your favorite kind of music? (shred music doesnt count)
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thedudeman
- Multidex Master
- Posts: 215
- Joined: 15 Feb 2010 11:47
- Location: Menlo Park (dA pArK), California
your favorite kind of music? (shred music doesnt count)
ive been a big fan of underground hip hop, stuff like typical cats and the sound providers, but lately been listening to jimi hendrix, and bob dylan, lots of reggae to both old and new, great stuff, really keeps my mind at ease
im connor payne
yall already know it's stanford homie
yall already know it's stanford homie
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Kurt Zubry
- Circle Kicker
- Posts: 17
- Joined: 04 Apr 2010 13:01
- Location: Philadelphia, PA
- Contact:
I would assume that shred music = your favorite music.
Styles Of Beyond
Binary Star
Black Violin
Bootcamp Click
Craig David
Cyne
CRU
Del Tha Funkee Homosapien
Foreign Legion
Giant Panda
Handsome Boy Modeling
The whole Hieroglyphics Imperium crew
Hollywood Kill
Jurassic 5
Kev Brown
Moonshyne
Slum Village
ATCQ
Styles Of Beyond
Binary Star
Black Violin
Bootcamp Click
Craig David
Cyne
CRU
Del Tha Funkee Homosapien
Foreign Legion
Giant Panda
Handsome Boy Modeling
The whole Hieroglyphics Imperium crew
Hollywood Kill
Jurassic 5
Kev Brown
Moonshyne
Slum Village
ATCQ
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Iron Clad Ben
- Superior Precision Bionics
- Posts: 2522
- Joined: 08 Jan 2006 19:11
- Location: La Habra, CA
- Contact:
Long form psychedelic instrumental rock such as:
http://www.last.fm/music/Pharaoh+Overlord/_/Mangrove
http://www.last.fm/music/Pharaoh+Overlord/_/Mangrove
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Justin Hall
- Shredalicious
- Posts: 68
- Joined: 09 Dec 2009 13:56
- Location: Bowmanville,Ontario
Wow its great to see a Genesis lover, favorite song of all time is supper's ready.Matt K wrote:
My favorite band is Genesis with Peter Gabriel.
I am very much into different styles of death metal but I also listen to a lot of Prog rock. To name a few bands:
Genesis
Gentle giant
Premiata forneria marconi
Jethro Tull
Pentacle
Bacamarte
Emerson, lake and Palmer
and many many more...
Check out all the artists here www.sygnok.tkhabitat wrote:Noise-rock, hardcore punk, breakcore. Anything with the balls to experiment.
The artists are all the names on the left.
The question is way too hard to answer.
I would say hiphop and then under that had to fit instrumental breakstuff, backpacker, gangsterrap and on and on.
Genesis
I've been a big Genesis fan since the release of their 1980 album, Duke. Before that I didn't really understand any of their work, though on their last album of 1970s, the concept-lade And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely "Follow You, Follow Me." Otherwise all the albums before Duke seemed to artsy, too intellectual. It was Duke (Atlantic; 1980), where Phil Collins' presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel's departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop arranged more around Collins' drumming than Mike Rutherford's bass lines or Tony Banks' keyboard riffs. A classic example of this is "Misunderstanding," which no only was the group's first big hit of the eighties but also seemed to set the tone for the rest of their albums as the decade progressed. The other standout on Duke is "Turn It On Again," which is about the negative effects of television. On the other hand, "Heathaze" is a song I just don't understand, while "Please Don't Ask" is a touching love song written to a separated wife who regains custody of the couple's child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock 'n' roll group? I don't think so. "Duke Travels" and "Duke End" might mean something but since the lyrics aren't printed it's hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track. The only bummer about Duke is "Alone Tonight," which is way too reminiscent of "Tonight Tonight Tonight" from the group's later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself.
Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on "No Reply at All" are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren't: "No Reply at All," "Keep It Dark," Who Dunnit?" "Like It or Not"). Mike Rutherford's bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins' truly amazing drumming. Even at its most despairing (like the song "Dodo," about extinction), Abacab musically is poppy and lighthearted.
My favourite track is "Man on the Corner," which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily could come off any of Phil's solo albums, because the themes of loneliness, paranoia and alienation are overly familar to Gensis it evokes the bank's hopeful humanism. "Man on the Corner" profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), "that lonely man on the corner" who just stands around. "Who Dunnit?" profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.
Hugh Padgham produced next an even less conceptual effort, simple called Genesis (Atlantic; 1983), and though it's a fine album a lot of it now seems too derivative for my tastes. "That's All" sounds like "Misunderstanding," "Taking It All Too Hard" reminds me of "Throwing It All Away." It also seems less jazzy than its predecessors and more of an eighties pop album, more rock 'n' roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical "Mama," that's both strange and touching, though I couldn't tell if the singer was talking about his actual mother or to a girl he likes to call "Mama." "That's All" is a lover's lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it's got a bright sing-along melody that makes the song less depressing than it probably needed to be. "That's All" is the best tune in the album, but Phil's voice is strongest on "House by the Sea," whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it's unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherland washes the tracks over the dreamy synthesizers, and when Phil repeats the song's third verse at the end it can give you chills.
"Illegal Alien" is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad - a wetback trying to get across the border into the United States - but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he's wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of "fun" with "illegal alien" is inspired. "Just a Job to Do" is the album's funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. "Silver Rainbow" is the album's most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with "It's Gonna Get Better." Even if the lyrics seem a tiny bit generic to some, Phil's voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.
Invisible Touch (Atlantic; 1986) is the group's undisputed masterpiece. It's an epic mediation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it's almost impossible to shake off because every song makes some connection about the unknown or the spaces between people ("Invisible Touch"), questioning authoritative control whether by domineering lovers or by government ("Land of Confusion") or by meaningless repetition ("Tonight Tonight Tonight"). All in all it ranks with the finest rock 'n' roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.
In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to "Land of Confusion," in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson - or any other black artist of recent years, for that matter - has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love's failings Collins beats out the Boss again and again, reaching new heights of emotional honest on "In Too Deep"; yet it also showcases Collins' clowny, prankish, unpredictable side. It's the most moving pop song of the 1980s about monogamy and commitment. "Anything She Does" (which echoes the J. Geils Band's "Centerfold" but is more spirited and energetic) starts off side two and after that the album reaches its peak with "Domino," a two-part song. Part one, "In the Heat of the Night," is full of sharp, finely drawn images of despair and it's paired with "The Last Domino," which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I've heard in rock.
Phil Collins' solo efforts seem to more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like "In the Air Tonight" and "Against All Odds" (though that song was overshadowed by the masterful movie from which it came) and "Take Me Home" and "Sussudio" (great, great song; a personal favourite) and his remake of "You Can't Hurry Love," which I'm not alone in thinking is better than the Supremes' original. But I also think that Phil Collins works better within the confines of the group than as a solo artists - and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on "No Reply at All" are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren't: "No Reply at All," "Keep It Dark," Who Dunnit?" "Like It or Not"). Mike Rutherford's bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins' truly amazing drumming. Even at its most despairing (like the song "Dodo," about extinction), Abacab musically is poppy and lighthearted.
My favourite track is "Man on the Corner," which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily could come off any of Phil's solo albums, because the themes of loneliness, paranoia and alienation are overly familar to Gensis it evokes the bank's hopeful humanism. "Man on the Corner" profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), "that lonely man on the corner" who just stands around. "Who Dunnit?" profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.
Hugh Padgham produced next an even less conceptual effort, simple called Genesis (Atlantic; 1983), and though it's a fine album a lot of it now seems too derivative for my tastes. "That's All" sounds like "Misunderstanding," "Taking It All Too Hard" reminds me of "Throwing It All Away." It also seems less jazzy than its predecessors and more of an eighties pop album, more rock 'n' roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical "Mama," that's both strange and touching, though I couldn't tell if the singer was talking about his actual mother or to a girl he likes to call "Mama." "That's All" is a lover's lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it's got a bright sing-along melody that makes the song less depressing than it probably needed to be. "That's All" is the best tune in the album, but Phil's voice is strongest on "House by the Sea," whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it's unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherland washes the tracks over the dreamy synthesizers, and when Phil repeats the song's third verse at the end it can give you chills.
"Illegal Alien" is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad - a wetback trying to get across the border into the United States - but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he's wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of "fun" with "illegal alien" is inspired. "Just a Job to Do" is the album's funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. "Silver Rainbow" is the album's most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with "It's Gonna Get Better." Even if the lyrics seem a tiny bit generic to some, Phil's voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.
Invisible Touch (Atlantic; 1986) is the group's undisputed masterpiece. It's an epic mediation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it's almost impossible to shake off because every song makes some connection about the unknown or the spaces between people ("Invisible Touch"), questioning authoritative control whether by domineering lovers or by government ("Land of Confusion") or by meaningless repetition ("Tonight Tonight Tonight"). All in all it ranks with the finest rock 'n' roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.
In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to "Land of Confusion," in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson - or any other black artist of recent years, for that matter - has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love's failings Collins beats out the Boss again and again, reaching new heights of emotional honest on "In Too Deep"; yet it also showcases Collins' clowny, prankish, unpredictable side. It's the most moving pop song of the 1980s about monogamy and commitment. "Anything She Does" (which echoes the J. Geils Band's "Centerfold" but is more spirited and energetic) starts off side two and after that the album reaches its peak with "Domino," a two-part song. Part one, "In the Heat of the Night," is full of sharp, finely drawn images of despair and it's paired with "The Last Domino," which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I've heard in rock.
Phil Collins' solo efforts seem to more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like "In the Air Tonight" and "Against All Odds" (though that song was overshadowed by the masterful movie from which it came) and "Take Me Home" and "Sussudio" (great, great song; a personal favourite) and his remake of "You Can't Hurry Love," which I'm not alone in thinking is better than the Supremes' original. But I also think that Phil Collins works better within the confines of the group than as a solo artists - and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
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Justin Hall
- Shredalicious
- Posts: 68
- Joined: 09 Dec 2009 13:56
- Location: Bowmanville,Ontario
Wow, Jeremy. Probably the longest post on modified 
My favourite music style is ambient, like:
Carbon Based Lifeforms
Solar Fileds
Cell
Aes Dana
Asura
Boards of Canada (kinda special, but I guess it is most ambient)
and like every other ambient artists.
My favourite music style is ambient, like:
Carbon Based Lifeforms
Solar Fileds
Cell
Aes Dana
Asura
Boards of Canada (kinda special, but I guess it is most ambient)
and like every other ambient artists.
Tilly Tamás
"The mistake is not to drop it. The mistake is not to pick it up."
"The mistake is not to drop it. The mistake is not to pick it up."
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F[uns]tylin' Eclectic
- Post Master General
- Posts: 4092
- Joined: 05 Feb 2010 19:53
- Location: Drumore, PA
Kurt Zubry and habitat have the right idea!
I take great pride in my music...
Any Old Skool Punk/Cross-Over Thrash/Hardcore/Crack Rock Steady: 98 Mute, AFI, Adolescents, Misfits, Rancid, Common Enemy, GG Allin, Germs, Bad Brains, Social Distortion, Bad Religion, Refused, A Wilhelm Scream, Sick of It All, Black Flag, No Ca$h, D.R.I., The Clash, The Ramones, Morning Glory, INDK, Leftover Crack, Dead Kennedys, Suicidal Tendencies, etc...
Some newer Punk/Pop-Punk: Millencolin, Lagwagon, NOFX, Bad Religion, Explosion, Get-Up Kids, Screeching Weasel, Sum 41 (Old), Green Day (Old), Sloppy Meat Eaters, Smoke of Fire, Descendants, Bad Religion, Hot Water Music, No Use For A Name, Vandals, Whole Wheat Bread, Pennywise, Pulley, Anti-Flag, All, 1208, Queers, Bouncing Souls, Ten Foot Pole, Blink 182, Dropkick Murpheys, Atom And His Package
Any and All 3 Waves of Ska (along with some Swing): Planet Smashers, Against All Authority, Common Rider, Toasters, Hepcat, Chinkees, Choking Victim, Operation Ivy, Bomb The Music Industry!, Big Rude Jake, Arrogant Sons of Birches, Reel Big Fish, Big D & The Kids Table, Streetlight Manifesto, Assorted Jelly Beans, Desmond Dekker, Specials, Selecter, Cherry Poppin' Daddies, Body Snatchers, Fishbone, Royal Crown Revue, Evil Empire, Dan Potthast, MU330, Dance Hall Crashers, Squirrel Nut Zippers, Fat Cats, Good Fellas, Indigo Swing, Save Ferris, Catch 22, Kings Of Nuthin, Goldfinger, Flatliners, Forces of Evil, Hub City Stompers, Big Time Operator, Hot Stove Jimmy, Independents, Hipster Daddy-O & The Hand Grenades, Flaming Tsunamis, Blue Meanies, Madness, Mad caddies, Less Than Jake, Mighty Mighty Bosstones, Mephiskapheles, Highschool Football Heroes, Jiker, No Doubt, Missing Link, Modern Aggression, Mustard Plug, Once Over, Capdown, Public Access, Pie Tasters, Pain, RX Bandits, Slapstick, Shake-Up!, Aggrolites, The Urge, Venkmans, Valkyrians, Suicide Machines, Voodoo Glow Skulls, We Are The Union, Slow Gherkin (Pretty much, name a Ska band and I can almost guarantee I listen to them or have heard them before. Ska is a big part of my lifestyle. Once a Ska Kid, Always a Ska Kid..)
Indie Rock/Other: Shins, Interpol, Vampire Weekend, Midlake, Radiohead, MGMT, Pinback, Passion Pit, Animal Collective, The Organ, Of Montreal, Modest Mouse, Mewithoutyou, Matt & Kim, Joy Division, Warsaw, The Cure, Frank Black, Explosions In The Sky, Elliot Smith, The Smiths, Death Cab For Cutie, Cold War Kids, Built To Spill, Regina Spektor, Primus, Bright Eyes, Breeders, Black Heart Procession, Bloc Party, Arctic Monkeys, Arcade Fire, Ratatat, Why?, Unicorns, Ugly Cassanova
Undergroup Hip-hop/Rap/N3rdc0r3: Del The Funky Homosapien, Beastie Boys, Eminem, Busdriver, Aesop Rock, Danger Doom, MC Chris, MC Lars, N.W.A., Optimus Rhyma, A Tribe Called Quest, YTCracker, Wu-Tang Clan
But the greatest of them all: THE PIXIES!!!: ANY and EVERY song!!!
I take great pride in my music...
Any Old Skool Punk/Cross-Over Thrash/Hardcore/Crack Rock Steady: 98 Mute, AFI, Adolescents, Misfits, Rancid, Common Enemy, GG Allin, Germs, Bad Brains, Social Distortion, Bad Religion, Refused, A Wilhelm Scream, Sick of It All, Black Flag, No Ca$h, D.R.I., The Clash, The Ramones, Morning Glory, INDK, Leftover Crack, Dead Kennedys, Suicidal Tendencies, etc...
Some newer Punk/Pop-Punk: Millencolin, Lagwagon, NOFX, Bad Religion, Explosion, Get-Up Kids, Screeching Weasel, Sum 41 (Old), Green Day (Old), Sloppy Meat Eaters, Smoke of Fire, Descendants, Bad Religion, Hot Water Music, No Use For A Name, Vandals, Whole Wheat Bread, Pennywise, Pulley, Anti-Flag, All, 1208, Queers, Bouncing Souls, Ten Foot Pole, Blink 182, Dropkick Murpheys, Atom And His Package
Any and All 3 Waves of Ska (along with some Swing): Planet Smashers, Against All Authority, Common Rider, Toasters, Hepcat, Chinkees, Choking Victim, Operation Ivy, Bomb The Music Industry!, Big Rude Jake, Arrogant Sons of Birches, Reel Big Fish, Big D & The Kids Table, Streetlight Manifesto, Assorted Jelly Beans, Desmond Dekker, Specials, Selecter, Cherry Poppin' Daddies, Body Snatchers, Fishbone, Royal Crown Revue, Evil Empire, Dan Potthast, MU330, Dance Hall Crashers, Squirrel Nut Zippers, Fat Cats, Good Fellas, Indigo Swing, Save Ferris, Catch 22, Kings Of Nuthin, Goldfinger, Flatliners, Forces of Evil, Hub City Stompers, Big Time Operator, Hot Stove Jimmy, Independents, Hipster Daddy-O & The Hand Grenades, Flaming Tsunamis, Blue Meanies, Madness, Mad caddies, Less Than Jake, Mighty Mighty Bosstones, Mephiskapheles, Highschool Football Heroes, Jiker, No Doubt, Missing Link, Modern Aggression, Mustard Plug, Once Over, Capdown, Public Access, Pie Tasters, Pain, RX Bandits, Slapstick, Shake-Up!, Aggrolites, The Urge, Venkmans, Valkyrians, Suicide Machines, Voodoo Glow Skulls, We Are The Union, Slow Gherkin (Pretty much, name a Ska band and I can almost guarantee I listen to them or have heard them before. Ska is a big part of my lifestyle. Once a Ska Kid, Always a Ska Kid..)
Indie Rock/Other: Shins, Interpol, Vampire Weekend, Midlake, Radiohead, MGMT, Pinback, Passion Pit, Animal Collective, The Organ, Of Montreal, Modest Mouse, Mewithoutyou, Matt & Kim, Joy Division, Warsaw, The Cure, Frank Black, Explosions In The Sky, Elliot Smith, The Smiths, Death Cab For Cutie, Cold War Kids, Built To Spill, Regina Spektor, Primus, Bright Eyes, Breeders, Black Heart Procession, Bloc Party, Arctic Monkeys, Arcade Fire, Ratatat, Why?, Unicorns, Ugly Cassanova
Undergroup Hip-hop/Rap/N3rdc0r3: Del The Funky Homosapien, Beastie Boys, Eminem, Busdriver, Aesop Rock, Danger Doom, MC Chris, MC Lars, N.W.A., Optimus Rhyma, A Tribe Called Quest, YTCracker, Wu-Tang Clan
But the greatest of them all: THE PIXIES!!!: ANY and EVERY song!!!
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Zac Jackson
- Fearless
- Posts: 641
- Joined: 27 Oct 2005 08:44
- Location: Provo, UT
- Contact:
I feel your opinion is SHIThabitat wrote:You like a lot of SHIT, fake ass bands.
but to add to this post
a day to remember
devil wears prada
Enter Shikari
All that remains
Close your eyes
Your next task: Go to the bathroom.
Wash your face.
Put your shoulders hunched upwards.
Look really, really slowly upwards towards the mirror like in the movies
And slap yourself in the face.
With your game face on.
And go shred with jim.
It'll work, trust me.
-Jay Boychuk
Wash your face.
Put your shoulders hunched upwards.
Look really, really slowly upwards towards the mirror like in the movies
And slap yourself in the face.
With your game face on.
And go shred with jim.
It'll work, trust me.
-Jay Boychuk
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F[uns]tylin' Eclectic
- Post Master General
- Posts: 4092
- Joined: 05 Feb 2010 19:53
- Location: Drumore, PA
I agree with Zac, plus I think Punk And Ska are more real (not to mention more original) than "Noise Rock" and Breakcore" roll on floor laughing and if you think Pixies and some of the founding Punk bands I listed are fake, then you'd better go do some research, learn some stuff, and reanalyze your entire life, realizing that a lot of that SHIT is primarily responsible for the birth of your "noise rock" and "breakcore" and that they are some of the realest bands to date...
I sense that you are a tad butthurt that you weren't praised for your extensive music knowledge for laundry listing all of those bands. Be serious there guy, ska is the lamest fucking music to ever (dis)grace this planet. It's basically pussy punk for suburban music school kids. Only douchebags take that shit seriously. By saying you "take great pride in your music," did you mean you create music or you just think you know everything about music?
lol @ you think I should reanalyze my life because we don't have the same taste in what constitutes art. Don't hate me because you're mad at your dad.
lol @ you think I should reanalyze my life because we don't have the same taste in what constitutes art. Don't hate me because you're mad at your dad.
James Randall
I always find it a bit puzzling myself when people say "I take great pride in my music" when usually what they mean is "I have an extensive CD collection" but that aside....
Great post Jeremy. Genesis was one of the first bands I heard on CD, along with Meatloaf's Bat Out Of Hell, George Thorogood and Al Jolson of all people. I was "brought up" on it, if you like.
@Sergey : I dunno, theres a lot of music I like that I couldnt kick to.
Great post Jeremy. Genesis was one of the first bands I heard on CD, along with Meatloaf's Bat Out Of Hell, George Thorogood and Al Jolson of all people. I was "brought up" on it, if you like.
@Sergey : I dunno, theres a lot of music I like that I couldnt kick to.
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GoodleShoes
- Hack Fiend
- Posts: 26
- Joined: 22 Feb 2010 08:13
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Zac Jackson
- Fearless
- Posts: 641
- Joined: 27 Oct 2005 08:44
- Location: Provo, UT
- Contact:
why hate on someone else's music and belittle them for their taste, like what ever music it is you want to like, why should anyones opinion matter but your own.
Your next task: Go to the bathroom.
Wash your face.
Put your shoulders hunched upwards.
Look really, really slowly upwards towards the mirror like in the movies
And slap yourself in the face.
With your game face on.
And go shred with jim.
It'll work, trust me.
-Jay Boychuk
Wash your face.
Put your shoulders hunched upwards.
Look really, really slowly upwards towards the mirror like in the movies
And slap yourself in the face.
With your game face on.
And go shred with jim.
It'll work, trust me.
-Jay Boychuk
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Justin Hall
- Shredalicious
- Posts: 68
- Joined: 09 Dec 2009 13:56
- Location: Bowmanville,Ontario