or death and honor. Each of the album covers depict some element of Norse mythology. 

The Sword is a stoner rock band who have a uniquely "epic" sound, and their lyrical themes are not those of Vikings, like Amon Amarth, but they still deal with themes of battle and mythology. They are one of the only bands of their type in the stoner rock scene, especially in sound. They draw from elements of Black Sabbath, but still write all their songs in a key that is not dark, but rather "large" or "huge." How to get a "huge" sound is difficult to describe, but if one was to listen to The Sword, they would recognize what I am talking about. 

To compare The Sword and Amon Amarth is not really a stretch, and despite their differing "scenes," their themes are obviously similar. Both their lyrics are about battles or mythology, their sounds are unique to the genres to which they belong, and they have an undeniably "epic" feel to their image. 

The phenomenon of ridiculous time signatures

Music can be a complicated thing. There are many different styles in which to play it, and many different ways in which to play the different styles. There's even a different way to count the beats in the song. These are called time signatures. It is based on he number of beats measure, and the number of measures. The standard rock n' roll song is in 4/4 time, meaning that there are 4 beats per measure, and the measures are organized in groups of 4. However, it is just as common (though more difficult) to write a song in a different time signature, whether something relatively simple like 3/4 or a time signature as outlandish as 17/12 (or whatever). 

I generally prefer to listen to and play music that is in simple time signatures, but that is not to say that I don't enjoy the occasional variation. Bands like Led Zeppelin can create awesome tracks that are very difficult to play, but they still sound so good and normal that you can still rock out to them. Then there are bands like Tool, who play in insanely complicated time signatures, but are still enjoyable and accessible because they still sound amazing even if you can't decipher what they're doing some of the time. 

But there is a point when this ceases being "cool" or even listenable, and just gets ridiculous. There are bands that roll twenty-sided dice to get time signatures, and often switch times mid-song to dizzying effect. I understand that it takes immense skill to pull off such a thing, but if it's so complicated that it becomes frankly stupid, then it's time to CALM DOWN with the playing styles. Seriously, I don't care if you can pull off 14/5 time, if it doesn't sound good then I'm not going to listen to it. When the mind-bending insanity goes so far that it almost sounds like you're playing it wrong, then it's not good music, even if whoever is playing it is the most technically skilled musician of all time. There is a difference between technical skill and good musicianship. If you can shred it on the guitar but can't write a good song to save your life, then you're still not as good as the guy who may not even know the notes on a guitar but can jam out and come up with great material. 

So if you, reader, write a song in 5/7 time, just make sure that someone would actually want to listen to it, and you're not just creating something absurd.

Why I will sometimes laugh at death metal

I love heavy music. But sometimes it can get a little ridiculous. I mean, yeah. Pig Destroyer crushes, and they are all extremely talented musicians, but it will sometimes reach a point where you can only take so much of destroyingly fast blastbeats and wildly screamed vocals. At least, it happens to me. And when that point arrives, I begin to laugh. This may occur for a number of reasons.

One is that I just start to think how hilarious it is that there are bands that make music that will melt your brain if listened to for long periods. It's just so heavy that it's funny, which can be a good thing. Sometimes.

 Another reason is that I might be thinking about the song titles and/or subject matter. This one gets me the most often. Grindcore and Death Metal have legendarily brutal/stupid song titles. I will use the band Carcass as an example: "Fermented Innards," "Excreted Alive," "Festerday." There is NO ONE who can legitimately tell me with a straight face that something like "Regurgitation of Giblets" is anything more than the most amazingly stupid song name ever. And even if I'm jamming out to a blistering blastbeat, I will begin to chortle when the mere thought of some such song title creeps into my mind. I mean, it's funny. Come on.

The third and last reason worth mentioning is merely the extreme skill of the musicians creating said music. Some People may think that metal requires no skill to play, but they could not be more wrong. In fact, the combination of bizarre time signatures, extremely fast style of playing, and the requirement that it all be done while ferociously headbanging makes death metal one of the most demanding genres ever, and definitely one that cannot be played by any idiot with a guitar, as some might think. So sometimes my laughter is out of amazement at the skill of the musicians playing it.

But most of the time, it's because of how incredibly hilarious the genre really is.

Southern Metal

With the recent death of Eyehategod drummer Joey Lacaze, I felt obligated to write a post about southern metal. I'm not talking about ALL southern metal (Pantera and other such bands from the south), I'm talking about the phenomenon of sludge metal. It seems that there are more sludge metal bands from the south than anywhere else.

I have always thought that it seems odd that there is a "southern belles and beaus" image from a region whose oppressively hot and biting-bug filled summers certainly do not seem to be condusive to good moods. However, the mere existence of southern sludge metal compensates for this fact. Eyehategod even has an album called "Southern Discomfort." When listening to truly good southern sludge, you can almost feel the buggy humidity in the air. From living in the south, I can tell you that the closest thing to Georgia heat besides actually being there is a scalding sludge riff. 

An especially active area in the south for sludge is New Orleans. There are countess bands in the "NOLA metal scene," many of them sharing members. An especially active participant has been Phil Anselmo, former singer for Pantera. Even before Pantera broke up, he had joined the sludge metal supergroup Down, featuring members from the bands Crowbar, Eyehategod, (both from New Orleans) and Corrosion of Conformity. Since then, Down has released 3 albums and an EP, and Phil Anselmo has joined many other sludge bands including Superjoint Ritual, Philip H. Anselmo and the Illegals, and Arson Anthem. Another huge contributor to this scene is the aforementioned band Eyehategod. The members from this band have been in a huge number of other groups, which has caused the NOLA metal scene to grow immensely. They have also released eight albums, all of which are colossal monoliths of brain-melting sound and force. 

This was an extremely brief overview of a huge music scene which has influenced all of metal. Below is a list of three introductory albums to the southern sludge metal scene:

"Nola" by Down

"Dopesick" by Eyehategod 

"Crowbar" by Crowbar

The phenomenon of fake hipsters

This is not really a music-related post, but it's relevant. There has been a growing phenomenon (which I'm sure you've noticed) of fake hipsterism. Now, hipsters have ALWAYS annoyed me, but at least there was a point where they were sincere. Now, what are considered "hipsters" are just high school girls who wear plaid and fake glasses. These are not hipsters. Another example of people misunderstanding hipsters is when someone says, "oh you probably haven't heard if them, they're not mainstream" and people say, "oh you're a hipster." This happens to me often, because most of the music that I like is almost unheard of in the so-called "mainstream." But just because you like music that the people around you haven't heard of, it doesn't make you a hipster. It doesn't even mean you have better taste, for that matter. And wearing plaid and fake glasses because they're "in?" That is not ironic, that is stupid. And, it's literally the opposite of the "hipster mindset." But people continue to think that doing certain things makes them a hipster when they aren't. In fact, I will go so far as to assert this: there is no such thing as a hipster. There is a recent movement of people who think certain things pit them in a certain category, but the category is a LIE.

How Steppenwolf is more sincere of a band than they get credit for

You've heard of Steppenwolf. The guys that play "Born to be Wild" and "Magic Carpet Ride?" Yeah, you know 'em. The two songs that I just mentioned are slowly, horrifyingly becoming the only two songs that the casual rock listener knows that are by Steppenwolf. Sure, people know a couple other ones, but everyone that I've talked to about Steppenwolf seems to think that all they are is a fairly decent hard rock band with two good songs. I myself used to think this as well. But then I listened to their "Greatest Hits" album, and realized that there were probably many more great Steppenwolf songs than just the ones that I had heard. So I listened to their classic discography (the stuff that they made before their breakup and reunion) and realized: this is not only the coolest, grooviest band EVER, but that they are also very opinionated and political, more than they ever get credit for. They have two extremely political albums ("Monster" and "7," both terrific records) but also address issues on other albums. Some of the subject matter that they get into includes legalization of marijuana ("Don't Step on the Grass, Sam") draft dodging ("Draft Resister") as well as patriotism and the desire to bring Anerica back to her origins ("Monster/Suicide/America"), among other things. I've said that "If Steppenwolf ran for president, I'd vote for them." 

But it's not just politics that Steppenwolf gets into. They also give their own assessment of several moral issues, including religion ("Spiritual Fantasy") drug addiction ("Snowblind Friend") and even how and why to treat your woman right ("Tenderness," and pretty much the rest of the "For Ladies Only" album). And another thing about Steppenwolf: they seem to hit the nail on the head for every issue they address. It would be one thing to be an overly political band that preaches nonsense that no one cares about, but it's another thing to be political and be accepted by everyone simply because... well, all your ideas make sense. And some political bands don't get attention because either they're TOO political, or because they just are no good. Steppenwolf is the perfect mix of politics and pure rock n' roll, and they are one of the most consistently good bands I have ever heard. I would highly recommend exploring this group beyond only their radio hits.

Is being in a band still the ultimate measure of "coolness"?

Think about it. All your life, you've always wanted to be in a band, even if you didn't know it. If you know anyone else in a band, they are actually your idol. Even if you didn't know it. Disagree with me? Well, you're probably right. You see, back in the seventies and eighties (and even the nineties, with the rise of Grunge) everybody was starting bands. All the cool kids, that is. Sure, the kids who got the good grades and wore the nice clothes didn't all want it, but even they secretly liked idea of sex, drugs, and rock n roll. But the kids who were actually IN the band were looked up to by everybody else who WASN'T in a band. But is that still the case? Nowadays, now that all the popular music is rap and electronic, all kids want is a gold chain around their next and a "hoe" on their sleeve. Yes, there is still a huge number of people who want to strap on a strat and jam out. But when compared to the number of rock fans back when Led Zeppelin ruled the world, modern music is slowly being dominated by... bad music. As a result, there is less respect for "real bands," and so less people wan to be IN a band... and therefore, the less cool it is to actually be in a band.

...But that's not to say that being in a band doesn't still add coolness. It still works as a fairly decent pick up line (it doesn't, I know) and you're still "that kid in the band" at school. Plus, all your friends will come see your band's gigs, and they'll at least respect you for being a good musician (provided the band doesn't suck). So, being in a band is still cooler than being just another guy, but not as cool as it used to be.

Are Rage Against the Machine selling out by being signed?

I asked myself this when I first heard of them, and I still ask it to this day: are Rage Against the Machine (RATM) “selling out” simply by being signed to a record label? After all, their message is that of rebellion, and fighting the system. However, they do kind of… work for the system to a degree simply by being a signed band. Sure, they’ve been on BBC radio and gotten cut short for flipping off the camera and cursing, (just one example of this type of thing) but they’re still signed and make money every time someone buys and album or song of theirs. Their bassist even threw a fit at a music video awards show simply because they were beat out by Limp Bizkit. For a band that prides itself on fighting the system, they sure don’t seem to handle it well when the system doesn’t deliver for them. However, this is just an example, and cannot be used to define a band’s entire career.

Another way to look at this, however, is in the way that RATM wants to get their message across at any cost, and to do that they simply have to sign to a major label to get any attention from the public. The fact that they make money simply comes with the fact that they are signed, and the main point is that they are making people question authority and sticking it to the man. I have come to embrace this mindset when thinking about RATM, both because they are a great band, and because this theory makes just as much sense as the one mentioned above. The second viewpoint is my opinion, but you can make up your own mind. 

Queens of the Stone Age "...Like Clockwork" Review

Queens of the Stone Age are a unique group. With their members drawn from the stoner metal pioneer group Kyuss, there were high expectations since the group’s inception (by Kyuss guitarist Josh Homme), and Queens of the Stone Age (QOTSA) have certainly delivered. Although they are not truly “metal,” they have metal elements, and are certainly heavy. Their song “Mexicola” (off QOTSA’s self-titled debut album) is considered by many to be a stoner rock classic. Over the years, their sound and members have changed, but they have a consistent style and feel that continues from album to album. Recently, they released a new album entitled …Like Clockwork. This is a review of that album.

...Like Clockwork is an instant classic. The flow of the songs is unparalleled in any of their previous releases, yet each song is unique and powerful, and could stand alone on a single. Each of the tracks has a different vibe and sound, and it is sure to satisfy any hard rock fan, even if they are unused to QOTSA. Although it has less hard rock elements than some of the band’s other albums, it is instantly recognizable as a QOTSA release, as it bears the signatures of the group: a polished recording sound that somehow still retains a garage rock feel, interesting drums grooves, Josh Homme’s distinct David Byrne/Bowie vocal style, and of course the underlying heavy feel of the whole album. The Album was also released with accompanying videos for several of the tracks, which when put together form a 15 minute mini-movie (which can be found on YouTube) that some believe is about the four horsemen of the apocalypse.

               The first track on ...Like Clockwork is “Keep Your Eyes Peeled,” a decidedly dark piece that is probably the heaviest song on the album. It is not heavy in a death-metal sense, but more in an ominous, intimidating and creepy way. The guitar tone is distorted and dark. This song has an interesting drum track, played around the beats on which the guitar is strummed. Its strange, off-kilter style is a testament to the skill of new QOTSA drummer Jon Theodore. It is a slower track, but packs a heavy punch as the opener for the album.

               Song 2 on …Like Clockwork is the track “I Sat by the Ocean,” which is probably the most upbeat song on the album, especially when compared to the dark album opener. If you were sitting at the beach and needed some music, this would be the song to put on; even the title encourages it. The song features all the usual QOTSA elements: a guitar solo, terrific vocals from Josh Homme, impressive drumming, and a solid song structure.

               …Like Clockwork’s next song is “The Vampyre of Time and Memory,” which is a mellow tune that starts out with only piano, but moves on to feature light guitar and drum work. It is well-crafted so that the beginning is softer and melancholy, but it begins looking up towards the end, with the drums and a guitar solo. But the lyrics stay in the same low place, as the song is about loneliness and wanting to die. However, the album’s next track gets you back on your feet.

               “If I had a Tail” is …Like Clockwork’s fourth track, and it comes just in time after the darkness of “The Vampyre of Time and Memory.” It is a track whose best description can be found through watching the music video: it makes you want to drive through the desert at night and destroy things with Molotov cocktails. It features a driving drumbeat, a rousing chorus, and a fantastic riff/solo ending segment. According to Josh Homme, “If I had a tail, I’d own the place.” This song already does.

               ”My God is the Sun” was released as the first single from …Like Clockwork, and holds slot 5 on the album itself. It is a phenomenal track, with an excellent riff that stays with you, and a powerful rhythm section. It is also powerful as a desert rock piece, with distortion and riffage that is signature to the genre. Even the lyrics scream “desert rock,” (almost literally) as they are about healing with fire and worshipping the sun. The music video for this song is also quite unique, as it features the “four horsemen” from the other videos from this album rising up into the sky and being consumed by the sun.

               The next song, “Kalopsia,” is a stark contrast from “My God is the Sun,” featuring soft-loud dynamics, but mostly focused around the softer piano side to the song. It is a fairly straightforward song, even with programmed (or at least programmed-sounding) drums during the piano sections. It does not have any of the desert rock associations that QOTSA are known for, and could barely be considered a hard rock song. But that is not to say that it is not a solid tune. It contributes greatly to the superb flow dynamic of the album as a whole, and is still recognizably a QOTSA song even out of context.

               “Fairweather Friends” features the most guest appearances of any song on the record. Even though Josh Homme changes the QOTSA lineup almost every album, as well as inviting guest musicians, this track takes the cake for not only the most non-Queens of the Stone Age personnel, but also some of the most impressive: Dave Grohl (who, yes, also played drums on many other tracks on this album, but is still most definitely worth mentioning), ex-Kyuss and Queens of the Stone Age bassist Nick Oliveri, who sings backup, Nine Inch Nails frontman and sole contributor Trent Reznor (also on backing vocals) and Sir Elton John, who of course plays piano on the track. In addition to these mentioned, the song was also played on by the current standard QOTSA personnel. The song itself is a solid hard rock piece, and each contributing musician brings a great contribution, making this one of the more memorable songs on the record.

               “Smooth Sailing” is probably the strangest song on the album. It begins with a high-noted strumming on the guitar, and immediately launches into a greasy stomp with a simple but extremely powerful drumbeat. The verses are carried by a low distorted guitar tone, but the choruses have the same high strumming heard at the beginning of the song. Then, towards the end, the song launches into a strange, off key guitar portion that finishes off the track. The different sections of the song give it an interesting feel, one of both stoner metal distortion and of pop catchiness.

               “I Appear Missing” is the second to last song on the album, and it reinstates the darker and more melancholy mood felt earlier on with songs like “Keep Your Eyes Peeled” and “The Vampyre of Time and Memory.” However, “I Appear Missing” is nothing like either of these songs. It features an odd drumbeat that is played around the guitar, and a softer guitar tone. However, despite the softer tone, it does not keep it away from an obvious hard rock base, and still retains a mental image of desert scenery. Its mood and tone perfectly preserve the flow of the album, and return it to its initial themes before the end.

               “…Like Clockwork” is the final song on the album, and is also (obviously) the title track. In the return to the mellow feel, this song certainly preserves that direction, beginning with piano that wouldn’t sound out of place on and Adele record. However, at about the midpoint of the song, it starts in with a drumbeat and guitars. It also adds elements like brass instruments over the guitar. The song winds back down and finishes out with a softer feel. Like every other song on the album, and like the album itself, it is brilliantly made and written, with everything being done purposefully to aid the flow of the album. This is a phenomenal record, with perfectionism a sense of direction unseen even in other Queens of the Stone Age album. It is a masterpiece of a band that has already proved itself master of the genre.

Introduction

Hello Everyone! This is the first post of a music blog that will be posted on every week or so. This blog will be both my own opinions and observations about music, as well as reviews of albums, both new and old. The music selection will be that of rock, alternative, and metal. If I contradict your opinions, please don’t be offended. I hope you enjoy this blog, and if you don’t, then don’t read it.