43 thoughts on “Metal Isn’快死了,但金属名人是”

  1. 灵魂收割者 说:

    While most people care 关于 金属lica, iron maiden, ozzy etc I care 关于 a lot of unknown black 金属heads that killed themselves and lived miserable lives, and their music is much more strong than any popular band. But i know how Iron Maiden is important, the strong influence on Swedish Death Black Metal scene. There will always be people doing 真实 金属 and living as a outcast, hating this world and every people, and this kind of thinking is conservative too, looking to the past and learning ancient wisdom is much more wise than being someone that defend this shitty modern values and ”science”像心理学(犹太人创造)等。即使在基督教上,如果我们将其与当今世界的价值进行比较,在基督教上,我们也会发现厌世症,没有感觉的智慧属于这个世界等。’只是一个观点,我不是基督教徒,从来没有过。

  2. 警觉 说:

    >贝多芬和柴可夫斯基今天很重要

    给谁?一世’ve taken a few naps at the local symphony for 性能s of Beethoven, Respighi, Mozart, and Mendelssohn to name a few (friends had spare tickets and were into this crap). The average age was…..well…..年龄。苏格兰人很想带我穿越莫扎特’的安魂曲,在那之前,我戴上了耳机,不死不渝地穿过了赋格狂欢节。

    1. David Szisz博士 说:

      确认的非利士丁

      1. 警觉 说:

        如果作为贵族意味着呕吐无聊的和声实验,那么您可以摄取更多无聊的二十分钟的和声实验,然后为我感到骄傲

      2. 你是同性恋 说:

        和锋利的傻瓜

    2. 神经经济学家 说:

      这是什么意思:“苏格兰人很想让我通过莫扎特的遗嘱”

    3. 南卡罗来纳州 说:

      I’ve fallen asleep during 金属 性能s. Most music is better experienced alone, and particularly outside of the social extravaganzas that are concerts.

      1. 雷纳·魏库萨特 说:

        I’d如果两者都投票。坐在与数百(甚至数千)其他人挤在一起的椅子上,‘performance’在某个房间里不利于享受任何东西,但是’这是一种体验现场音乐的糟糕方式。在一个没有人满满,有一定活动空间且没有成群的instagram僵尸对任何事物有唯一反应的半黑暗房间里,这要好得多“they’ve never seen before”(IOW,任何东西)要在无聊地漂到其他地方重复该过程之前,先拍下六张照片。

        摇头很有趣(有时甚至是扑朔迷离),响亮的音乐很有趣,尤其是当它’s good, and it’两者都处于足够反社会的环境中,真是太好了’不必与其他想让自己的最重要的知名度高的人打交道(“I 真实ly like what you’re doing here”[那你为什么阻止我,却强迫我谈论它?!?])或谁可以’不要将手指伸向自己‘arousing’情况总是如此。

        谈话是抽烟的时间。

        1. 南卡罗来纳州 说:

          I'm sure when extreme 金属 wasn't trendy and there were lots of exceptional tours with awesome bands playing their best material there were some great concerts worth going to. But inevitably all extreme 金属 concerts these days, even with good bands, are going to be flooded with moronic socialites, And the 性能s never seem to have much atmosphere. They'通常,他们从来不会陶醉和消费。音乐和表演的结合几乎让我几乎完全无法吸收。演出结束后我总是无聊又累…肯定不是你们中的流行观点,而是我唯一值得纪念的表现'我见过的是Watain。具有讽刺意味的是,我绝对不会在现场表演之外听他们的。

  3. 神经经济学家 说:

    …Fuckin’哈米特(Hammett)仍然保持着黑色指甲油的外观,这是他从一半年龄的家伙身上掏出来的’01.

    1. 梅毒 说:

      我认为这是墨西哥的事情,例如,以约翰·罗梅罗(John Romero)为例(如果在谈论名人)。

  4. 重要的 说:

    没有’这个网站上没有足够的WASP覆盖!’我不是在指撒克逊·卢瑟兰(Saxon Lutherans)或其他任何人。

  5. 迈克·奥基尼莫夫 说:

    金属无疑在我们眼前已经成为公共领域。即兴演奏的轻快的即兴演奏和双吉他旋律允许成千上万的乐队存在。那里’从未有过如此多的子类型,但整个场景听起来从未如此通用和相同。一世’ve been saying for years that most 金属 bands today are “赞美写自己的歌的行为”. Maybe it’d be more accurate to state 他们’不是作曲家,而是编曲家。

    I’d say 金属, 岩石 and popular music as a whole are like metaphors of the heat death of the universe. Stars that provide life and energy die out, giving way to an ever growing cold darkness, where scattered 岩石s that used to belong in systems are left wandering aimlessly. Then matter slowly dilutes away, until eventually you can’不能区分任何时间和空间点,而宇宙只是一个统一的沉闷,在永恒的余生中什么也没有发生。

      1. 雷纳·魏库萨特 说:

        不值得打扰,因为摘要是一种更好的诱饵,而本文则是’无需付费即可使用。和‘paying’ for this “滥用为此目的而发明的术语”(口语德国的定义‘sociology’)适得其反:我们已经知道“吉他乐队正在出路”因为一些小丑以此为理由不签署甲壳虫乐队,所以我’d完全不感到惊讶“重新安排而不是作曲家”已经以这种形式在NWOBHM频段征收。

        只要在那里’就像一种文化,人们会构成冗长的学术声音“Gee! I don’不明白这一点!它可以’存在将很快消失!” tracts.

        1. 迈克·奥基尼莫夫 说:

          我同意这样的努力是所有人的浪费’的时间和金钱,我只是发现这个巧合稍微有趣。

    1. 梅毒 说:

      Another thing to note is the anal retentiveness to being as technically proficient in instrumental music as possible. This is especially prominent in both 金属 bands and classical orchestras. Even being distinguishable and dare I say originality has been discarded in the name of technicality itself.

      1. Yes and orchestral music is deader than 金属, having become purely a 性能 art.

  6. 雷纳·魏库萨特 说:

    什么’s a »metal 名人«?

    A few days ago, I had a short 金属 conversation with two guys (who – for a change – didn’似乎是个笨蛋)。出现的乐队是上帝的羔羊和金属乐队。我怀疑他们两个都没有听说过汤姆·G·战士(Tom G Warrior)或古利夫·纳格尔(Gulyve Nagell)(实际上,我没有’直到去年的某个时候。我知道凯尔特人的霜确实存在)。我没有’直到克里斯·巴恩斯(Chris Barnes)在这里被提及之前,他一无所知。我的想法“famous death 金属 shouter”是Martin van Drunen(Pestilence,Asphyx)。一种‘famous’那时的鼓手“你应该听说过” would be Pete Sandoval (you should 真实ly also have heard of Macro Foddis, Chris Witchhunter and Dave Lombardo, in no particular order). There are a lot of people well known to us (if I may use this here) 99% of so-called 金属heads have never heard of and 99.99999% of the general population have never heard of even the most popular Wacken-headliners.

    然后,我越来越发现自己生活在一个宇宙中‘Dark Descent’是BIG标签,最有趣的东西是CD上较小的独立标签(或直接由乐队)发布的,‘big releases’是500份左右(我拥有#385 Staub und Schatten 和我’我很感激我’t必须把所有数字写在盒子上的人:-)。像Slayer那样,任何一种都可能进入前十名或成为主要摇滚音乐节的想法,这很奇怪,没有人愿意(有人希望)。

    Alles voll industriell massenproduziert,Soziologe先生。

  7. 佳林1776 说:

    告诉我,后台通行证&与各种乐队聚会的照片曾经让我躺下。现在让我无视了。

    哦,好吧,默默无闻。

  8. 杰里·豪帕(Jerry Hauppa) 说:

    Metal is dead or dying because melodic sensibility is dead- not just in 金属, but in music in general. Pop music, video game soundtracks, you name it- all have gone the route of rhythms and vibe-emulating textures rather than building around concrete melody, simply because those former ideas are easy to emulate while melody and arrangement are not and stem from an actual artist. More proof that not everyone should be creating music, whether you are gifted in ability or not.

    1. 狂战士 说:

      问题是’由于缺乏足够的才华,因为所有旋律都已用尽。旋律是一种有限的资源。只有12个音符,从1955年到大约2000年,节拍组合设置探索了两种吉他和贝斯所有可用的变体。技术创新–失真,效果,合成器,声音产生–通过介绍新颖性的其他方面,论文在裂缝上暂存了一段时间,但该领域的创新似乎也已达到其自然目的。如果您从60年代到70年代将伟大的摇滚天才转移到当今,他们将难以创新。它’全部完成。他们很可能会完全离开岩石场。金属将不再有创新,因为可听音乐的供应已经耗尽。实际上,这种情况已经存在了20年左右。上世纪90年代初的挪威黑金属场景建立在80年代中期的怀旧情怀上。音乐家通过旋律进行创新的唯一前景是像爵士乐和古典作曲家一样尝试对位,但是音乐将变得如此复杂和进步,以至于’不太可能仍然会“metal”, as 金属 is essentially a 简单的原始尖叫疗法类型的音乐, a mildly more advanced form of punk.

      1. 杰里·豪帕(Jerry Hauppa) 说:

        我不同意-虽然您可以以有限数量的方式组合十二个音调,但节奏,休止音,八度音阶,乐句长度等等都可以创建无限的调色板。人们只是懒惰,现在就采取更轻松的方法。

        1. 雷纳·魏库萨特 说:

          而您可以以有限数量的方式组合十二个音调

          对于有限的一些定义—有8,916,100,448,256个12音的12音序列。假设每秒播放一次,则要花费282,727年才能全部通过。和“演奏12个音符,每个音符持续约0.042s” is a very ‘restricted’构造音符序列的方法…

          1. 狂战士 说:

            令人愉悦的并且可以在常规乐器上演奏的组合的数量显然是其中很小的一部分。收益递减法则适用– it’s harder to find 新 exciting riffs anymore and because 金属 is no longer cool or commercially viable the rewards for making the effort are smaller. This means that young talented musicians are not going to be drawn to something as rigidly defined as 金属 anymore because the motivation of these people is always attention. Metal will be used in broader 岩石 or 独立游戏styles but “pure 金属” will stagnate as it is now a fossilized style, not the evolving movement it was in the 80s. The appeal of 金属 in the 80s was largely down to the novelty factor – every year a 新 sound and genre was being spawned. This made it seem important. This drew in the egos that created the best music.

            1. 雷纳·魏库萨特 说:

              那’s absolutely not “obvious”, considering that only a very tiny amount of this vast space can have been explored so far and that my contrived example was very limited. For a minor step towards 真实ism, let’s假设同时演奏两个音符。这意味着可能组合的数量现在是另一个的平方— I can’不要把它放在这里,因为它’s a 156-digit number. And 真实 music is still much more complicated than that.

              您’re basically pulling random assertions out of your posterior in order to come up with justifications for the inevitableness of a factually wrong, preconceived position. 您’re statements 关于 ‘metal’ (»简单的原始尖叫疗法类型的音乐«)以及重复的广告恶心‘1980s’还建议您实际了解‘metal’(无论这意味着什么)都非常有限且非常过时。

              1. 狂战士 说:

                金属的经典时代是70年代末至90年代中期。从那时起,创新就很少见了。我提出了这样一个理论,即在那个时期探索了可能在金属范式中创建的主要样式类型,导致随后的停滞。街舞中没有两个节拍完全一样,但事实并非如此’但这并不意味着这是创新音乐。通常摇滚音乐都是如此–自90年代末以来,就没有再出现过新的摇滚音乐流派。后摇滚是创造的最后一种独特的流行音乐新流派。从那以后,当然会有好乐队,但没有新的独特音乐风格。它’不仅涉及即兴演奏和音符本身,还涉及弹奏失真电吉他的新方法。当然,某些技术死亡乐队会为一组即兴演奏找到新的音符组合,但风格仍然是技术死亡金属。你赢了’听起来像是过去的突破,就像鞭打是来自NWOBHM的突破,死亡是来自鞭打的突破,等等。您将继续拥有好的乐队,但您赢了’不再有新样式–它将是后金属,复古运动或技术如此之类的东西,只会具有很小的利基吸引力。金属是作为进化形式而死亡的,但是它可以以静态形式无限期地生存。为了使金属析出,它必须越过非金属空间。

                1. Metal will never die. It has 进展 forward post black 金属 (ie post 1994) but nobody bothered to pay attention.

                2. 南卡罗来纳州 说:

                  It'令人难以置信的是,当一个人实际上花时间用真诚的思想写作时,读者和评论者所表现出的缺乏理解力。我本人对此已深思熟虑,无法'同意更多。所有后续"new" 金属 体裁 (since black/death 金属) have either been post this or hybrid that, but all still relying upon its base genre elements (as well, these post and hybrid 体裁 have be pointed out to be inferior compared to what 他们 "innovate" upon). The foundations of the genre have been laid and to stray from those foundations would be to stray from the genre. Certainly their can be 新 and exciting variations on a theme, or rather genre, but 他们're aren't going to be a 新 genre's definition. To anticipate the 进展 of 金属 into a 新 genre is to be like the wandering Jews. We know what our messiah genre isn't,但没有概念,可能是因为它赢了't exist. Metal has reached its logical head and is now a plateau. This does not mean modern musicians cannot produce exciting 新 music within the foundations, but 他们 will always be what has already been.

                  1. 雷纳·魏库萨特 说:

                    这个想法“progress”本身就是目的,’通过以某种方式剥落基础而完成‘lesser’ is positively ghoulish: Someone who keeps going back to square one will never 真实ly get anywhere, just be terribly busy doing so.

                    我还提出了另一种观点:混乱(Euromnmous& Dead) didn’t mean to invent black 金属, 他们 wanted to play ‘real’ death 金属, without the technicolor comic bits and meaningless fretboard gymnastics. Twenty years from now, we’ll know which 新 styles we presently can’因为今天所有的树木都应运而生。他们’大概不会“根本不同”但这在很大程度上是一个角度问题:在某些人中,Motorhead,Iron Maiden,Beatles,Ed Sheeran和Darkthrone都是同一种(毫无价值的)音乐的同义变化。

                3. 雷纳·魏库萨特 说:

                  The classic era of 金属 is late 70s to mid 90s. Innovation has been rare since then. I am positing the theory that the main style types that it was possible to create in the 金属 paradigm had all been explored in that period leading to stagnation thereafter.

                  “Let’谈论完全不同的东西!”. Ok. I’ll accept your proposition that the set of subgenres still identified as 金属 and 金属heads identify themselves with seems stable meanwhile. This would roughly be heavy 金属, thrash/ speed 金属, death 金属 and black 金属. There’仍在进行异花授粉,例如

                  //www.youtube.com/watch?v=TvbB9rSN6mk

                  which combines thrash elements with black 金属 ones but in a way which doesn’t suck (IMHO). Original so-called second wave BM would use heavy 金属 elements instead here. There are also 新er British BM bands which re-introduce more heavy 金属 style stuff instead of the “在一个冬夜里,在星空下拥抱古老而神秘的房屋树木”狗屎,例如Deitus或葬礼宝座。

                  但我不同意这样的想法“creativity”仅通过音乐的肤浅概念在音乐中表达自己“发明不同的演奏方式” instead of “creating 新 music in an existing style”:Runenwacht,Carthaun和Burkhartsvinter将是我最近在德国度过的一段时间的三个德国BM乐队,每个乐队都有自己独特的风格,而且我所知道的曲目也截然不同。然后’s not stagnation just because an existing form is adapted to expressing 新 things.

                  考虑所谓的‘classical music’. I prefer the term “传统的欧洲乐团音乐”之所以这样,是因为对我来说,无论作曲家是谁,以及对此更感兴趣的人如何形容,听起来几乎都是一样的:它’总是以相同的方式和使用相同的一般合成方法演奏相同的乐器。我不知道 ’不管有人创新地构造了后奏奏鸣曲或诸如此类。但是我赢了’t claim that it “stagnated”自从世俗音乐取代教堂音乐以来,“It’s all violins to me!”[*]

                  [*]夸张。我曾经对遥远的Haendel,Bach和其他巴洛克音乐感兴趣。

        2. 狂战士 说:

          当然,您可以调整不同的内容,但就像我的对口例子一样,如果调整太多,音乐就会停止“metal” to any recognizable degree, and if you tweak them so as 他们 are still recognizably 金属 the variations you get will not be substantially different to what has gone before, so why bother? It would be like moving the lines in a Jackson Pollack painting a few millimetres to the left or right and claiming it to be an original work of art but to the observer it’s just going to be a Pollack knockoff. Any sense of electric guitar music being exciting or breaking 新 ground is long past. True innovators today wouldn’t limit themselves to such an exhausted style. Post-metal in all its guises is the only viable form for innovation using 金属 anymore.

          1. 什么 a load of bullshit.

          2. 杰里·豪帕(Jerry Hauppa) 说:

            我仍然不同意,但是也许使用微调的像Last Sacrament之类的乐队会让您兴奋。

            1. 雷纳·魏库萨特 说:

              那’s nothing 新, Muddy Waters did this in the 1940s (for blues, 明显ly). Standardized European pitch classes only exists 通过 (principally arbitrary) convention, anyway.

  9. 丰富的钢琴 说:

    金属已经死亡二十多年了。对于这个网站,我的建议是时不时地对类似精神的音乐进行非金属评论,’t destroy the brain of anyone with more intelligence than the avarage beer 金属ler.

    这有助于避免重新散布经典著作的评论(是的,burzum很好,我们明白了 – enough already), while at the same time neither reviewing the endless crap we get every day. Metal is dead, but if you love music, check out other 体裁. Look deep enough and you’ll find gems.

    1. Metal is not dead; 金属 is dead as a genre of popular music but will never be become an academic 性能 art fellated 通过 the ivory tower like orchestral music and jazz.

    2. 佳林1776 说:

      Go jack off to yanni if you want to, 金属 sites shouldn’t bring non 金属 in to cater to people like you.

    3. 雷纳·魏库萨特 说:

      我不会’甚至不知道Burzum已经存在过’这是为了使人们努力使这些信息可用。为什么这打扰您了?

      I’也浪费了我24年的生命(我赢了’t ever get back) »查看其他流派«(对于»genres« —我可以在公共场合处理很多事情,但私下里,我’我对弹奏乐器所产生的任何东西都不感兴趣)。那里’还有很多值得听的其他音乐,例如,

      //www.youtube.com/watch?v=A9A0pmXDWr8

      但这都是空心的。它可能很有趣,令人愉快,令人震惊甚至令人兴奋,但它没有任何意义:’s的意思是模拟人的神经以获得愉悦的感觉。那里’这就是为什么这常常与滥用毒品相关联,而滥用毒品提供了同样的闲暇乐趣。

    4. 你是同性恋 说:

      解雇机器人伙伴

  10. 吉姆·内克罗斯劳特 说:

    尊重乌尔奇
    //m.youtube.com/watch?v=6YgAYZkQ50w

    1. 梅毒 说:

      不错的耳环。

  11. 颓废 说:

    然而那里’s still people trying become as 著名 as Metallica.
    我最讨厌的乐队是演奏愚蠢的屁股斯托纳摇滚乐的乐队“doom 金属.”

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