History
"[T]ell us about the five albums that changed your life," says Islander. It sounds like the kind of question an amateur interviewer would ask. Because it's exactly the kind of question most people want the answer to. After I read the original post over at No Clean Singing, my first thought was to whip up a quick list and blast it out there in the comment form. But the question deserves more thought than that.This isn't, "What are your five favorite albums?" That's pertinent information, yes. But it only tells of current taste. It doesn't tell you anything deeper. But this question asks for your history, your personality, your memories. It invites you to tell a story.
I've already done a thorough explanation of every aspect of my metal history, but how many people are going to read all of that? This breaks it down into something a little more digestible, in chronological order based on when it changed my life.
1. Metallica: Metallica (1991)8th grade. Sleepover at my friend's house. He wanted me to hear his dad's tape, but he didn't think we were supposed to be listening to it. The first heavy chord of "Enter Sandman" forever changed me from the kind of person who did not care about music in the slightest to the kind of person who would eventually write several album reviews a week. I really can't overstate the impact this had on me. It was the first CD I ever bought, and while I don't hold it in such high regard today, nothing will ever be more significant.
Hmmm. I am not quite sure why I am reviewing this. I did not realize it at first until listening to it for the first time that this is a compilation rather than a full-length release. I realized it finally when I kept thinking to myself "I know I have heard this song before". I guess it helps to pay attention occasionally.
The first time I heard the Pixies was at the end of Fight Club, and I didn’t find out the band’s name until about a year later. In other words, I was barely aware that there was such a thing as indie rock in the 90’s. Growing up in a tiny town in northeast Nebraska, I didn’t know anyone who listened to it, although I suspect my hipster cousin (who went to school in the nearby tiny city) was probably aware of it. Hell, I’m still barely aware of what indie rock is. I’ve listened to The Mountain Goats and sometimes hear whatever indie band-of-the-moment is on Letterman or some TV commercial, but that’s about it. I think Coldplay might have something to do with this conversation, but I don’t know. If you do know, and you think the references I’m making are completely off base, then all the better.
Any time you read the words “dark Americana” on this blog, you can blame Man’s Gin. Sure, I’ve always liked acoustic-electric material on the order of Alice in Chains Unplugged going back to my teenage years, but Smiling Dogs is the album that sent me down this rabbit hole. It’s the reason I listen to things like Steve Von Till, Dax Riggs, and Wovenhand nearly as much as I listen to Suffocation, Darkthrone, and Evoken.
This would be the second entirely unnecessary review in as many weeks. Instead of writing a typical review, I considered writing a vignette of a Viking battle scene. At the thought of inviting such a direct comparison between my words and the experience of hearing Amon Amarth, I decided against that option.
I like the Crystal Method. I can shake my ass and nod my head to it. It’s electronic, but it’s large. It’s dance music but it’s excessive. It’s also kind of heavy. It’s got atmosphere – maybe not a metal type of atmosphere, but there’s a presence to the music that gets my attention. Maybe there’s not a lot of substance to it but there’s good songs there. I’m not really sure what type of music it is, but that doesn’t matter. It’s good and I want to listen to it.
A new release by The Dillinger Escape Plan is, at this point, not really an opportunity to write an album review. Not a necessary one, anyway. The event is essentially the catalyst for everyone to voice their already well-established and strongly-held opinions, which fall into one of three camps. One, the people who don’t get it and don’t care. Two, the people who think they were great at Calculating Infinity but they began to suck more than any other band, ever. Three—and this is where I’ve pitched my tent—the people who love what they’ve been doing for approximately the last decade.
The issue on appeal is whether Inter Arma, as evidenced on Sky Burial, is “boldly combining influences in new ways, or do they lack identity?”* The rule applicable is whether the release kicks enough ass to make the listener say, “Whoa, this some good fuckin’ shit.” (hereinafter “the kick ass good shit rule”).** Respondent argues in essence that the length of the release, combined with its allegedly mis-placed acoustic interludes and discordant influences present a confused but potential-laden release. We granted this writ because it presents an issue of first impression – i.e. significant disagreement between FMA and joanismylover. Because real-party at interest – Inter Arma – despite some minor mis-steps, ultimately satisfy kick ass good shit rule, joanismylover will, as explained below, give Sky Burial an improved rating.
For something like five years, I’ve been saying Volbeat should be big in the U.S. There is absolutely no reason they shouldn’t have the same status as the biggest bands to straddle that line between heavy metal and hard rock, like Godsmack and Disturbed (and yes, that those are the names I picked betrays my age).
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