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/heavy/ Anonymous 03/02/2021 (Tue) 05:49:09 No.1079
This is your dark cave for discussion surrounding everything from the musical genres of rock and metal, along with its rolling prototype form. "Quick" riff samples and licks of history from its creators right here for your back & forth movement necessities. Nowadays i only listen to certain sub-genres, mainly the psychedelic, but sure as hellfire will upload artists of old playlists of mine ranging from progressive to the classic hardies and heavies. Check our mother thread /musicprod/ as well for more discussion: >>42 Not to be confused with the fine lads at /rocks/: >>2
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Our inaugural band will be none other than the famous but strangely still overlooked Iron Butterfly, an oddity yet an archetype in many ways of what a rock band was in the late yé-yé years. Back in the late 50's/early 60's around San Diego a local shop organized band wars for its clientele, among them were a couple of outfits with interesting locals with interesting talents, the first two ones were Doug Ingle, a keyboardist who was trained to play and sing by his father who in turn was a church organist and choral worker in several places from Nebraska to California, and Danny Weis, a jazz guitarist with a knack on good old country. They made, along with some friends, a band called The Progressives due to their sound... despite coming out as the champs of the competition around 1962 or 1963 the name didn't really stick nor it was well seen especially back then so they had to change it to Jeritones after their female main singer called Jeri. She disappeared (married or literally?) and the drummer went to college, mind you some of these fellas were in high school or just entering so things moved quickly, so they changed the name several times until Palace Pages was settled (easily explained later on) also Ingle did the dirty and had a baby with some girl so he needed to pull good punches to maintain the family hence the hellbent on trying to make it big after that. Their subsequent bands had trouble as these dudes used too much booze and heard the popular stuff around, at one point instead of playing the popular songs they decided pure unadulterated rock was their thing, they felt its harsh sound improved as the mind became more and more altered and focused on that. They got the gig at San Diego's first rock nightclub, The Palace, and soon recruited a dude called Darry DeLoach, a crazed frequent goer who also knew how to sing and swing, and things turned fast from then on as one day Doug decided Los Angeles was the spot for rock and to take the booze it wasn't the famed San Francisco scene but the money was there so he thought a house band in LA would be nice money and he could make connections for the big studios, his actual main intention. He didn't move and one day Darryl came around and forced the band to move out of their houses and go to LA to look for a job, some couldn't so on the move they decided to look for other members of Weis and Ingle's old rival bands if they wanted the proposal, some accepted and that was the jump. The year was 1966, month of August. Because the band's name had too much association to San Diego they decided they needed a new name, their music was about to get heavier and heavier because of the drugs so they needed something just as heavy. One day in an early gig they needed to play along with some San Francisco bands, called the Friendly Stranger and another the Iron Butterfly... but something happened, on their way to LA the latter had a big dispute and broke on the spot somewhere along the road, our dudes here lamented the fact but some started mingling and thought out loud "you know what... that is a good name for a band". Some members left because college was starting and nothing big had happened so Ingle/Weis/DeLoach searched for another of their rival's men, soon enough they got one and kept on playing as they have always been, the Iron Butterfly, yeah them San Diego boys. They got some name and songs and auditioned for a small joint in LA, got the job and got themselves a nice house in the form of the floor and bathroom of the club's office, some months later the drummer quitted (again) so once more they had to look for another one to San Diego, but this time with their somewhat niche fame they got a big one, they recruited one of their biggest old rivals' band leader: Ron Bushy, the son of a military ranking officer who made the dude move from state to state all his life but gave him formal band drum training, hence being the drummer and leader of The Bushmen. Convinced with the promise of constant pay and free drinks, he soon found out himself sleeping in a bathtub but hey, at least it was Nightlife LA. They woke up, ate outside, practiced by day, played all night and slept again, all together and 6 times a week; the harmony was such that they quickly improved and became a followed fixture in the musical scene. On December of 1966 the set was ready for the big moves, starting next year. What is going to happen next can be considered success, hence why they are probably here being written about, but among many rock and metal fans the exact dates of what will happen are just as important if not more than what the band did later.
The band's growing fame would make the wealthy owners of the famous Whiskey A Go Go, located on the Sunset Boulevard, to invite them around late November once "on secret" for a set, it seems the patrons liked it so much that they invited them an entire month straight (opening for plenty of growing acts like The Doors, The Byrds, and so on) so even the big hats were watching their style. Because of this they decided to give thanks to their previous joint place and became for a while the house band for the whiskey bar, this meant no office floor to sleep as they had no house anymore and soon found themselves easy riding on another band's house who was in turn the offices of another bar place, quite the mess and they soon were kicked out because some of the band members, Weis and Ingle, got a nasty habit of drinking and living like braggards. Bushy was seen as a skilled mediator until he couldn't control things anymore (Weis cleaned his boots with his peers' hand towels) and was invited by the offended to quit his band and join the other side, he refused categorically but made amends for an easy transition out by filling their drummer role once. They had to quit wasting money on luxuries such as instruments and substances to rent a house while having bigger and bigger names on their Whiskey place, even joining on stage (and later backstage) with Dr. Timothy Leary, a very well known name among knowers. Their sound evolved too, being heavier and heavier to the point of parody, they were no longer employed by the Whiskey A Go Go around February 1967 but became a wanted act in plenty of other bars, other than a couple of nights were they played for free to get funds for the bar they first played in and stayed for a while, the Bido Lito. This entire series of events is written because, finally, on 3rd and 4th of July, 1967, Iron Butterfly opened both for a big concert in Santa Monica Civic Auditorium by The Doors and played stand alone in a famed club called The Galaxy Club, both were recorded but the latter is important, historically, because it's among the first decent audios of a rendition of their Iron Butterfly Theme, called by many witnesses later as the first heavy metal song they had heard. This is crucial because a band up north in San Francisco, Blue Cheer, would start officially taking really loud gigs a couple of months later and released their first album, considered by others as the first heavy metal album ever, on January 16 1968 while Iron Butterfly's song would be released in their first album on January 22 1968, a week later, despite being extensively played before with the first actual proved date of July 4th (3rd too but audio was all busted). Many claim the official version is subdued, in fact Weis recalled he didn't like the album's editing because it was too tame to the actual thing, many for years thought this was to steal Cheer's thunder but decades later (officially in 2014) a recording appeared (webm related) and confirmed that yes, the live version of the song was considerably heavier and easily stepping on Black Sabbath territory, proving witnesses correct all along. Some say Blue Cheer's main man Dickie Peterson had to have seen Iron Butterfly due to him watching The Doors in LA at some point, and the Iron Butt Band did open for them multiple times at multiple places. At least Blue Cheer still has the record for being the loudest enough band first to appear on the rock scene, which is consolation enough for the Iron guys being the heaviest. Sure enough after the famed Galaxy Club gigs and Civic Auditorium opener, the band was sought hard to sign with someone, Ron Bushy said a friend of his Neil Young of Neil Young fame had just signed with some dudes with inside moves in Atlantic Records (also called Atco), so because of this suggestion they also decided for such move, finally a paper deal. They rehearsed actual songs, which they had plenty, and decided to select some to cut their first recording called Heavy, supposedly made in October but some claim mid-August to early-September, along with an off-album promo single called Don't Look Down on Me which to this day has some claims disputed on who recorded it. Why the doubts? because something happened, for some reason Danny Weis, the guitar man and only one of the two original members, decided to leave in August and out of nowhere with a contract signed the band got themselves into a crisis. Big part of the sound was thanks to Weis' knowledge and education, the guy wasn't an asshole at least to his friends so he decided to chomp on the last gigs remaining, the band tried to remember whom they had heard that could fit into the very difficult role of replacing an actual pioneer, the rumor started to spread for a while with names like Neil Young and Jeff Beck, the latter who was struggling with the first iteration of his own group and who was a big fan of the band, seeing them constantly after he got fired and ditched in Yardbird's US tour for being a lunatic.
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Surprisingly, despite such interest from a big name and another a personal friend of the drummer they chose, "based on ability", a young thin fellow that some claim was a drifter who was once a prodigy program trainee on the East Coast who called himself Erik Keith Brann. Skilled and sociable but without the image or rig Weis had build over the last year, so in a very crafty effort both a remorseful Ingle and a silver tongued Bushy convinced Weis to sell most of his gear (a locally-made Mosrite Ventures guitar, a Fuzzrite box, some Vox amps, even some of his own clothes) for an overprice as an act of goodwill, Danny conceded as the offer was considerable but mentioned later on that they practically did want to clone him as Brann mimicked his playing style using his own rig along with adding plenty of things on his own, like new effects and frilled cravat to accompany his former velvet suit. The Bear (bassist) and DeLoach weren't too fond of seeing their partner and roomie for an entire year go just like that and when faced with the fact Brann was somewhat of a slow-learner in trying to pin down the band's repertoire (supposedly attributed to his own perfectionism/OCD) they opted to use their borrowed rest time to quit soon too, having already recorded the album and paid for it already... so this prompted a mini new crisis, the new guy could sing both backing and lead vocals along with compose but the bass man... back in the day rock bands actually needed a good one. They decided to stay in for just a little while for a supposed "farewell" but quit on the spot when Brann still wasn't ready when the gig happened, leaving somewhat in a hasty, bad note highly ironic because a couple of years later both, bandless, would meet an also bandless Brann and quickly became friends, forming a band on their own Weeks passed and they still didn't have a fucking bass player, promotion for the album had to be postponed (which was already made with everything and the cover art featuring more former than active members) and they had the guts to book a big gig in a hotel on Santa Monica, but they had a secret plan to audition a bass man on the spot of rehearsal a couple of days before, hand him some notes to learn quick and go at it. Somehow when they reached the rehearsal one passing dude of many greeted them and talked for a while, also a psychedelic connoisseur they exchanged some quick jokes, the band saw good roadie potential so they asked if he knew audio or if he played and what was his instrument if so, the reply was B A S S. It seems he was invited to do a try after they had auditioned the intended guy and for their surprise he ended up being considerably better than the original trying fella, he was a former bass man from the East Coast and got to California who knows why, on that day he was there to actually watch them rather than play or anything, not knowing The Bear had left them. A strike of luck if the story is true, the guy was called Doug but to avoid messing with the band's now de-facto leader he used his middle name and became Lee Dorman, who would go on to complete what is now called The Classic Lineup of Iron Butterfly, a band known for having more than 50 official lineups, along with being in my opinion a very classy example of efficient bass playing in a genre known for its punchy and tasty bass lines. From then on the chemistry was good and the turbulent story of up and downs practically stopped until a year later the band now with constant income in their promotion of their first album (finally released on January 1968) sat down and started writing and refining with Brann on board most of the songs they had already done but technically not written, much of the material originally made by Weis was kept or added to unless it was a jazz-inspired solo, in such case (like in Lonely Boy) it was replaced with a more distorted version.
Beginning that year with the avail of Atco Records they decided to quickly record as, again, they had plenty of material already at hands (which would actually last another record more some months later) and the main dish was a piece made by Ingle when he became blind drunk (two-third of a gallon of cheap wine) one day when the band had only him and Bushy left. The band had a knack on the perhaps pessimistic nature of society drugs, bitchy women looking for money and some say even the glownigger aspect Ron Bushy did see and hear in his military family so he wrote a somewhat ominous love song about who knows, the Snake in Eden or something, and when Bushy got home from making and selling pizza (at the Galaxy Club no less, that's how low they were when Weis DeLoach and The Bear asked for time to decide if they stayed or not) he caught Ingle slurring the song, Ron found it catchy and wrote it down along with some notes. Next day Doug in the hungover was read his sad episode and decided to stick with it, months later when they had the band complete they went on to refine it. First it was a quick song, Brann modeled the riff and tone after his personal experiments on "elephant bellows, who seem to be asking for help", later despite initially not caring much for the song Erik convinced Bushy to do a solo which he found silly, but after hearing a percussion-based record who Brann was recommended years prior he decided to go at it, Ingle already had one in and while jamming little by little the 2 and a half minute song became a 12 minute song. When the producers decided to hear the real recording in a session on New York but were late for it the band decided to run a sound check while doing the solos for fun, they recorded a small version of the song later but after further reviewing they had to re-record the vocals, intro and outro after it was decided that the NY session solos done in a single take were unique enough to be a selling point. A previous LA session happened before the NY episode so the album was practically ready and after 5 months of the Heavy release the band got a double-hitter on the same year. It was an excellent choice on both ways, the first album's abnormal inertia in the local scene was paired with the record with the slurred title of its main theme In-A-Gadda-Da-Vida originally In The Garden of Eden and became a stupidly massive hit with its titular song and overall consistent heavy feel from Brann's efforts to replicate and perfect Weis' original tone along with Bushy's unintentional strong and solid drumming sound from trying to cheap-ass reinforce his drum kit with tougher materials. Such was the success that the music companies were prompted to invent a record certification above Gold, resulting in the Platinum classification. Perhaps the second Heavy Psych album to ever arrive, and better than the first one in my personal opinion which was Blue Cheer's until i check the band The Music Machine out one day which many claim was the very first and much imitated. Funnily enough too the cover art is the band playing in Fillmore East right after Blue Cheer, destiny making them joke around once more. From then on it was constant gigs, money (Ingle could finally start sending money to his now 3-5yo son), booze drugs and women for them but not for Doug supposedly, in a year and a half from being total unknowns in LA looking for a job they became the band releasing the biggest record on the western hemisphere, and with the new album Ball recorded around October/November and released on January 17 1969, made with old material and a couple of new songs, a bunch of money more came along the way as it even debuted a spot higher than the previous effort. It would continue like that until at some point, around August 1969 (one year later) when the band was left sitting in a hotel waiting for transport to the Woodstock Festival, which they ultimately could not reach due to their agent being a retard, that Brann voiced an analysis on the current trends of popular music he had seen recently in his wild nightlife: Bands were getting heavier and heavier in sound, while organ was still a strong force the cheerful breakdowns commanded by it were starting to become more rare if non-existent in pop music, song structures were simpler but the thunderous nature of the instrumentalists demanded more complex playing rather than depending on the usual psychedelic improv, all in all if they wanted to keep making dough they needed a harder sound, more dominating tones than the usual love ballads with merely tough guitar and organ.
The band rather than hearing these observations, which Bushy somewhat understood, they devised a plan if Brann decided to call it quits which he very well could. On December 1969, after a concert in their local city of San Diego Erik informed the band that he decided to leave soon due to their reluctance in trying to focus the band into the newer sounds already demonstrated at Woodstock and coming from England's new bands like Led Zeppelin (which they played with months prior). Much to his surprise the band informed him that they wished him well and that his replacement(s) were already in place: It seems that after much consultation they decided that they should start searching for a new member in September (3 whole months before his decision) and that they had also already rehearsed with them a couple times along with knowing the repertoire. 5 days later these new guys were already playing the gig, Carlos Miguel 'Mike' Pinera in charge of some vocals, both lead and backing, along with the guitar and Larry 'El Rhino' Reinhardt also on the guitar, both from heavy blues and soul backgrounds. They resumed the touring and started writing material for what would be the last album, Metamorphosis, an apt name for what would be a softer more bluesy sound with a bit more vocal antics going on. They kept touring extensively towards the year promoting the new album, the new sound and starting January 1971 they embarked on an unique venture: An European tour, accompanying prime Yes no less and jamming with them when transitioning between sets, in some instances Dada would also appear and at some point they headed a festival with Gong and the Soft Machine (canceled because Gong took the piss and got high on stage rather than play the damn songs). Around this time, if not a bit earlier, some advancements were made like Bushy building a drum kit with some acrylic stuff which made his set "transparent" so people could see he was not faking the solos or anything (becoming one of the first in using a translucent drum set) Pinera got hand on a "vocal pedal" from slide guitarists circles which distorted and wah-wah'd his voice along with the guitar, something which he used in the long-winded song on the new record (becoming the first talk box user in a rock album), along with some other shenanigans. It went for the entire month until the first days of February, then Doug Ingle decided that was that and called it quits (from music altogether) citing touring had got him really tired and on top he didn't really like the new direction the band was heading with the blues perhaps he saw what Brann was talking about. The announcement was made on multiple magazines and a new farewell tour was announced to begin some months later, accompanied by Black Oak Arkansas, and for added misery Bushy got heavily injured after throwing some baggage around which who knows how tangled with his shirt and arm and popped his shoulder hard. He was replaced by Pinera's former band drummer but he followed them around in a rented car as moral support until one day, while looking as a roadie/spectator he couldn't stand it anymore and decided to jam the solo in The Gadda Da Vida, which made his shoulder bust up again and definitely put a hold onto his playing days with Ingle. Dorman and Rhino would on to form another group, the cult followed Captain Beyond, the others would join some smaller bands or make their own career alone (Mike Pinera for example) and the ex-fellas Brann/DeLoach/Bear would continue playing for a little while more in a band called Flintwhistle. And so was the de-facto end of a band which redefined the genre with 3 albums in 360 days, from 1968 to 1969, which still stand to this day as highly influential if a bit dated but rarely imitated to its peak form. One producer would try to revive the band shortly in the mid-70s, with Bushy and Brann as band leaders, and while their efforts are not bad i would say they are nothing special and because Ingle was indeed the last man standing since they were The Progressives (and because he was the main songwriter) i think in all fairness that the band ended with him. The Classic lineup would, however, sporadically reunite for some gigs along the 80's either as anniversaries or to take the piss when they saw each other but never recorded new material again. Maligned at times by the band's fans, the last two albums Scorching Beauty and Sun & Steel adopted a very contemporary for its time and almost prog-rocky sound that ultimately wasn't enough for the saturated market or their heavy psych fame. They do have one big morbid appeal due to featuring a dude with similar mental prowess as Erik Brann, a friend of Ron who was bass player and sometimes vocalist called Philip Taylor Kramer (webm related, writing, bass playing and singing by him). The man himself deserves his own set of posts on /x/ due to the sheer amount of questionable glownigger presences in his latter life which ultimately led to his even bigger cause for everlasting f
While most of the band members are in their own ways underrated by history in terms of ability displayed one in particular, i feel, needs a special note and that is the case of the precocious Erik Keith Brann, their second guitarist. One of the early examples of a real guitar hero, the guy somewhat trained as a concert violinist in early age but played guitar extensively in his past time, usually trying to pin down and emulate the distorted guitar sounds he heard from the radio while trying to make his own. When the San Diego band were searching and casting for the vacant guitar spot left by Weis, Brann was chosen over famed axemen like Jeff Beck or Neil Young, and considering what he pulled out in a short time i think they weren't that far off with the election understanding that the other two were beasts on their own. The thing that makes this case get a special flavor is the age of Erik itself which shocked even the counterculture: As a seemingly experimented guitar man with an good repertoire of licks and technical know-how for his guitar he was only 16 years old when found and 17 when the band decided to recruit him, when he left the band (after having made the bulk of his fame and lasting influence) he was on the brink of only 19. The psychedelic genre was already in existence when he came and made somewhat more progress years after he left but the clear idea he had along with the masterful execution of what made the guitar "psychedelic" to begin with from his part, namely the well-done reverb pedal use and his trademark fuzz intonation which i read some describe comically and correctly as "Elephant Roars", are what makes him one of the most notorious examples of the early days of the genre and sadly, in my personal opinion, a forgotten purveyor that should be heard more by the few who are left in the now quite niche genre, or at least the scene left who isn't selling its butt to the jews incorporating hipster vocals and soft orchestration to make it more mainstream looking at you, "tamed" impalas Here's a preview sampler of what i mean with his execution of the basic staples that made his era pretty recognizable, while Danny Weis was not bad at all and performed/wrote similar sounds first in many songs, Erik went on to refine them much more making them their own brand instead of derivatives from The Rolling Stones or some other band something Weis still gets butthurt to this day but hey he's the first credited "metal" guitarist at least Add to it that the dude had very boyish looks, even in his adult years (at least when he was thin) which sadly ended before his 53 years in 2003 due to a congenital heart issue, and you can bet good money he drowned himself nightly in substances and pussy which made the whole rockstar life more controversial for the trendy papers of their day as he did it until sickness before he even was of age, both of consent and of legality. His playing style in the 80s was also puzzling, he didn't sound much different from George Lynch's own amp bending notes which makes me wonder why he didn't have a more prosper career. I didn't really intend to write this much but the source was actually really good and i think it deserved a shot, i don't think many will read it but just wanted to do it as a tribute for this band that gives the "candle that burns twice as bright, burns half as long" phrase a good example, they had a short revival in the 90's and i kept hearing their songs in a certain store with a similar logo to one of the albums along with my favorite ice cream brand (same concepts as the "Ball" symbol) so i guess they were destined to be a mental presence of mine. In this "small" preview we can resume the very brief work they are known for along with a last effort. I have left the last two albums out merely because of how different they are along with no original band members left in it. 1:23 hour(s), 15 + 3 webms, showcasing the 4 albums and some examples relevant to the text for whoever has the patience to chug down the history of a band who practically invented the heavy psych subgenre with the Blue Cheer, along with maybe the first heavy metal song while still being relevant and soft enough in its own echosystem of popular psychedelic ballads. A group of mavericks for sure.
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4 releases, 595MB in size (100+ are due to a scanned booklet lol), 320kbps converted from SACD or 8track-sourced FLACs. >(1968) Iron Butterfly ~ Heavy https://mega.nz/file/yUwmTTLY#evzNt-D_0RBgL0xiaShM1FnwdcslJs2KsGnpoVmJAmU >(1968) Iron Butterfly ~ In-A-Gadda-Da-Vida https://mega.nz/file/bBg01BJb#Iaz7PISijTAqM9asil2sjTxnyKh_IMaD3q0N_C6rNG4 >(1969) Iron Butterfly ~ Ball https://mega.nz/file/WF4EnZII#g9DrZjv0qMSkJrbGC2IcpgvU0SR5MdqRNfyANkAK13c >(1970) Iron Butterfly (with Pinera & Rhino) ~ Metamorphosis https://mega.nz/file/WJoUCRSA#sk2JN7Q6WV_cnmB6cePi6U7YxR6yRqpe-QR7mUxk5NY
How popular is rock with young people nowadays? I imagine it's kind of a niche thing nowadays. I went to school back when its glory days were over, but it still seemed to be the music of choice for adolescent males. I might dislike the metalcore music that was popular then, but at least it wasn't rap.
>>1128 As far as i've seen it became underground or "obscure" again, something ironically many of us wanted back in the day. I also found myself in the days of metalcore/emo, which i disliked, but among them there's was also oldheads (Toto, Scorpions, Deep Purple, etc, "dadrock") the tougher chain draggers (death/black metal, some thrash metal), the goths popular with women (Nightwish, Stratovarius, basically Goth and Power Metal along with Evanessence) and the actually rare stoners, which i related the most despite actually not using substances hence why i separated myself from them (Psychedelic Rock, Shoegaze, Stoner Metal, some electronica like Goia Trance). Nowadays i've identified that only a strange combination of the oldhead/chainman exists in the teenager/high school years, dudes who really like rock/metal in general and may know stuff far away from the mainstream but who never go the distance of using leather items, square metal belts or sometimes even the classic black shirt under the school uniform. In my region these days it's mostly nigger babble rap, events around rap battles, abstract nigger sounds akin to Death Grips, hipster pop or /mu/ pop (popular with women), the much maligned reggaeton/dance hall pop and, thank God, a lot of country/regional music (belittled but never dies because the people never do unless replaced) So in short, a much smaller presence but it's there, kinda like how real punk had its followers but were niche even inside the rock circles. I can imagine the only trace Punk has nowadays is some chicks wearing Misfits t-shirts and some legit madhouse material breaking glass bottles for fun outside bars.
>>1131 >Nowadays i've identified that only a strange combination of the oldhead/chainman exists in the teenager/high school years, That part sounds like how I was back then. I don't listen to much '60 and '70s rock anymore, but I used to listen to pretty much anything hard that wasn't what the Hot Topic kids were listening to. These days I'm even willing to give some of their music a chance. >I can imagine the only trace Punk has nowadays is some chicks wearing Misfits t-shirts and some legit madhouse material breaking glass bottles for fun outside bars. Even a decade ago it seemed to be getting less popular. A lot of the time you'd see people mention "hardcore," but by that they'd mean metalcore crap and not actual hardcore.
>>1132 >These days I'm even willing to give some of their music a chance. Same here, i did venerate the classics back in the day but i was also fond of the then-new efforts from a bunch of euro psychedelia, nowadays kinda faded away but other than that i am more willing to explore the stuff from 2005 and on... except the metalcore/deathcore thingies, i just don't feel them yet. Although some other things are confusing, Math Rock is nowadays called Djent and practically became a meme, it is the natural evolution of technique bragging some bands did in the progressive and even death metal sub-genres. And to this day my favorite instrument, the bass, is still ignored by all of those except some psych bands. >but by that they'd mean metalcore crap and not actual hardcore. Back in my day (mid-late 00s) Hardcore was still a thing among a couple dozen guys but they were hated by everyone, they didn't kid around the anarchy thing and didn't leave anything valuable behind like, for example, the others did with local scene bands or special places with particular rituals (going to a soda bar, drinking cream soda with ice cream and blasting only classic rock from 2 to 3). I've seen a couple of those old punks "recently" and they stayed high in their substances, real deadbeats but one thing is true, nobody messes with them other than hitmen groups who crash at bars high on coke sometimes My concern is that back then urban groups were highly recognizable and varied, nowadays it's 3 brands of afro-american shit mixed together, some candy pop girls/homos and the regional style. It seems tastes in music and shows became substituted with identity politics, ironically those urban sub-groups practically were identity warring bands and worked somewhat the same in terms of bragging/social brownie points/signaling but they focused more on things you could set aside at the end of the day to drink a few beers with others instead of what's happening nowadays.
>>1133 >except the metalcore/deathcore thingies, i just don't feel them yet. I don't either and am not sure I ever will. I hardly listen to much rock from this century as it is. >And to this day my favorite instrument, the bass, is still ignored by all of those except some psych bands. It always bothered me how bass is underutilized in most rock music. You can do a lot more with it than just play simplified version of whatever line the guitarist is playing. >My concern is that back then urban groups were highly recognizable and varied, nowadays it's 3 brands of afro-american shit mixed together, some candy pop girls/homos and the regional style. It seems tastes in music and shows became substituted with identity politics, ironically those urban sub-groups practically were identity warring bands and worked somewhat the same in terms of bragging/social brownie points/signaling but they focused more on things you could set aside at the end of the day to drink a few beers with others instead of what's happening nowadays. I only ever really identified with a musical subculture for a pretty short time, but I miss the variety there used to be. Now everything has become completely bland and homogenized.

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