Author Archive


GREAT MUSICIANS THAT COULD GIVE A DAMN ABOUT YOUR DEFINITION OF GENRE (AND ARE MORE SUCCESSFUL FOR IT)

Tuesday, April 20th, 2010 at 3:30pm by

Musicians are strange creatures. Their work hours and habits are almost always odd, hygiene is often suspect, and sanity questionable.

If I had to point out one thing that ties all musicians together, it would be inspiration, often drawn from a simple but strong love for music. Inspiration comes from all varieties of thoughts and experiences though, and most will agree that it is a mystical and almost spiritual matter that is difficult to qualify. For me, personally, my inspiration is the most important thing I have in life because it guides all of my goals and efforts to blast through them. Although it may be oriented around music for whatever reason, the specifics of what I am inspired to do are not crystal clear. It is not instrument, genre, or socially based. It is just to create.

I have always been in awe of musicians that are able to look past the world’s conceptions of genre. For some bands, it is absolutely correct for them to do their thing 100% their way and use their tested process over and over, record after record. I don’t mean being stale, either… Development and growth between records is an assumed necessity for me to take a band seriously. Examples of bands that know their sound or process well and tend to stick to it (with great results) would include bands like Meshuggah, Megadeth, Behemoth, Muse, Deftones, and even more progressive bands like The Mars Volta, Opeth, and Dream Theater. But the musicians that REALLY get me thinking these days are ones who understand how to take a complete 180 degree turn: drop the world’s, or maybe just critics’, perception on its head, and use new influences from a completely different angle. It is almost as if they side-step into a bizarro dimension and are running two or more separate careers. Musicians that can accomplish this demonstrate a certain type of understanding and mental clarity that is all too rare. Here are some of my favorite examples:

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ERIC GUENTHER OF FROM EXILE AND LEVI/WERSTLER PROCLAIMS: “MUSIC IS DEAD.”

Tuesday, April 20th, 2010 at 11:30am by
Yes, this is all stuff we have heard before: the industry is hurting, the RIAA is evil, fuck the labels, fuck the downloading fans, fuck the band for hiking up their merch and ticket prices, fuck the big companies who cheat the fans out of cheaper tickets (their names begin with “L” and “T”), etc. The rhetoric of this discussion is a bit tiring when you consider that every independent musician out there is trying to take this discussion of the “new music industry” as the new gospel and become a superstar… in an era designed to defeat them.

In the music game, the barrier of entry has been lowered. Is this good or bad for the artistry of music?

Look at what happened to MySpace. Today, it still serves some function, but I think we can all agree that it is at least somewhat broken. Just from judging some of the comments readers have posted here, the attitude is that the “Myspace-band generation” is beginning to pass. Maybe this is just wishful thinking, but we all have seen how much easier it is to have your little brother’s one guitar and fruity loops drumkit demo uploaded and readily available on their “BIAXIAL ANALISSCUS MAXiMUS — LOOKING FOR SINGER/DRUMMER/BASS PLAYER!!!! TECH/DEATH METAL/AFRO BEAT” Myspace account. Although the tools available today allow everyone to throw some music out there and have it heard (basically, throw poop at a wall and see what sticks), do they really help the industry? To be more accurate, does it really develop and evolve the artistry of the music itself? Or does it simply desensitize our ears as listeners and oversaturate the musical landscape with artists with less dedication, talent, and creativity than those who were able to survive the trials required to accomplish the odyssey recording of a brilliant record, say, thirty years ago? When buying a randomly chosen record off the shelf thirty years ago, wasn’t there a better chance that this record would actually be something worth listening to ten-plus years later?

In reference to my metaphor, I think what has been happening on MySpace is more like watching thrown shit slide down the wall, taking a picture, and calling that a band/music/ “art.”

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