Forgive me, oh benevolent metal god, I guess you're more metal than me.



/rolls eyes

I never said you only listen to metal, and I didn't disagree with you that Metallica's early albums are great (although Lightning, Puppets and Justice are a massive improvement on Kill 'em all).

But you're not some benevolent metal guru here to "bestow a gift", you're bitching about a song that a bunch of teenage girls choose to cover. They're just starting out as musicians. Let them find their way before you get all righteous on their ass.

And just for the record, I didn't upvote this either. I just don't see the point in picking on them.

I understand. I've been in cover bands. I was providing solid, factual information and the zeitgeist of the truly raw emotional music called metal. How does this equate to the lack of understanding of the music industry and the game they force musicians into? Then the game those very musicians somehow embrace via, what, musical Stockholm syndrome? lol!!!

Yeah, it sure is a good way to practice and get views. I agree, but how is it Top 15? All the other good musicians playing the good but unpopular songs and aren't cute enough for branding?

Yay Capitalism. It works. Who would have guessed. But I don't base my up votes on this sad fact of economics. It's bullshit. The music industry should be a sacred institution of musical progression and the pursuit of higher standards in music. But it's just a machine. The machine doesn't produce the truly great stuff. The great stuff is made by geniuses who write music because they breath it. It's made by disenfranchised youth. It is NOT this. This is cute but fucking SAD. But I guess no one gives a fuck because cool that's how it works. Ignore the superior talent, the artists with passion and personal drive due to adversity -- nooooooooo, focus on the popular talent.

Dude's a *skillful musician

People still do this to their vehicles? I thought this went out of style when musicians started having talent again...

That comment is a reflection on what I hear on a daily basis.
Perhaps my wordage is off, but the stuff coming at us 24-7 is created by studios, not musicians. So much of what I hear is produced by guys sitting at mixer boards and computers.
My comment isn't aimed at every person out there making music, in fact I know there are lots of musicians out there with talent and skill..., but we never get to hear them over all the crap being dealt out by the industry which is breeding Egos as musicians. (I'd choose Beck over Beyonce any day of the week.)

Sure, I know, it may seem like I'm digging a hole and jumping in but the system is broken and the good music is being squelched. Maybe not 100% of the time, but listen to the music. The electronic age is filtering everything out of the music, no more drummer, no guitar, auto tune, synthetic voice. where is all the character? Where are all the happy accidents that real music serves us. How many of today's artistes (on the charts) can serve us music without a guy mixing it to make them sound good, double tracking, and keeping their voices in tune? I know these tricks have been used for years but never to the extent they are being used today.

I remember a quote by Niel Young, way back when he was recording. The guys at the board keep telling him he wasn't hitting the note, and his answer was "Hey, that's my style man!" So they had to leave it in, and the result was great. Pure Niel Young.

So, I guess it's not so much the musicians out there, so much as it is the recording studios, and the system of pump out the next clone hit...

It was Tony James that initiated this era, back when he created Sigue Sigue Sputnik. He had a dream, a vision of what the band looked and sounded like. He hired people that looked like what he wanted, none could play music, he taught them three chords and they they became the number one, unrecorded, unsigned band in history, and EMI finally Won (relative term) by offering them the most money. From that point all the music was produces electronically in the studio. It sounded like crap, but I loved it. It was new and sounded different. And people ate it up. The studios caught on, and realized they didn't need musicians any more, they always wanted money. It made more sense to hire nobodies, they were a dime a dozon and they could be made to sound any way they wanted them too. Just like the Boy Bands and Girl Bands (Spice girls, Pussy Cat Dolls)

Okay... so I'm rambling now..., it's been a long day...
The industry feeds us synthetic garbage because it's cheep, makes money and is easily replaced by the next song/artist.

Meanwhile the real artists are doing everything they can to get recognized and struggle to make a living giving us their soul served in a song and doing everything they can to be heard over the sounds of the industry.

That's great, but your second post is a pretty far cry from

This sort of thing....is killing music today. Musicians no longer play instruments, or even know how.

Haha, I knew I'd open a can of worms....
I enjoy music of all types, trust me. I know the history. I grew up in a radio station, and remember when DJs were the rock Stars of the 70s.

I have no boundaries, and in fact, the more music pushes the boundaries the better, but I still have to feel the groove.
Often, "musicians," get caught up in the medium and forget the composition. I know - I'm an artist, I've been there, created works, not for composition, but to better understand my medium. It's still art, but it's not "ART."

See what I'm saying. There is a whole new generation of not just musicians and composers, but listeners. they have their own new sound, but a lot of the soul is getting filtered out while the artists explore the medium. I know it will come full circle, but I believe we are in a stagnant period of exploration.

And no, I'm not commenting on all those classical musicians, in fact, they are doing the opposite. There are many classical musicians that are taking their instruments in new directions - finally - and breaking out of the Bach & Beethoven standards. (Stereotyping here). My favorite is Stravinsky, who pushed every boundary of his day. and Guys like Rossini, who was the Heavy Metal Rocker of his day. But there comes a time, to break out and use the instruments differently.

And that's what they are doing right now. Breaking out and exploring. Which is great, it will define another period in music. But we're not quite there yet. Publishers and studios, are the bottom feeders, trying to keep the industry alive, but they are manufacturing the lowest common denominator, giving the public some of the most contrived music of our day.

It's okay to criticize music as it evolves and still like it.
If we don't criticize it, then it doesn't evolve. And I think the artists themselves would agree because, once you stop and consider your groves perfect, then there is no point creating more.

You can come to the defense of the genre, but not every piece is perfect. Yes there are better musicians out there, and some worse, and some I like, you won't like, and so on, that's what makes it great. I remember laying on the couch listening to Kraftwork's Autobahn for hours and loving it. That was over 25 years ago. And I've listened to so much more in between. I've heard it, I've studied it in school, spun discs and worked DJ booths, and was literally raised in a radio station. I've heard a lot, and have the knowledge to compare notes.

I'll end this, it's going too long - but suffice to say, this piece here, is okay, but has no crescendo, nothing to keep me on the edge. The grove becomes quite trance, while trying not to be. He's done a great mix up, and I see what he's doing here. He's taken video excerpts and contained and arranged them together. Great... he's experimenting. But it's not perfect, and that's okay. He's worked hard to create something, and as he evolves, he'll create better, that's what it's all about

You are completely entitled to your opinion on this track.. not that fond of it myself, tbh.... but pretty much everything else you've said is simply untrue.

First up, digital instruments are still instruments. Some of them require great skill to play in real time (see Beardyman for example).

Some are authoring tools that aren't used for performance. So what? In the past, we called those kinds of tools sheet music, where a composer could write some music and have others perform it.

Second, it's not a zero-sum game. Just because some people use a sampler doesn't take away from people playing guitar.

Finally, there are literally millions of musicians still playing instruments (by which I'm assuming you mean traditional instruments like strings, percussion, wind, etc). With the web as a distribution and learning tool, it has never been easier to learn, write and record music. So if you want to listen to rock or classical or blues or jazz or soul or funk or metal or folk or any combination thereof, it's out there. Go look for it.

Agreed. This video filled with musicians playing instruments and human elements is a prime example of neither existing.

Sure..., it's got a beat, but no soul.
This sort of thing, although creative - which is great, that is killing music today. Musicians no longer play instruments, or even know how. It's too perfect as it strips out any human element to lets us relate to it. Sad for the future of music, if this is what we have to look forward to...
--I know this is just my opinion, but it's mine.

Funny to see Roger Waters included in there. The man is pretty poor musician, he admits it freely. In Pink Floyd you had mediocre drummer, barely capable bass player, genius guitarist and great keyboard player. What makes Waters great is his song writing, not the musicianship.

I saw him on that 1978 tour in Houston. I was actually hoping for a repeat of his Station to Station tour from 1976, his show at Madison Square was amazing that year. But he changed it up, played songs from Low and Heroes with a large ensemble of musicians, including Adrian Belew. He always put on a good show.

1. To provide jazz music in places which are too dangerous or inhospitable for human jazz musicians.
2. To learn more about the creativity processes involved in jazz improv through controlled experiments.
3. To generate new and interesting research sufficient to write at least one published paper.

Why the fuck would anybody want to replace musicians with robots ?
Might want to ask yourself that before spending $100,000 and 3 years of your life.

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