Cuma 7 Ara 2007, 11:44

Not that I ever liked disco. Basically I'm just bored and having some kind of a "the good ol' times" moment. So I decided to write down the chronology of my screwed up music taste.
It all started back, when I took guitar lessons and surprisingly got bored by the usual pop rock and started looking for something more brutal and fitting for my late teenage angst. Luckily I didn't go for the, well, lets just call it gay, goth rock songs on the sample cd of a famous rock/metal zine issue, but rather got hooked on Kataklysm's "Beyond Salvation". But although I ordered two of their albums and a band shirt right away, I wasn't so sure about the whole death metal thing, until i got a hold of Cry My Name by Bloodbath. So there I was, considering myself a fan of the heaviest, most brutal music genre, not requiering my to paint my face to look like a panda bear. And it went on this way for quite some time. By the way, did anyone else ever notice that songs like
Cannibal Corpse - "Striped, Raped and Strangled" and Malevolent Creation - "Pursuit Revised", whose main lyrical theme can be summed up in "I'm going to rape you.", are almost always the catchiest on the album? Anyway, that's why I'm mentioning those two. Because they are catchy. Not because i like rape.
After a while though I got bored by the usual death metal as well. Only this time it wasn't based on my guitar skills evolving, as I probably couldn't even play a Bloodbath song. Nonetheless my interests towards technical death metal started growing. A genre that was, not only for me, but for itself defined by songs, like Cryptopsy - "Cold Hate, Warm Blood and Suffocation - "Catatonia". And where there's tech death, progressive death metal can't be far either. That's why I wouldn't want to forget Atheist's "Fire" in my story. Pretty satisfied with my geeky, yet diturbing, taste I did what good metalheads do best: getting wasted at concerts and insulting people with inferior musical likings. Until someone came along and opened my mind for a different view on music. I won't get into specifics, like gender of this ominous mentor, as it should be obvious. Introduced to bands, like Opeth ("Moonlapse Vertigo"), which i had avoided before, because their success with female metalheads rendered me somewhat suspicious, Ephel Duath ("Ironical Communion") and Mr. Bungle ("Goodbye Sober Day"), my focus shifted from technical finesse to a more experimental approach. Along that path, never losing my appetite for death metal, i found such unicums, as DAAU - "Raw Like Milk". Not to mention Buckethead ("Moths To Flame"), who manages to balance technical abilities with that weird freak status. And in contradiction to most other guitar virtuosos he doesn't sound, like he's trying to cover Beethoven.
Afterwards desensitized against the whole "stay true" metality, I began listening into mathcore and found myself impressed by The Red Chord ("Dreaming In Dog Years"), who build the bridge to the even more spazzy The Dillinger Escape Plan ("43% Burnt") and Into The Moat ("Demise"). Now, everyone familiar with afore mentioned noise addicts knows that you can't listen to them, without suffering some psychological damage. To reduce that I went in a few different directions. First off, I added more emo-scene influenced, yet still artistically sufficient (yea, there are a few), bands to my playlists. Good examples would be Mod Flanders Conspiracy - "Laying Roadside Talking to Corpses" and The Blood Brothers - "Love Rhymes with Hideous Car Wreck". Next up were math rock and post-rock, as those genres implied, to be the gentle mindfuck counterpart to their core namesakes. And, among others, By The End Of Tonight ("Video Games Buried In The Desert") and Red Sparowes ("We Stood Transfixed In Blank Devotion As Our Leader Spoke To Us, Looking Down On Our Mute Faces With A Great, Raging, And Unseeing Eye really fulfilled those assumptions. Last in the line-up are bands, who in the broadest sense can be considered post-hardcore, but their actual appeal lies in their disturbing vocal presentation. In fact Made Out Of Babies ("Proud To Drown") and Oxbow ("Down A Stair Backward") have such a unique way of bringing you down and scaring the shit out of you, that I wouldn't be able to name any really similar bands.
I guess, this would be the end of my little self-analysis, but there are still a few titles that can't go unmentioned, so here they are:
Man Man - "Spider Cider": Experimental folk. This could be my next thing.
Nostromo - "Lab Of Their Will": They would probably be my first choice to take with me, if i were lost on an island.
Tom Waits - "Earth Died Screaming": I mean, c'mon, it's Tom Waits.

The End