Hey, i didnt ask nicely but give me every band you know, since i dont know much.Or just give one band and give a shit load of info. on it generally rock/power rock/metal/alternative rock/great hits.
Those my fav.Anyway your the how ever many decitfules.Enlighten me!!!
Enlighten me!!!!
-
shinji13
- Joined: Sat Mar 29, 2003 4:40 pm
- Location: Seattle, WA
- Contact:
Enlighten me!!!!
"The secret to creativity is knowing how to hide your sources." - Albert Einstein
-
Otohiko
- Joined: Mon May 05, 2003 8:32 pm
Hehe... be careful what you wish for 
I know a bit too much about a certain band, but I'll limit it with just a short description... Which I'll gladly type myself since I like that sort of thing.
Here's a single band for you.
King Crimson
Regarded by many as a classical prog legend, it's actually a band far from just that.
Actually, it's not a band at all. It's a sequence of at least 7 different bands which existed at different times, always pursuing a forward-edge approach to music, using the latest in technology and always changing its' style.
The eras of KC history
1969: The classic Crim
Major albums: In The Court Of The Crimson King
Originating from an unsuccessful band formed by Michael Giles, Peter Giles and Robert Fripp in 1968, King Crimson appeared on January 13th, 1969 in the basement of a cafe in London for its' first rehearsal, giving a public rehearsal two weeks later. Another 3 months later, they hit the stage at the Rolling Stones Hyde Park concert, and exposing their music to over 200,000 people at once.
The band consisted of guitarist Robert Fripp (famous for his habit of sitting on a stool in a dark area of the stage, and for his academic-like attitude and approach towards music that belies his incredible, untraditional and heavy rock playing style), bassist and singer Greg Lake (later of ELP fame), saxophone, flute and keyboard player Ian MacDonald, drummer Michael Giles and lyricist/lighting/FOH engineer Peter Sinfield.
The sound of the band was very unique for its' time: and the album can rightly be called the first prog/art rock album ever created. The style focused on classical influences with mellow keyboards, modest guitar work, and over-the-top pretentious lyrics which included references to medieval history, philosophy, Muslim religion and downright mysticism.... but then there was the rude exception that was 21st Century Schizoid Man - an off-the-wall beast of jazzy rock with mind-boggling distorted guitar work for Fripp - a track that can probably be considered the first work of prog-metal, if anything.
The band broke up late the same year, as Greg Lake and Ian MacDonald grew tired of the band's direction and decided to move on.
1970-1972: The Interim Crim.
Major albums: In The Wake of Poseidon (1970), Lizard (1971), Islands (1972).
The breakup distressed Fripp a lot - so much, he was even offering to quit if only the band would stay together. It didn't work, but Fripp and Sinfield did re-draft a new band that featured Peter Giles on bass and the more jazzy, agressive sax/keyboard player Mel Collins as a replacement for Ian MacDonald. Greg Lake did stay long enough to record most of the vocals on 'In The Wake of Poseidon', an album that largely mimicked the first album's style.
The next album, however, was of a different nature. 'Lizard' was a takeoff in a completely different direction, featuring a heavy jazz influence, mainly-acoustic guitar playing, a lot of guest musicians and Gordon Haskell, a softer but more 'perverse-sounding' singer than Lake, on vocals and bass. The band never made any live appearances, as Haskell left before the album was even finished.
The Giles brothers left by that point too, leaving Fripp, Sinfield and Collins to draft yet another lineup. They found a drummer, Ian Wallace, and a singer, Boz (Burrell). Finding a bass player proved more trouble, but that was resolved when Fripp caught Boz playing with a bass guitar and decided to teach him. Shockingly, in just 3 weeks time, Boz was on stage playing bass for one of the most complex bands in the world.
Despite 3 very aggressive musicians (Wallace, Boz and Collins) and a clearly-developing guitar virtuoso (Fripp) in the band, Sinfield and his lyrics, an important staple of King Crimson world up to that point, remained a mellow, intricately-vowen mix of symbolism and weirdness that clearly displeased the rest of the band, who just wanted to rock out. A standoff occured between Fripp and Sinfield: both rightly claimed the leader's role in the band. But, before the end of 1971, but after the recording of 'Islands', the most bizzare and eclectic (and also critically unsuccesful) KC album, Fripp won out and Sinfield left.
But that didn't spell the end to the troubles, either: Fripp, developing as a composer, had his own ideas for the band. The other three, however, were very taken with the jamming/rocking aspect. Finally, after the US tour in the spring of '72, the conflict resolved with the band splitting.
1972 - 1974: The Great Crim-ceiver.
Major albums: Larks' Tongues in Aspic (1973), Starless and Bible Black (spring 1974), Red (fall 1974).
That still wasn't the end though - Fripp thought that the band was 'too good to let die'. So, he drafted a whole new lineup that radically changed the band's sound: John Wetton on bass, Bill Bruford (who left the far-more popular Yes to join his beloved KC) on drums, and a radical departure for the supporting section - David Cross on violin and keyboards taking the shoes previously filled by brass players and Jamie Muir on percussion - first time a rock band drafted a musician specifically for percussive effects.
The band didn't disappoint, developing a brand-new program that contained a lot of improvisation and a much more avant-garde European rock sound (as opposed to the jazz lean seen before).
'Larks Tongues in Aspic' was a breakthrough - an album that contained a lot of unheard sounds, a completely brand-new approach, especially to drumming and composition. Though percussionist Jamie Muir left right after its' recording, Bill Bruford had learned so much from him in a few months of playing together that he could now fill his shoes at least partially.
In the year 1973, the band toured and improvised, developing new material for the next album. Starless and Bible Black was that album; what many people don't know is that it's actually a 90% live record, with most tracks taken from live performances in late 1973. A bizzare album, the later part of it also features a very dark pair of pieces - "Starless and Bible Black", a completely unedited improvisation and "Fracture" - Fripp's compositional masterpiece, and perhaps rock's most complex instrumental. The fact that its' chilling guitar work was recorded live and re-produced and improved in dozens of concerts that followed is testament to his coming-of-age as a guitar legend.
1974 saw yet more tours, and the band's sound was getting heavier still. In the US, many new fans were looking to KC as 'Kick-ass hard rock' with a twist. However, the heaviness was slowly stifling the musical voice of David Cross, whose modest violin could not compete with Fripp's searing solos and Wetton's skull-crushing bass. He quit the band after the last concert of the US tour in July - a concert that would indeed prove to be the band's last.
But, the work continued as the remaining trio set down to work on a new album, Red, inviting former members Ian MacDonald and Mel Collins as guests to help. However, not all was well - Fripp was also becoming very tired with road life, disappointed in the rock/metal scene and reportedly depressed and even near-suicidal over personal problems. This reflected on the album, and Red went down in history as King Crimson's darkest, heaviest, and also greatest album. It featured 5 tracks: Red, an instrumental scorcher of Fripp's design, Fallen Angel, a tragic ballad that seemed well-ahead of its' time, One More Red Nightmare, a real stomper of a song, Providence, an avant-garde improv, and Starless - perhaps the group's greates achievement. Seemingly structured as a ballad, it stretches to 12 minutes, featuring a sinister mid-section build up and a tragic-sounding finale capable of bringing an attentive listener to tears.
A day before the album was released in September 1974, Fripp declared King Crimson over 'forever and ever'.
1981-1984: The Disciplined Crim.
Major albums: Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984)
Subsequently, Fripp went on to re-structure his life, largely by means of an 'adult re-education course' at Sherbourne House in England, which gave him a new philosophical outlook on life and music and provided him with new initiative.
After collaborating with many artists, like David Bowie, Peter Gabriel and Brian Eno, playing dance music with his League of Gentlemen and recording his first and only solo release, 'Exposure', he sought to form a new band in 1981. For this, he had the support of King Crimson drummer Bill Bruford, a new face - Adrian Belew, a whimsical guitarist, singer and lyricist who had pop roots and a will to experiment, and bassist Tony Levin. The band was to be named Discipline, and they would play a progressive, intricate brand of pop-rock, using brand new technology, such as an all-electronic drum kit, a Chapman Stick (a touch guitar well-fitted to fill the bass role but with a tonal range of a piano) and brand-new guitar synthesizers.
However, on the road, the band unanimously decided that they were actually King Crimson, a name they rightly took from then on.
Sporting an innovative, minimalistic style completely different from the hard hitting and wailing KC of 1974, they recorded 3 brilliant albums of high-quality songs that featured Belew's quirky lyrics and sound effects and Fripp's intricate, pointillistic playing.
After a solid tour of duty, fulfilling their record contract, the band parted ways amicably in 1984, having accomplished all they could wish for.
1994-1996: The Double Trio
Major Albums: THRAK (1995)
After the end of the 80's KC, Fripp had organized a guitar seminar known as Guitar Craft, that goes on to this day, and was fully dedicated to it through the rest of the 80's. By early 90's, he returned to collaborative work, most notably with David Sylvian, where he was joined by his own student Trey Gunn on bass/touch guitar and Pat Mastelotto on drums.
These two came into play as in 1993, after Fripp won a battle to reclaim the KC name from his now-bankrupt managers and formed his own independent label DGM, and re-formed KC. The new KC vision was a 'double trio' - two drummers (Pat Mastelotto and Bill Bruford), two bassists (Trey Gunn and Tony Levin) and two guitarists (Robert Fripp and Adrian Belew).
A new hard-hitting style emerged that combined latest technology, Belew's whimsical lyrics and a flavor of metal reminiscent of but different from the 1970's band.
However, it soon became clear that the band was simply two massive - it was very costly to maintain such a large lineup, and very hard to manage musically.
1997-1999: The ProjeKcts
So, what had happened is a split that wasn't a complete split - instead, the band split into 4 'fractals', known as ProjeKct 1 (Fripp, Bruford, Levin), ProjeKct 2 (Fripp, Belew (on drums!), Gunn), ProjeKct 3 (Fripp, Mastelotto, Gunn) and ProjeKct 4 (Fripp, Mastelotto, Gunn, Levin).
All of them had different flavors, but had one thing in common: shameless experimentalism. Almost nothing was pre-written, and the ProjeKcts played no songs from the past at all - only improvisations.
Essentially, the ProjeKcts are virtuoso musicians on the loose with the latest technological toys, an experiment that could sound like metal one minute, ambient the next, and techno right after. Or something entirely indescribeable. A volatile mix, they focused on live performance and were intended to be 'Research and Development Units for the Greater Crim'
1999-2003: The Double Duo.
Major albums: The ConstruKction of Light (2000) and The Power to Believe (2003)
The greater Crim re-emerged in late 1999. Coming together at StudioBelew, it was now a quartet - Trey Gunn, Pat Mastelotto, Robert Fripp and Adrian Belew. A series of sessions ensued, known as ProjeKct X, from them came a new album - 'ConstruKction of Light'.
The album wasn't a great success, but it did define a lot of what KC was all about, containing an eclectic collection of tracks that introduced yet more complexity into KC's sound.
The songs came alive on the subsequent tours, as the band members got into their roles better than ever before, with Belew coming to the forefront as a wailing soloist masterful with the whammy bar while Fripp took the backline while still providing many spine-chillingly rapid solos. More complex meter, more new sounds, more improvisation.
2002 saw no tours, but an important series of recording sessions which produced the Happy With What You Have To Be Happy With EP and The Power to Believe album.
The latter stands particularly tall as a KC success. It's a definitive KC rhythm section album, with Gunn and Mastelotto laying down their best work in mind-bogglingly complex rhythms while Fripp and Belew provide solos, interlocking duets, and a return to hard-hitting power-chord riffs. But that's only one side of the album, which features flavors of techno, world music, ambient, though the sound clearly bears the marks of a progressive brand of metal.
The subsequent tours solidified and perfected the material.
On November 21st, 2003, Trey Gunn has officially declared a departure from KC, after playing the last concert in Mexico City on Nov. 19th. This is understandable, as he felt the need for change yet again - and King Crimson would likely benefit from the same.
Were they to pursue the same style, KC would likely have trouble topping The Power to Believe and the subsequent tours. It was always a band to split up at the height of artistic success, never letting itself slip into mediocrity, and it has done it yet again.
There has been no official word on the future of the band, but if there will be a new King Crimson, it is most likely to feature Tony Levin on bass, a very different player from Trey - meaning a new beginning for KC. After almost 35 years, this isn't something the band or the fans aren't used to.
***
So, King Crimson is a classic prog rock/prog jazz-rock/prog pop-rock/prog-metal band that defies the notion that a classic band has to keep to its' roots. Its' ventured far since the beginning, and continues to challenge the cutting edge of modern music.
As a side effect, it has produced many disillusioned fans who wish to see it play the 'golden hits'. Only a couple of pieces from before 1995 still survive in the band's repertoire, and 90% of their set list prior to last friday's breakup consisted of post-2000 'Nuovo Metal' (as Fripp dubbed the Double Duo's sound).
****
In case you're wondering, yes, I did that just now. Not because I was so enthrallled by your topic (do try to be a bit more careful with the spelling), but because I might as well put it here so as not to pester other topics with the same subject. Plus, it is enlightening, if anything...
Take notes
I know a bit too much about a certain band, but I'll limit it with just a short description... Which I'll gladly type myself since I like that sort of thing.
Here's a single band for you.
King Crimson
Regarded by many as a classical prog legend, it's actually a band far from just that.
Actually, it's not a band at all. It's a sequence of at least 7 different bands which existed at different times, always pursuing a forward-edge approach to music, using the latest in technology and always changing its' style.
The eras of KC history
1969: The classic Crim
Major albums: In The Court Of The Crimson King
Originating from an unsuccessful band formed by Michael Giles, Peter Giles and Robert Fripp in 1968, King Crimson appeared on January 13th, 1969 in the basement of a cafe in London for its' first rehearsal, giving a public rehearsal two weeks later. Another 3 months later, they hit the stage at the Rolling Stones Hyde Park concert, and exposing their music to over 200,000 people at once.
The band consisted of guitarist Robert Fripp (famous for his habit of sitting on a stool in a dark area of the stage, and for his academic-like attitude and approach towards music that belies his incredible, untraditional and heavy rock playing style), bassist and singer Greg Lake (later of ELP fame), saxophone, flute and keyboard player Ian MacDonald, drummer Michael Giles and lyricist/lighting/FOH engineer Peter Sinfield.
The sound of the band was very unique for its' time: and the album can rightly be called the first prog/art rock album ever created. The style focused on classical influences with mellow keyboards, modest guitar work, and over-the-top pretentious lyrics which included references to medieval history, philosophy, Muslim religion and downright mysticism.... but then there was the rude exception that was 21st Century Schizoid Man - an off-the-wall beast of jazzy rock with mind-boggling distorted guitar work for Fripp - a track that can probably be considered the first work of prog-metal, if anything.
The band broke up late the same year, as Greg Lake and Ian MacDonald grew tired of the band's direction and decided to move on.
1970-1972: The Interim Crim.
Major albums: In The Wake of Poseidon (1970), Lizard (1971), Islands (1972).
The breakup distressed Fripp a lot - so much, he was even offering to quit if only the band would stay together. It didn't work, but Fripp and Sinfield did re-draft a new band that featured Peter Giles on bass and the more jazzy, agressive sax/keyboard player Mel Collins as a replacement for Ian MacDonald. Greg Lake did stay long enough to record most of the vocals on 'In The Wake of Poseidon', an album that largely mimicked the first album's style.
The next album, however, was of a different nature. 'Lizard' was a takeoff in a completely different direction, featuring a heavy jazz influence, mainly-acoustic guitar playing, a lot of guest musicians and Gordon Haskell, a softer but more 'perverse-sounding' singer than Lake, on vocals and bass. The band never made any live appearances, as Haskell left before the album was even finished.
The Giles brothers left by that point too, leaving Fripp, Sinfield and Collins to draft yet another lineup. They found a drummer, Ian Wallace, and a singer, Boz (Burrell). Finding a bass player proved more trouble, but that was resolved when Fripp caught Boz playing with a bass guitar and decided to teach him. Shockingly, in just 3 weeks time, Boz was on stage playing bass for one of the most complex bands in the world.
Despite 3 very aggressive musicians (Wallace, Boz and Collins) and a clearly-developing guitar virtuoso (Fripp) in the band, Sinfield and his lyrics, an important staple of King Crimson world up to that point, remained a mellow, intricately-vowen mix of symbolism and weirdness that clearly displeased the rest of the band, who just wanted to rock out. A standoff occured between Fripp and Sinfield: both rightly claimed the leader's role in the band. But, before the end of 1971, but after the recording of 'Islands', the most bizzare and eclectic (and also critically unsuccesful) KC album, Fripp won out and Sinfield left.
But that didn't spell the end to the troubles, either: Fripp, developing as a composer, had his own ideas for the band. The other three, however, were very taken with the jamming/rocking aspect. Finally, after the US tour in the spring of '72, the conflict resolved with the band splitting.
1972 - 1974: The Great Crim-ceiver.
Major albums: Larks' Tongues in Aspic (1973), Starless and Bible Black (spring 1974), Red (fall 1974).
That still wasn't the end though - Fripp thought that the band was 'too good to let die'. So, he drafted a whole new lineup that radically changed the band's sound: John Wetton on bass, Bill Bruford (who left the far-more popular Yes to join his beloved KC) on drums, and a radical departure for the supporting section - David Cross on violin and keyboards taking the shoes previously filled by brass players and Jamie Muir on percussion - first time a rock band drafted a musician specifically for percussive effects.
The band didn't disappoint, developing a brand-new program that contained a lot of improvisation and a much more avant-garde European rock sound (as opposed to the jazz lean seen before).
'Larks Tongues in Aspic' was a breakthrough - an album that contained a lot of unheard sounds, a completely brand-new approach, especially to drumming and composition. Though percussionist Jamie Muir left right after its' recording, Bill Bruford had learned so much from him in a few months of playing together that he could now fill his shoes at least partially.
In the year 1973, the band toured and improvised, developing new material for the next album. Starless and Bible Black was that album; what many people don't know is that it's actually a 90% live record, with most tracks taken from live performances in late 1973. A bizzare album, the later part of it also features a very dark pair of pieces - "Starless and Bible Black", a completely unedited improvisation and "Fracture" - Fripp's compositional masterpiece, and perhaps rock's most complex instrumental. The fact that its' chilling guitar work was recorded live and re-produced and improved in dozens of concerts that followed is testament to his coming-of-age as a guitar legend.
1974 saw yet more tours, and the band's sound was getting heavier still. In the US, many new fans were looking to KC as 'Kick-ass hard rock' with a twist. However, the heaviness was slowly stifling the musical voice of David Cross, whose modest violin could not compete with Fripp's searing solos and Wetton's skull-crushing bass. He quit the band after the last concert of the US tour in July - a concert that would indeed prove to be the band's last.
But, the work continued as the remaining trio set down to work on a new album, Red, inviting former members Ian MacDonald and Mel Collins as guests to help. However, not all was well - Fripp was also becoming very tired with road life, disappointed in the rock/metal scene and reportedly depressed and even near-suicidal over personal problems. This reflected on the album, and Red went down in history as King Crimson's darkest, heaviest, and also greatest album. It featured 5 tracks: Red, an instrumental scorcher of Fripp's design, Fallen Angel, a tragic ballad that seemed well-ahead of its' time, One More Red Nightmare, a real stomper of a song, Providence, an avant-garde improv, and Starless - perhaps the group's greates achievement. Seemingly structured as a ballad, it stretches to 12 minutes, featuring a sinister mid-section build up and a tragic-sounding finale capable of bringing an attentive listener to tears.
A day before the album was released in September 1974, Fripp declared King Crimson over 'forever and ever'.
1981-1984: The Disciplined Crim.
Major albums: Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984)
Subsequently, Fripp went on to re-structure his life, largely by means of an 'adult re-education course' at Sherbourne House in England, which gave him a new philosophical outlook on life and music and provided him with new initiative.
After collaborating with many artists, like David Bowie, Peter Gabriel and Brian Eno, playing dance music with his League of Gentlemen and recording his first and only solo release, 'Exposure', he sought to form a new band in 1981. For this, he had the support of King Crimson drummer Bill Bruford, a new face - Adrian Belew, a whimsical guitarist, singer and lyricist who had pop roots and a will to experiment, and bassist Tony Levin. The band was to be named Discipline, and they would play a progressive, intricate brand of pop-rock, using brand new technology, such as an all-electronic drum kit, a Chapman Stick (a touch guitar well-fitted to fill the bass role but with a tonal range of a piano) and brand-new guitar synthesizers.
However, on the road, the band unanimously decided that they were actually King Crimson, a name they rightly took from then on.
Sporting an innovative, minimalistic style completely different from the hard hitting and wailing KC of 1974, they recorded 3 brilliant albums of high-quality songs that featured Belew's quirky lyrics and sound effects and Fripp's intricate, pointillistic playing.
After a solid tour of duty, fulfilling their record contract, the band parted ways amicably in 1984, having accomplished all they could wish for.
1994-1996: The Double Trio
Major Albums: THRAK (1995)
After the end of the 80's KC, Fripp had organized a guitar seminar known as Guitar Craft, that goes on to this day, and was fully dedicated to it through the rest of the 80's. By early 90's, he returned to collaborative work, most notably with David Sylvian, where he was joined by his own student Trey Gunn on bass/touch guitar and Pat Mastelotto on drums.
These two came into play as in 1993, after Fripp won a battle to reclaim the KC name from his now-bankrupt managers and formed his own independent label DGM, and re-formed KC. The new KC vision was a 'double trio' - two drummers (Pat Mastelotto and Bill Bruford), two bassists (Trey Gunn and Tony Levin) and two guitarists (Robert Fripp and Adrian Belew).
A new hard-hitting style emerged that combined latest technology, Belew's whimsical lyrics and a flavor of metal reminiscent of but different from the 1970's band.
However, it soon became clear that the band was simply two massive - it was very costly to maintain such a large lineup, and very hard to manage musically.
1997-1999: The ProjeKcts
So, what had happened is a split that wasn't a complete split - instead, the band split into 4 'fractals', known as ProjeKct 1 (Fripp, Bruford, Levin), ProjeKct 2 (Fripp, Belew (on drums!), Gunn), ProjeKct 3 (Fripp, Mastelotto, Gunn) and ProjeKct 4 (Fripp, Mastelotto, Gunn, Levin).
All of them had different flavors, but had one thing in common: shameless experimentalism. Almost nothing was pre-written, and the ProjeKcts played no songs from the past at all - only improvisations.
Essentially, the ProjeKcts are virtuoso musicians on the loose with the latest technological toys, an experiment that could sound like metal one minute, ambient the next, and techno right after. Or something entirely indescribeable. A volatile mix, they focused on live performance and were intended to be 'Research and Development Units for the Greater Crim'
1999-2003: The Double Duo.
Major albums: The ConstruKction of Light (2000) and The Power to Believe (2003)
The greater Crim re-emerged in late 1999. Coming together at StudioBelew, it was now a quartet - Trey Gunn, Pat Mastelotto, Robert Fripp and Adrian Belew. A series of sessions ensued, known as ProjeKct X, from them came a new album - 'ConstruKction of Light'.
The album wasn't a great success, but it did define a lot of what KC was all about, containing an eclectic collection of tracks that introduced yet more complexity into KC's sound.
The songs came alive on the subsequent tours, as the band members got into their roles better than ever before, with Belew coming to the forefront as a wailing soloist masterful with the whammy bar while Fripp took the backline while still providing many spine-chillingly rapid solos. More complex meter, more new sounds, more improvisation.
2002 saw no tours, but an important series of recording sessions which produced the Happy With What You Have To Be Happy With EP and The Power to Believe album.
The latter stands particularly tall as a KC success. It's a definitive KC rhythm section album, with Gunn and Mastelotto laying down their best work in mind-bogglingly complex rhythms while Fripp and Belew provide solos, interlocking duets, and a return to hard-hitting power-chord riffs. But that's only one side of the album, which features flavors of techno, world music, ambient, though the sound clearly bears the marks of a progressive brand of metal.
The subsequent tours solidified and perfected the material.
On November 21st, 2003, Trey Gunn has officially declared a departure from KC, after playing the last concert in Mexico City on Nov. 19th. This is understandable, as he felt the need for change yet again - and King Crimson would likely benefit from the same.
Were they to pursue the same style, KC would likely have trouble topping The Power to Believe and the subsequent tours. It was always a band to split up at the height of artistic success, never letting itself slip into mediocrity, and it has done it yet again.
There has been no official word on the future of the band, but if there will be a new King Crimson, it is most likely to feature Tony Levin on bass, a very different player from Trey - meaning a new beginning for KC. After almost 35 years, this isn't something the band or the fans aren't used to.
***
So, King Crimson is a classic prog rock/prog jazz-rock/prog pop-rock/prog-metal band that defies the notion that a classic band has to keep to its' roots. Its' ventured far since the beginning, and continues to challenge the cutting edge of modern music.
As a side effect, it has produced many disillusioned fans who wish to see it play the 'golden hits'. Only a couple of pieces from before 1995 still survive in the band's repertoire, and 90% of their set list prior to last friday's breakup consisted of post-2000 'Nuovo Metal' (as Fripp dubbed the Double Duo's sound).
****
In case you're wondering, yes, I did that just now. Not because I was so enthrallled by your topic (do try to be a bit more careful with the spelling), but because I might as well put it here so as not to pester other topics with the same subject. Plus, it is enlightening, if anything...
Take notes
The Birds are using humanity in order to throw something terrifying at this green pig. And then what happens to us all later, that’s simply not important to them…
-
ithaqua
- Joined: Thu May 22, 2003 10:37 pm
- Location: Prince George, BC, Canada
- Contact:
-
Otohiko
- Joined: Mon May 05, 2003 8:32 pm
LMAO...
no, my fingers are fine.
Like I said, I just wanted to vent here while I have the chance, since I have way too much knowledge on this band... and I know it gets annoying when every conversation with me suddenly switches to KC, even from the most unrelated of topics.
It's only a small fraction of what I know about this band. I can really cross deep into the geek territory when discussing KC, since I follow it so religiously that I even know the dates of important concerts or album releases, instrument makes everyone's playing, and even tell Fripp apart from any other guitarist just by sound.
It's scary.
Anyways, yea, TPTB is good.
If you want an all-around taste of KC though - not so easy. There's no one-size-fits-all release. Most things are good, but some are too 'hardcore'.
The best deal right now is the new 'Eyes Wide Open' double DVD - 4.5 hours of music for $25-30 US. It takes in most of the last 2 albums, not to mention live (Live KC>Studio KC), and on video (that's a variably good thing considering that the band is fairly old and ugly
), with a lot of bonuses.
***
Although, really, my point was just to make sure people know that KC exists... From my IRL conversations, I noticed that 90% of people I talk to never even heard of KC.
no, my fingers are fine.
Like I said, I just wanted to vent here while I have the chance, since I have way too much knowledge on this band... and I know it gets annoying when every conversation with me suddenly switches to KC, even from the most unrelated of topics.
It's only a small fraction of what I know about this band. I can really cross deep into the geek territory when discussing KC, since I follow it so religiously that I even know the dates of important concerts or album releases, instrument makes everyone's playing, and even tell Fripp apart from any other guitarist just by sound.
It's scary.
Anyways, yea, TPTB is good.
If you want an all-around taste of KC though - not so easy. There's no one-size-fits-all release. Most things are good, but some are too 'hardcore'.
The best deal right now is the new 'Eyes Wide Open' double DVD - 4.5 hours of music for $25-30 US. It takes in most of the last 2 albums, not to mention live (Live KC>Studio KC), and on video (that's a variably good thing considering that the band is fairly old and ugly
), with a lot of bonuses.***
Although, really, my point was just to make sure people know that KC exists... From my IRL conversations, I noticed that 90% of people I talk to never even heard of KC.
The Birds are using humanity in order to throw something terrifying at this green pig. And then what happens to us all later, that’s simply not important to them…
-
nailz
- Joined: Mon Jun 04, 2001 4:32 pm
- Location: Phoenix AZ
- Contact:
-
Flint the Dwarf
- Joined: Wed Jan 16, 2002 6:58 pm
- Location: Ashland, WI
Here's some various metal for you...
Blind Guardian
Nightwish
Kamelot
Conception
Dream Theater
Symphony X
Adagio
Evergrey
Elvenking
Mercenary
Opeth
Ark
Star One
Ayreon
Secret Sphere
Hatebreed
Section A
Stratovarius
Winds
Emperor
Within Temptation
Hourglass
Into Eternity
After Forever
Liquid Tension Experiment
Magnitude 9
I like 'em all.
Blind Guardian
Nightwish
Kamelot
Conception
Dream Theater
Symphony X
Adagio
Evergrey
Elvenking
Mercenary
Opeth
Ark
Star One
Ayreon
Secret Sphere
Hatebreed
Section A
Stratovarius
Winds
Emperor
Within Temptation
Hourglass
Into Eternity
After Forever
Liquid Tension Experiment
Magnitude 9
I like 'em all.
Kusoyaro: We don't need a leader. We need to SHUT UP. Make what you want to make, don't make you what you don't want to make. If neither of those applies to you, then you need to SHUT UP MORE.
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Kai Stromler
- Joined: Fri Jul 12, 2002 9:35 am
- Location: back in the USSA
You WILL go to this page.
You WILL change your ideas of what metal (and even music) can sound like.
--K
You WILL change your ideas of what metal (and even music) can sound like.
--K
Shin Hatsubai is a Premiere-free studio. Insomni-Ack is habitually worthless.
CHOPWORK - abominations of maceration
skywide, armspread : forward, upward
Coelem - Tenebral Presence single now freely available
CHOPWORK - abominations of maceration
skywide, armspread : forward, upward
Coelem - Tenebral Presence single now freely available
-
Flint the Dwarf
- Joined: Wed Jan 16, 2002 6:58 pm
- Location: Ashland, WI
Kai, how'd you find that page? o.o I've never seen a link pointing there before.
Green Carnation, Darkthrone, Agalloch (thanks to Nailz :wink), and Madder Mortem are some I meant to mention as well.
Green Carnation, Darkthrone, Agalloch (thanks to Nailz :wink), and Madder Mortem are some I meant to mention as well.
Kusoyaro: We don't need a leader. We need to SHUT UP. Make what you want to make, don't make you what you don't want to make. If neither of those applies to you, then you need to SHUT UP MORE.
-
Kai Stromler
- Joined: Fri Jul 12, 2002 9:35 am
- Location: back in the USSA
It's linked straight at the top of their main page; that little thing in the nav-frame that says "mpiii".
Cool stuff, absolutely, but their random-user-submitted-links page is even better. Any kind of stuff you could want, tons of material. Everybody ought to take a turn through the underground like this every once in a while and find random bands that ought to be on major labels.
--K
Cool stuff, absolutely, but their random-user-submitted-links page is even better. Any kind of stuff you could want, tons of material. Everybody ought to take a turn through the underground like this every once in a while and find random bands that ought to be on major labels.
--K
Shin Hatsubai is a Premiere-free studio. Insomni-Ack is habitually worthless.
CHOPWORK - abominations of maceration
skywide, armspread : forward, upward
Coelem - Tenebral Presence single now freely available
CHOPWORK - abominations of maceration
skywide, armspread : forward, upward
Coelem - Tenebral Presence single now freely available