MASTODON MASTODON MASTODON MASTODON MASTODON OH GOD MASTODON PLEASE LISTEN TO THEM!!!PLEASE FOR THE GOOD OF MANKIND
Discography:Philadelphia quartet Rosetta merge the metallic sounds of metal, the atmospheric symphonies of post-rock and the raw aggression of hardcore, employing an experimental songwriting technique filled with chaos and atmospherics to create a soundscape of progressive beauty. Their records range from Pink Floyd-esque rock and sonic layering, to walls of pure static ambiance and crushingly heavy sludge fueled riffage.
Genres: Post-metal, sludge metal, space rock, progressive metal, post-rock
The band's debut release, The Galilean Satellites, was released in various forms, including compact disc and vinyl. The compact disc version comes on two discs, one featuring the band performing music and vocals, while the other is full of ambient sound and samples from nature. The tracks on both CD's are the same length and are intended to be played simultaneously on separate players, creating a more literal atmosphere that surrounds and engulfs the the listener more than a single source of sound could.
Ambitious and unique in form, the content is no less daring. TGS tells the story of a discontent man, weary of the world's problems and its people. He decides to leave Earth in search of a place of solitude, somewhere he can find peace. Europa, the smallest of the four moons around Jupiter (the albums namesake, The Galilean Satellites, is the title given to these moons) becomes his destination. He sets out for his new home and hears it call to him like a mother to a lost child. The man drifts through space and returns Europa's calls, shouting, screaming and pleading for his mother to bring him into her embrace and rescue him from the world. The journey is violent, grandiose and ultimately climatic. But this isn't a happy ending; his journey is not yet over.
Not long after arriving at his new found home, the man begins to think of those he has left behind. The thoughts turn to longing and soon to loss. He regrets his decision and realizes all too late that those we surround ourselves with, our friends and family, are what makes life worth leaving. Distraught and disillusioned, our astronaut attempts to make his way back, back to where his heart belongs. But he cannot make it. Before he reaches Earth he dies and his spirit is left to wander in space. His final thoughts are of his own failure and his overwhelming rage and sadness.
"Turn it around,
crumbling odds,
your failed me,
turn it around,
crumbling down,
you failed me.
Shell of a man forgotten, bleed up to the light
Shell of a man forgotten his human form again.
Shell of a man Europa - lift me up.
Shell of man, turning over, your dream died today.
Shell of man has forgotten human form - you failed me
Shell of man, forgotten human form
Shell of man, your dream died today
Shell of man forgotten
Shell of man. Living on borrowed time"
Rosetta's second major release and full-length record changes tact somewhat. Rather than tell a single, complex story as TGS had so perfectly managed, Wake/Lift delivers the very personal thoughts of the group's front-man and vocalist, Armine. Part-time teacher, Armine tells us how confused and angered he sometimes becomes when he is witness to a parents misguiding of their child. So full of ourselves and our own worlds, that those around and those who look up to us inherit guilt, misinformation and a heard mentality. We are driven to find the path of least resistance and would rather walk down that road with our eyes closed, than open them and dare to find our own purposes and potentials. We are planets circling stars, never wavering from our course and unable to outgrow the shadows cast over us. We play our roles, content to be a smaller part of someone else's greatness, to be a part of what is larger, but never more than.
Wake/Lift is both the main message and title of the album. Again and again throughout the course of the record we are told to wake up and grab a hold of life, to release our preconceptions and to forget what we are told. Both demanding and begging, the sound manages to be aggressive without being harsh, and to be insightful without turning to mush.
While not a concept album in literal form, each song is part of a greater whole and they all build upon the same themes and experiences. Ultimately, Wake/Lift is as much music as it is an awakening.
"We are moments, men, and places.
We are planets, monuments to stars"
Determinism, like cause and effect, tells us every action is a reaction to a previous event. Morality tells us one can decide their behavior, to be good or to be cruel. The two are irreconcilably opposed; if our actions and the actions of everything in the universe are simply a single domino in a large chain, free will as we know it is a wishful guise. Just how much choice do you have over every single course you walk? Is it really your will that you are reading this now? Or is it the result of a chain of events, starting from this morning, that has been in motion since the dawn of time?
A Determinism of Morality, Rosetta's third full-length album sees the band move even further away from narrative. Containing no overarching story or solid concept, ADoM plays more like the pondering of a deeply confused philosopher. Questions and themes are mixed and thrown around in a chaotic dance of reflection, one's mind playing both the roles and the stage.
Similarly to the equally epic Wake/Lift, much of the album contains musings on life's purpose and an individual's destination. Extending on the later, ADoM adds to the fray greater forces outside our control and questions their role in our lives, be it gods, destinies or an undeniable path.
What you hear and how you intemperate it plays more of a role in A Determinism of Morality's impact than any greater meaning or subjective review. And that is perhaps the most beautiful reflection of the record's purpose.
"So tell me how I've come so far
Repression of memories
Behind a door best kept shut
Suppression of daily deeds
A crushing venom weeping
Into these hands
A plague upon a frame
Growing on the inside
Withering a simple sullen home"
Raw, unbridled emotions seethe and roar their way through the vocals; love, longing, loss and revelations, Rosetta speak of them fluently. Complex and multi-layered soundscapes grow and and shrink, expand and explode, leading you through a journey as intense and thrilling as it is peaceful and beautiful--a harmonies discord. Thundering drums turn to gentle petals as easily as walls of electric sound tear through a growing climax to reveal a triumphant release.
Aggressive, raw, progressive, gentle and beautiful. Rosseta is art.
This must be the only post that have songs in it that are actually worth recommending...BreakfastMan said:OT: Let's get some classics in here. Can't go wrong with the aforementioned Maiden, but there are plenty of other good ones to check out too:
Don't blame me, I didn't invent those names, but if you listen to them there's obviously a difference.Grey Day for Elcia said:Punk metal and metal punk? >_>Bucht said:
I have never heard of the latter before. I believe you are looking for the genre crossover thrash--they've been calling it that since the early 80's.Bucht said:Don't blame me, I didn't invent those names, but if you listen to them there's obviously a difference.Grey Day for Elcia said:Punk metal and metal punk? >_>Bucht said:
Crossover thrash, often abbreviated to crossover, sometimes called also punk metal, is a form of thrash metal that contains more hardcore punk elements than standard thrash. The genre lies on a continuum between heavy metal and punk rock. Other genres on the same continuum have significant overlap with crossover thrash, and besides tradition hardcore punk and thrash metal, include such related genres as thrashcore, grindcore and skate punk.
-Wiki
It's not exactly Crossover either.Grey Day for Elcia said:I have never heard of the latter before. I believe you are looking for the genre crossover thrash--they've been calling it that since the early 80's.
Crossover thrash, often abbreviated to crossover, sometimes called also punk metal, is a form of thrash metal that contains more hardcore punk elements than standard thrash. The genre lies on a continuum between heavy metal and punk rock. Other genres on the same continuum have significant overlap with crossover thrash, and besides tradition hardcore punk and thrash metal, include such related genres as thrashcore, grindcore and skate punk.
-Wiki
We seriously need to just drop half the genres, lol. It gets so specific and nitpicky after a certain point. I understand the need for some differentiation, but when it gets to the point where we have doom, epic doom, funeral doom, black doom, drone doom and death doom, maybe we have a problem.Bucht said:It's not exactly Crossover either.Grey Day for Elcia said:I have never heard of the latter before. I believe you are looking for the genre crossover thrash--they've been calling it that since the early 80's.
Crossover thrash, often abbreviated to crossover, sometimes called also punk metal, is a form of thrash metal that contains more hardcore punk elements than standard thrash. The genre lies on a continuum between heavy metal and punk rock. Other genres on the same continuum have significant overlap with crossover thrash, and besides tradition hardcore punk and thrash metal, include such related genres as thrashcore, grindcore and skate punk.
-Wiki
Crossover sounds more like this (see video below) whilst Punk Metal is just Punk with metal influences (like in the Hookers song I posted above).
Though I won't argue that genre naming can get really confusing.
Well, yes and no.Grey Day for Elcia said:We seriously need to just drop half the genres, lol. It gets so specific and nitpicky after a certain point. I understand the need for some differentiation, but when it gets to the point where we have doom, epic doom, funeral doom, black doom, drone doom and death doom, maybe we have a problem.
But that's okay; not every rock band sounds the same. We can pick them apart until there's a genre for every album in the world if we wanted to, but it only serves to muddy the waters, not to make them easier to find. Half the metal subgenres sound so alike it's just stupid.Bucht said:Well, yes and no.Grey Day for Elcia said:We seriously need to just drop half the genres, lol. It gets so specific and nitpicky after a certain point. I understand the need for some differentiation, but when it gets to the point where we have doom, epic doom, funeral doom, black doom, drone doom and death doom, maybe we have a problem.
I don't think it would be easier if every band in a doom sub genre would be simply be called "Doom".
Because most of them sound like a whole other genre.
Examples for those reading who don't know much about doom:
Gingerbeard said:Being more into Black Metal, and having gotten pukin' sick of the "TRVE BLACK", which consists mainly in doing again (and not as well as) what the great bands of the 90's did, I'll recommend a couple that are really special:
Summoning (Austria): epic/atmospheric black metal based on Tolkien's writings;
http://www.youtube.com/watch?v=TNAcpWLBTfU
Blut Aus Nord (France): avant-garde, dark, strange, sometimes epic, sometimes suicide-inducing;
http://www.youtube.com/watch?v=lMHxbeEsXK0
Windir (Norway): pagan/folk "sognametal", based around local folklore and music;
http://www.youtube.com/watch?v=3DtHl6F0yCE
And if noone minds, I'll put in a bit of my own stuff, being vocalist in
Udyr (France/Norway): pagan/atmospheric black metal;
http://www.myspace.com/udyrofficial
She-Ein-Bo Mahshavah (France): esoteric black/death;
http://www.myspace.com/sheeinbomahshavah
YES! Finally a fellow PL fan. I saw them live a few weeks ago, great gig. Have you heard their new album? (my avatar). It kicks ass.if_then_else said:Been listening to Paradise Lost on the weekend, not sure if it's something you'd like, they are fairly depressing, by I love them anyway.
Check their older works too, they used more guttural vocals, if that's your thing.