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Zig al-din

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Zig al-din last won the day on December 15 2018

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  1. True true, I always think of electronic as being a completely separate animal - more so than rap and R&B. Though rap especially has a lot of connections to electronic - what am I talking about? With quantizing and the click track, and the rest, everything is electronic nowadays.
  2. I'd support Todd Rundgren 100%. Also Kraftwerk, Soundgarden, MC5, and TRex. Actually Kraftwerk is a bit of an odd choice. One of my favorite groups and hugely influential but in the electronic music category....
  3. Yep. Disengage would have fit in on Scary Monsters. The vocal on it actually sounds eerily like Bowie's vocals on some of the tracks on that record (It's No Game pt 1 etc).
  4. 100%. I'm especially fond of III and IV. because of how sinister and atmospheric they are. They're some of the most idiosyncratic records out there. They link in my mind with Bowie's Berlin records with Fripp and some of Crimson's work. In fact, there are some moments on III and IV that are almost King Crimson with Gabriel on vocals because of Fripp and Levin. lol About Genesis - Gabriel's twisted, dark, comic sensibility was sorely needed in Genesis to offset Tony Bank's twee pretentiousness. (And I like the early stuff.)
  5. Yeah that's a great point which I'd never thought about! This tune has about 80% of Patton playbook - it only lacks the psychotic screams and all that animal noise crap he does with Zorn. I know a lot of people who consider themselves Gabriel fans because of the So album and then they hear something like this or Intruder or Family and the Fishing Net, and they want to throw the record across the room. That's the stuff I like though. YMMV.
  6. Haha you mean chicks didn't dig the fox mask and red dress or the reverse mohawk...
  7. Agreed. So is a mediocre Gabriel record IMO as far as the music goes, but it sounds great. Maybe because there's no Robert Fripp involved? Or Gabriel was mentally healthier while writing it? Who knows...
  8. I like this but I don't entirely agree that music only expresses the inner world. I think it also corresponds with the outer world to the degree that the outer world can be seen or experienced as "spiritual" (a word I now strongly dislike because of what the New Agers and Californians have done with it.) IOW I take a loosely Pythagorean view of music's correspondence to outer reality / realities. I don't think it's purely inner and emotional. I think it does resonate with cosmic reality and experience in a way that we can no longer talk about in the modern world (because we are rationalistic.)
  9. Steve Harris is one of those guys with an inimitable style. It works and doesn't sound like anyone else so win win. He's not what I'd call a groove or pocket bass player, but what he does is incredible and perfect for Maiden. I don't think it matters that it never varies - All Albert King's guitar solos sound the same to me and that just means they all sound great. I haven't heard much of Maiden's music after Powerslave but what I have heard was not as cool as the earlier stuff, the famous "trilogy" you mentioned is IT. Agreed about Marty Freidman. One of the best and distinctive guitarists and musicians in any genre.
  10. A friend of mine turned me on to Uli some years ago, and I really enjoy some of his work, that tune being one example. Metal is a small part of my musical taste spectrum, but it's definitely there with emphasis. I'm a huge Megadeth fan for instance and still enjoy Slayer from time to time (though I was more in the fanatic category in the early days.) Am going to see Iron Maiden on Tuesday, and I'm very curious how they will sound after all these years. One of the best live bands ever...or so I've heard. I can't imagine that Bruce Dickinson can still hit those notes but well see! Can't wait to hear Powerslave, Rime of the Ancient Mariner, 2 Minutes to Midnight, Aces High and so many more. Musically on my own I've been working on James Jamerson stuff for ages as all bass players do knowingly or unknowingly...and trying to re-gear my horribly bad right hand and finger technique with limited success. I have never and will never be able to play Steve Harris' stuff.....
  11. One of the reasons for that (and this connects with your first point), is the sheer amount of music that's being released these days. There used to be so-called gate-keepers, producers, executives, etc, who limited quantity, influenced taste, and decided what got out there and what didn't. The downside of the current situation, as has been mentioned many times, is that if there were a Stevie Wonder equivalent now, no one would hear him because he'd just be a drop in the grey of the massive musical "content" that's out there. However, as some have also pointed out, it's much easier now for a niche artist or a someone working in an obscure/weird genre to find their audience (and easier for the audience to find them.) What this says about quality, I can't say for sure; it's probably the case that the same % of what's out there is still garbage (Sturgeon's Law), it's just that there's a lot more of it.
  12. Yes and the curious thing now is that people are being conditioned to like music that is essentially "robotic" for lack of a better word. I wonder if it's part of this evolutionary step towards cyborg or hybrid life forms.
  13. You don't want it to be about digital vs analog but unfortunately, I think that is a lot of it. Human feeling isn't digital for one thing. And as Phil said, better material, musicianship, performance, etc. One debate I've been having lately on this topic with musicians has settled on the issue of familiarity. This debate had more to do with drum loops and preprogrammed beats vs real drummers, but I think the issue might be the same. For people who came up listening to X, X sounds better. It's not a rational response - IOW, there's no way to persuade anyone that it sounds better but it just does. For a lot of (younger) people, electronic beats do just sound better than "sloppy" human drummers. PS I love those JHeifetz recordings!
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