OK, so it's Easter, today. I'll be out of the house to do holiday-themed stuff, soon. But, for right now, let's ignore the calendar, ok?
I've stumbled across a new favorite Punk Rock band- Barcelona's The Capaces. They've been around for 10 years, so I don't know where I've been, but it should have been Barcelona!
Sound? OK, take the punk-y rocknroll drive of bands like Motorhead, Zeke, Reo Speedealer, or the Bronx. Got it? Now, take the aggression and speed, and crank it up to the intensity of Discharge and sometimes all the way up to first-album Die Kreuzen. Have Kat Arthur from Legal Weapon sing for this juggernaut. Are you there? No? Let me guess, you haven't heard of most of the references I just made. OK, well, go look them up. If you like most of them, you'll want to hear the Capaces. If not, you probably don't really like thrashy hardcore like I do, and that's OK. At least you know where I'm coming from. Alternately, you could just listen to the Capaces, because this is exactly the kind of music I've been listening to since I was a pre-teen. When it's good, like the Capaces are, nothing connects more with me. Where's the pit?
Sunday, April 4, 2010
Sunday, March 28, 2010
Riding out the long tail
I wouldn't say I agree with everything Anderson has to say, but the initial article that led to The Long Tail by Chris Anderson was a key inspiration for this here blog. That nugget was a bit of the same thing as the climactic speech in Revenge of the Nerds, when he says that there are more of us nerds, spazzes geeks and so on than beautiful people. The idea of the long tail is that while loads of people like the mainstream stuff, nearly everyone has at least one "niche" thing they like, and so, for a seller, it can be an equally viable business model to sell lots of niche things, instead of a few mainstream things. I'm not trying to sell you anything, but I am a life-long inhabitant of that long tail, in that almost everything I've ever liked has been "niche". So, while I don't expect too many people to ever see my blog, I would encourage everyone who does to go as far out on whatever long tail they occupy as possible. We are very lucky, in these early days of the 21st century. We have more access to more obscure stuff than ever before, with better access, and easier access than ever thought possible. With a little luck, and a little research, if you thought some unknown actor in some "b" movie from 20 years ago was pretty special, you can find out what they're up to, these days. Likewise, if you liked hardcore punk rock, and you liked the sloppy, dark psychedelia of the Butthole Surfers, and wanted them put together, you could find Facepuller . If you like the odd time signatures of math metal, but the melancholy keyboards of gothic metal, you could find Returning we hear the larks . That's how far out the long tail you can ride!
I'll be the first to admit that I'm not so very far out, and obviously, I still like fairly mainstream stuff. The Clash, The Ramones, Queens of the Stone Age, etc ; I can swim in the mainstream. Heck, I even have a Lost theory (the island is host to a Genie-like entity that most folks are calling the "man in black", who is locked in a struggle with another powerful being {Jacob} who's like an Angel {think Jacob's ladder} which means that the story in Lost is about the trials and temptations of people seeking enlightenment). That's pretty mainstream! But, that's the beauty of doing away with the concept of mass culture- popularity doesn't matter either way! you can like completely mainstream stuff, and completely obscure stuff equally, and at the same time. You don't have to play either of those two old adolescent pastimes- trying to fit in, or trying to be an individual. You can simply just be. That's what I'm suggesting, and I hope you can see the potential, and already are riding your own long tail...
I'll be the first to admit that I'm not so very far out, and obviously, I still like fairly mainstream stuff. The Clash, The Ramones, Queens of the Stone Age, etc ; I can swim in the mainstream. Heck, I even have a Lost theory (the island is host to a Genie-like entity that most folks are calling the "man in black", who is locked in a struggle with another powerful being {Jacob} who's like an Angel {think Jacob's ladder} which means that the story in Lost is about the trials and temptations of people seeking enlightenment). That's pretty mainstream! But, that's the beauty of doing away with the concept of mass culture- popularity doesn't matter either way! you can like completely mainstream stuff, and completely obscure stuff equally, and at the same time. You don't have to play either of those two old adolescent pastimes- trying to fit in, or trying to be an individual. You can simply just be. That's what I'm suggesting, and I hope you can see the potential, and already are riding your own long tail...
Thursday, March 18, 2010
Not Everything is a total Winner
I try to keep what I write about, here, on the positive end. After all, I'm a bit misanthropic, and I've got a fairly narrow taste, even if it doesn't conform to music magazine labels, so I could talk endlessly about the pop culture stuff I don't like. What would be the point of deconstructing Gossip Girl? Even more, why would I want to force myself to watch an entire episode just to complete said deconstruction? As a friend once wrote- I should listen to music just to hear how vacuous and inane it is?
Still, not everything I lend my time to has as much merit as other things. I like a lot of stuff that might not be "A grade" quality, but appeals, nonetheless. I also listen to stuff that has a lot of quality, but only fits a niche of limited utility to me. Actually, the majority of what I consume, media-wise fits into those two categories. On TV, that'd be shows like Burn Notice (the former category) and Lost ( the latter category). In reading- well, I read too many magazines, and no, not all are even up to the quality of a mass market rag like Time or Newsweek (though, not quite tabloids. Ever since the weekly world news folded, I'm done with tabloids).
In music? There's a lot. I probably listen to more music than any other kind of pop culture. So, I'd include known bands like Jimmy Eat World, and Nine Inch Nails, but also more unknown bands, like Hell, Flawless and Mandate of Heaven.
On top of that, I know my tastes are narrow, so I don't expect even you, my few readers, to agree.
So, it's pretty rare for me to hear a new band, of very young musicians and think "These guys will be Big". But, this is one of those rare moments. The band is Victori4. The new CD 21st Century Samurais? Wow. It's got enough pop hooks, and easily heard harmonies that I could see them cracking the top 20. It's got teenage angst, it's got some musicianship, and I can see teenage girls thinking these boys are cute. Seriously, not everything wins, but I can see these guys winning. Yes, I like them, and no, I don't think all my friends will. Musically, they're somewhere between an "Emo" band and an Anthemic middle of the road band like U2, Coldplay, or yes, Jimmy Eat World (who they sound closest to) but with a serving of Americana, mostly courtesy of some pretty tasteful slide work. So, I know some of it is that I'm a sucker for a good pop hook with plaintive vocals, and I live and die by a good guitar. But, still, they are of a higher quality than a band like My Chemical Romance, or latter-day AFI, and blow away some of the third-tier bands of similar ilk in the UK - Snow Patrol, I mean you, but not only you. The main reason why they might not be huge would be location- they're from Geneva, Switzerland, and Lyon, France- quite a long way from Los Angeles or London. Heck, that's even a bit far away from a city like Baltimore.
But, I've heard them, so their music is spreading. Maybe someday they'll be on Top of the Pops, eh? Then, of course, we'll have to hate them, won't we? But, if you have an open mind for commercial pop rock, I think there are some rewards to be had, here, and, no, I won't apologize for liking what makes me smile. There's enough that I hate, and there's enough that I feel guilty for liking, but a good pop rock band? That's got value, even if it flirts with Mass culture...
Still, not everything I lend my time to has as much merit as other things. I like a lot of stuff that might not be "A grade" quality, but appeals, nonetheless. I also listen to stuff that has a lot of quality, but only fits a niche of limited utility to me. Actually, the majority of what I consume, media-wise fits into those two categories. On TV, that'd be shows like Burn Notice (the former category) and Lost ( the latter category). In reading- well, I read too many magazines, and no, not all are even up to the quality of a mass market rag like Time or Newsweek (though, not quite tabloids. Ever since the weekly world news folded, I'm done with tabloids).
In music? There's a lot. I probably listen to more music than any other kind of pop culture. So, I'd include known bands like Jimmy Eat World, and Nine Inch Nails, but also more unknown bands, like Hell, Flawless and Mandate of Heaven.
On top of that, I know my tastes are narrow, so I don't expect even you, my few readers, to agree.
So, it's pretty rare for me to hear a new band, of very young musicians and think "These guys will be Big". But, this is one of those rare moments. The band is Victori4. The new CD 21st Century Samurais? Wow. It's got enough pop hooks, and easily heard harmonies that I could see them cracking the top 20. It's got teenage angst, it's got some musicianship, and I can see teenage girls thinking these boys are cute. Seriously, not everything wins, but I can see these guys winning. Yes, I like them, and no, I don't think all my friends will. Musically, they're somewhere between an "Emo" band and an Anthemic middle of the road band like U2, Coldplay, or yes, Jimmy Eat World (who they sound closest to) but with a serving of Americana, mostly courtesy of some pretty tasteful slide work. So, I know some of it is that I'm a sucker for a good pop hook with plaintive vocals, and I live and die by a good guitar. But, still, they are of a higher quality than a band like My Chemical Romance, or latter-day AFI, and blow away some of the third-tier bands of similar ilk in the UK - Snow Patrol, I mean you, but not only you. The main reason why they might not be huge would be location- they're from Geneva, Switzerland, and Lyon, France- quite a long way from Los Angeles or London. Heck, that's even a bit far away from a city like Baltimore.
But, I've heard them, so their music is spreading. Maybe someday they'll be on Top of the Pops, eh? Then, of course, we'll have to hate them, won't we? But, if you have an open mind for commercial pop rock, I think there are some rewards to be had, here, and, no, I won't apologize for liking what makes me smile. There's enough that I hate, and there's enough that I feel guilty for liking, but a good pop rock band? That's got value, even if it flirts with Mass culture...
Sunday, March 14, 2010
Stone Soup After Many Days
People talk about mixing things, about a remix culture, and about "world music", and usually it's pairing two things that are fairly similar at the outset. At the most ridiculous, you get a band like Extreme (Remember them? yeah, the name was because they had the temerity to mix Pop metal with accoustic ballads! how... extreme) but at the most sublime, you get a band like Rage Against the Machine, which recasts music for the listener (sincerely, how many people thought of Led Zep as a funk band, or Erik B and Rakim as a rock band before hearing Rage?)
Spain's After Many Days are closer to the Rage end of things than the Extreme. But, After Many Days are mixing a lot of things. Like a Stone Soup, we start with music- they're mixing prog rock, metal, hip hop, jazz and traditional gallic folksong, then add in some electronics, and then, have the lyrics in three languages (Spanish, French, and English). But, the trick, as always, is to get the mix right so that musically, it works, and sounds good. After Many Days get the mix right, and on either of their EPS, the sound is polished and professional (a feat by itself for a self-producing band) and always organically flowing. It doesn't sound like seperate things, but, rather, as a cohesive band. What is that sound? Like Primus meets Deftones on the Red Hot Chili Peppers yacht, to play some Jacques Brel and Gang Starr songs. I don't expect them to become a big commercial hit, but I bet other musicians are intrigued already. Look for bands to be referencing them as an influence, much like the band they most remind me of, Faith No More.
Now I just hope they can tour, because their stage show looks impressive.
Spain's After Many Days are closer to the Rage end of things than the Extreme. But, After Many Days are mixing a lot of things. Like a Stone Soup, we start with music- they're mixing prog rock, metal, hip hop, jazz and traditional gallic folksong, then add in some electronics, and then, have the lyrics in three languages (Spanish, French, and English). But, the trick, as always, is to get the mix right so that musically, it works, and sounds good. After Many Days get the mix right, and on either of their EPS, the sound is polished and professional (a feat by itself for a self-producing band) and always organically flowing. It doesn't sound like seperate things, but, rather, as a cohesive band. What is that sound? Like Primus meets Deftones on the Red Hot Chili Peppers yacht, to play some Jacques Brel and Gang Starr songs. I don't expect them to become a big commercial hit, but I bet other musicians are intrigued already. Look for bands to be referencing them as an influence, much like the band they most remind me of, Faith No More.
Now I just hope they can tour, because their stage show looks impressive.
Joining the Crowd on Lost
Commenting on Lost is a subgenre of blog, so don't expect a link, nor a complete and long post. I just have a few quick things to write about that show.
First, it had a great idea in limiting itself. I just think 100 episodes is closer to how long I want the story to go on. At this point, the show has "jumped the shark" and overstayed. I think 50 episodes would've made for taut, quality TV storytelling, but 100 and above? Name the show that was as compelling after the 100 mark as it was before. I prefer the model where you tell the story, and then stop.
Second, While Terry O'Quin and Michael Emerson (especially Emerson) are clearly the best actors on the show, I have a different take on "favorites" than most. I like Jack Shephard. I like Sayid Jarrah, Hugo "Hurley" Reyes and Jin-Soo Kwon. Other than them, I don't really like the characters. Why those? Ever been an older brother? Ever been a father? Ever been a Manager? There is a role men have to take- a combination of selfless gaurdian, and hate-magnet Sheriff. These characters understand that role, and abide to it. I can relate to that, and sympathize with that more than I can people living as if they are islands, themselves. People who don't make the hard choices against themselves like Ben Linus, and like John Locke are the kind of jerks I curse every day. Why would I cheer them, or even be interested in them on my TV?
Really though, if you haven't seen Lost, I wouldn't bother, at this point. The first 3 Seasons were good, and it's crawled up into itself since then. Considering we're talking a six season show, that means it's only half good.
First, it had a great idea in limiting itself. I just think 100 episodes is closer to how long I want the story to go on. At this point, the show has "jumped the shark" and overstayed. I think 50 episodes would've made for taut, quality TV storytelling, but 100 and above? Name the show that was as compelling after the 100 mark as it was before. I prefer the model where you tell the story, and then stop.
Second, While Terry O'Quin and Michael Emerson (especially Emerson) are clearly the best actors on the show, I have a different take on "favorites" than most. I like Jack Shephard. I like Sayid Jarrah, Hugo "Hurley" Reyes and Jin-Soo Kwon. Other than them, I don't really like the characters. Why those? Ever been an older brother? Ever been a father? Ever been a Manager? There is a role men have to take- a combination of selfless gaurdian, and hate-magnet Sheriff. These characters understand that role, and abide to it. I can relate to that, and sympathize with that more than I can people living as if they are islands, themselves. People who don't make the hard choices against themselves like Ben Linus, and like John Locke are the kind of jerks I curse every day. Why would I cheer them, or even be interested in them on my TV?
Really though, if you haven't seen Lost, I wouldn't bother, at this point. The first 3 Seasons were good, and it's crawled up into itself since then. Considering we're talking a six season show, that means it's only half good.
Saturday, March 13, 2010
Signal to Noise
It's not surprising to me that The Rise doesn't get much mention. They didn't exactly play commercial sounding hard rock. They were somewhat innovative in the use of heavily processed vocals (auto tune, and more) in a hardcore/thrash/metal setting, but that would be counter-balanced by how big a debt they owed to The Refused. It's precisely that balance that makes me want to mention them, now, however. I think the thing that makes their second release "Reclamation Process" valuable, and worth your time is that they completed an equation that The Refused started.
See, The Refused were a barely passable metalcore band until they started exploring a relationship between thrash and Techno. They were doing so primarily in service to their leftist/Anarchist/Socialist/Situationist politics, and so even on their bast expression, the "Shape of Punk to Come" CD, they still sounded like a hardcore band playing around with synths. That alone was revelatory, but it wasn't complete. They didn't get into the relationship between the sounds, and they didn't use the music as a means of expressing anything deeper than the lyrics (which were plenty intellectual, but overwhelming to any input from the music). The Rise start out aping the Refused, but on Reclamation Process, the lyrics take a back seat to the sonics which blend screeching "screamo" vocals, and metallic thrashy guitars with auto tune, glitchy synth noise, samples and atonal over-processed laptop sequences. The result isn't exactly pretty, but it does make a sonic point as the electronics slowly overtake the songs. The human elements, one by one fall away- from vocals and live playing over to samples and sequences- without ever losing the abrasiveness of a hardcore punk background. In the end, not only does it presage what a band like Attack! Attack! is doing, but it completes the sonic equation presented by the Refused- what place does the human element have in music, and can the machines express anything beyond simple replication. This isn't like Gary Numan positing human-like androids emotionally lost in the electronic void. It's more like the electronic void having a conversation with a lost soul, and perhaps winning the debate. By the time the CD ends in washes of White and pink noise, you can almost understand what it's communicating. It's definitely worth pondering.
See, The Refused were a barely passable metalcore band until they started exploring a relationship between thrash and Techno. They were doing so primarily in service to their leftist/Anarchist/Socialist/Situationist politics, and so even on their bast expression, the "Shape of Punk to Come" CD, they still sounded like a hardcore band playing around with synths. That alone was revelatory, but it wasn't complete. They didn't get into the relationship between the sounds, and they didn't use the music as a means of expressing anything deeper than the lyrics (which were plenty intellectual, but overwhelming to any input from the music). The Rise start out aping the Refused, but on Reclamation Process, the lyrics take a back seat to the sonics which blend screeching "screamo" vocals, and metallic thrashy guitars with auto tune, glitchy synth noise, samples and atonal over-processed laptop sequences. The result isn't exactly pretty, but it does make a sonic point as the electronics slowly overtake the songs. The human elements, one by one fall away- from vocals and live playing over to samples and sequences- without ever losing the abrasiveness of a hardcore punk background. In the end, not only does it presage what a band like Attack! Attack! is doing, but it completes the sonic equation presented by the Refused- what place does the human element have in music, and can the machines express anything beyond simple replication. This isn't like Gary Numan positing human-like androids emotionally lost in the electronic void. It's more like the electronic void having a conversation with a lost soul, and perhaps winning the debate. By the time the CD ends in washes of White and pink noise, you can almost understand what it's communicating. It's definitely worth pondering.
Saturday, March 6, 2010
Haven't had much to say
So, I haven't posted. Mostly, I've been listening to stuff I've already talked about. Mostly, I've been watching the same shows and movies I've talked about. I have read some new books, though. I read Chris Jericho's "Lion's Tale", and Rufus&Lawson's "Scavenger's Manifesto", and Thompson's "Badass". All have their merits, but none are something to get excited about. Call them 3 of 5 stars- more good than bad, none excellent.
All I can plead is that I've been working a lot, and I've got some big worries about cash, right now, and it's draining a lot of my thought.
I'll also admit to playing a lot of Fallout 3 and it probably is my favorite video game, but I think there are enough video game blogs out there, already.
One thought, though- if you watch TNA (and I think you should) I'm not real fond of the "WCW part Deux" feel that Hogan has brought in, but it still has some of the finest entertainment you can see on TV. Worth a bit of your time.
All I can plead is that I've been working a lot, and I've got some big worries about cash, right now, and it's draining a lot of my thought.
I'll also admit to playing a lot of Fallout 3 and it probably is my favorite video game, but I think there are enough video game blogs out there, already.
One thought, though- if you watch TNA (and I think you should) I'm not real fond of the "WCW part Deux" feel that Hogan has brought in, but it still has some of the finest entertainment you can see on TV. Worth a bit of your time.
Sunday, February 7, 2010
Accept no Substitute
Nasty Fire sounds like the imaginary name of an imaginary band fronted by a twelve year old pyromaniac, doesn't it? The actual band has something to do with that expectation- These guys play basic thrash with the kind of abandon and glee you'd expect from a twelve year old pyro. The lyrics are unintelligible but, if I could understand them, I'd probably be offended. Again, I'm thinking a twelve year old would smile. Go back in time, and when I was a twelve year old, I listened to thrash that wasn't all that different from this, so is it any wonder that I like it? Yes, it's as brain dead as it seems like, but tell me you want to be smart all the time, so I can avoid you. Big dumb thrash beats boring "smart" technical thrash, any day of the week. Want proof? Listen to this. Now, go back to Nasty Fire.
Meanwhile, Sage Francis is probably the smartest guy in the rap/hip hop game ever since Michael Franti decided to write love songs, instead ( and yes, I still think Michael Franti is one of the smartest guys I've ever seen, he's just not in the rap/hip hop game, anymore). Sage does a pretty old school style, but his flow unstoppable. Yes, he can be as silly as a twelve year old, but he'll make you think like an adult before he's done. What a world it would be if he was bigger than Eminem? The beats are better than candy-named wrapper, and the flow is more intricate, and the ideas are more outrageous. Compare Mosh to Conspiracy to Riot. Is there a better argument that Mass Culture is a dead end?
What does this add up to? Whether your personal muse leads you to silly thrash with no socially redeeming values, or to the smart kids' table, or to both at the same time- it's better to follow that muse than either to deny it, or accept the poor substitute that those who don't understand will offer you.
Meanwhile, Sage Francis is probably the smartest guy in the rap/hip hop game ever since Michael Franti decided to write love songs, instead ( and yes, I still think Michael Franti is one of the smartest guys I've ever seen, he's just not in the rap/hip hop game, anymore). Sage does a pretty old school style, but his flow unstoppable. Yes, he can be as silly as a twelve year old, but he'll make you think like an adult before he's done. What a world it would be if he was bigger than Eminem? The beats are better than candy-named wrapper, and the flow is more intricate, and the ideas are more outrageous. Compare Mosh to Conspiracy to Riot. Is there a better argument that Mass Culture is a dead end?
What does this add up to? Whether your personal muse leads you to silly thrash with no socially redeeming values, or to the smart kids' table, or to both at the same time- it's better to follow that muse than either to deny it, or accept the poor substitute that those who don't understand will offer you.
Monday, January 25, 2010
Hey, since this is a blog, after all
Not so much a "review" as remarking that lately, influenced by playing Fallout 3, I've been playing a lot more "traditional" pop music. That is to say- I've been listening to Billie Holiday, Louis Prima, Bob Crosby, Louis Armstrong, etc, etc.
Yes, I do love Rock music, but that doesn't mean I close myself off to anything else.
Some folks can even combine 1940's pop music with really dark heavy rock, too. Like Clint Ruin. Been listening to that, too.
Yes, I do love Rock music, but that doesn't mean I close myself off to anything else.
Some folks can even combine 1940's pop music with really dark heavy rock, too. Like Clint Ruin. Been listening to that, too.
Influential
There are some artists that "change the game". For example, while a band like Tortoise was doing what later got called "post rock" for years, the big game-changer was more when Radiohead got into ambient, textural music. Below that, there were a slew of guitar-based bands in the late 1980's who were playing long, Televsion-influenced nearly instrumental rock, all about feel, and cinematic scope. But, Tortoise was more of a game-changer than them, Radiohead more of a game-changer than Tortoise- you understand?
Well, like him or not, Trent Reznor was a big game-changer. Take a look around on any site where musicians self-identify their influences, and you'll read "Trent Reznor" or even more popularly his Nom-de-guerre "Nine Inch Nails". So, at this point, saying that such-and-such sounds like Trent Reznor isn't big news. It's like saying a guitar player is referencing Jimmy Page or Dick Dale- it's a bit of a given. However, some comparisons are closer than others, so when I say that there's a stamp of Trent Reznor on Fresh Body Shop and Pain, it's not just that they're both essentially one-man bands, with an aggressive electronic rock sound.
In the case of Fresh Body Shop, the vocal similarity between Pedro and Trent is uncanny. My wife is a big fan of Nine Inch Nails and when she heard Fresh Body Shop, she asked if it was a new NIN CD. But, I truly appreciate the differences more than the similarities. It's pretty obvious to me that our man Pedro, I mean "Fresh Body Shop" is much more a pop-rock guy than Trent. If there can be a blues-based guitar lick, there will be. Also, a lot of the songs are far more traditional, and far more upbeat than Trent can muster. On top of all that, Pedro likes Accoustic guitars. Some of the best songs, then, sound like some anachronistic little artifact from 1975, where some hippies heard Caberet Voltaire, or something. It's all very hummable, and very light (as opposed to "lite", meaning lesser). The addition of some 8-bit keyboards really completes this, and integrates the electronics with the folksy-ness. Consider Pedro's band Fresh Body Shop highly reccommended if you want some breezy summery Pop music with a bit of rock backbone.
Pain, meanwhile, is pretty much the opposite. Peter Tagtgren already was a successful heavy metal musician with his band Hypocrisy. Where Fresh Body Shop is light and Poppy, Pain is heavy and abrasive. Where Pain relates to Trent Reznor in the strongest fashion, however, is in the lyrics which are cynical and dark to the point of a kind of misanthropic self-parody. But, where Pain gets interesting is in the other influences- the meeting of electronics and loud rock is interesting, I suppose, but certainly not novel. But, melodically, the electronics usually carry some kind of Wagnerian bombast that clearly owes a debt to Scandinavian folksongs, while the guitars are very percussive- it's like adding a supercharger to Sibelius (Jean, not the software!). As a result, the songs carry a symphonic majesty without ever losing the motorik beat of dance rock. Far more traditional than Trent Reznor, but in an entirely different direction than Fresh Body shop.
Ultimately, that's the best use of influences- as a kind of slate to write your own mark upon- the springboard to your own inspiration. I've heard that Shaw said that Mediocrity borrows, and Genius steals- and I think the point is exactly this kind of thing- we all have influences, if we're intelligent. So, if we're only mediocre, our use of our influences is merely borrowing from the influential material- but it remains in the possession of that influence. The Genius, however, takes the raw material of that influence to not merely change the game played, but instead to make a new game. In other words, it's ok to have influences, so long as you're not overwhelmed by them. That is the game I'd much prefer to play.
Well, like him or not, Trent Reznor was a big game-changer. Take a look around on any site where musicians self-identify their influences, and you'll read "Trent Reznor" or even more popularly his Nom-de-guerre "Nine Inch Nails". So, at this point, saying that such-and-such sounds like Trent Reznor isn't big news. It's like saying a guitar player is referencing Jimmy Page or Dick Dale- it's a bit of a given. However, some comparisons are closer than others, so when I say that there's a stamp of Trent Reznor on Fresh Body Shop and Pain, it's not just that they're both essentially one-man bands, with an aggressive electronic rock sound.
In the case of Fresh Body Shop, the vocal similarity between Pedro and Trent is uncanny. My wife is a big fan of Nine Inch Nails and when she heard Fresh Body Shop, she asked if it was a new NIN CD. But, I truly appreciate the differences more than the similarities. It's pretty obvious to me that our man Pedro, I mean "Fresh Body Shop" is much more a pop-rock guy than Trent. If there can be a blues-based guitar lick, there will be. Also, a lot of the songs are far more traditional, and far more upbeat than Trent can muster. On top of all that, Pedro likes Accoustic guitars. Some of the best songs, then, sound like some anachronistic little artifact from 1975, where some hippies heard Caberet Voltaire, or something. It's all very hummable, and very light (as opposed to "lite", meaning lesser). The addition of some 8-bit keyboards really completes this, and integrates the electronics with the folksy-ness. Consider Pedro's band Fresh Body Shop highly reccommended if you want some breezy summery Pop music with a bit of rock backbone.
Pain, meanwhile, is pretty much the opposite. Peter Tagtgren already was a successful heavy metal musician with his band Hypocrisy. Where Fresh Body Shop is light and Poppy, Pain is heavy and abrasive. Where Pain relates to Trent Reznor in the strongest fashion, however, is in the lyrics which are cynical and dark to the point of a kind of misanthropic self-parody. But, where Pain gets interesting is in the other influences- the meeting of electronics and loud rock is interesting, I suppose, but certainly not novel. But, melodically, the electronics usually carry some kind of Wagnerian bombast that clearly owes a debt to Scandinavian folksongs, while the guitars are very percussive- it's like adding a supercharger to Sibelius (Jean, not the software!). As a result, the songs carry a symphonic majesty without ever losing the motorik beat of dance rock. Far more traditional than Trent Reznor, but in an entirely different direction than Fresh Body shop.
Ultimately, that's the best use of influences- as a kind of slate to write your own mark upon- the springboard to your own inspiration. I've heard that Shaw said that Mediocrity borrows, and Genius steals- and I think the point is exactly this kind of thing- we all have influences, if we're intelligent. So, if we're only mediocre, our use of our influences is merely borrowing from the influential material- but it remains in the possession of that influence. The Genius, however, takes the raw material of that influence to not merely change the game played, but instead to make a new game. In other words, it's ok to have influences, so long as you're not overwhelmed by them. That is the game I'd much prefer to play.
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