• IN LEGEND - Pandemonium EP [=> Hand-hammered Piano Craft | Metal]

    Jul 11 2010, 13h33 por ImmortalSoul

    Original Review: Reflections of Darkness

    IMPORTANT: You can download the whole EP for free HERE!!

    Title: Pandemonium EP
    Artist: In Legend (Berlin/Mainz, GERMANY)
    Genre: Hand-hammered Piano Craft | |
    Release Date: 26th March 2010
    Label: Self-Released


    Sometimes they occur… these strange moments that render you completely speechless while you are desperately trying to put the just witnessed listening experiences into appropriate words… and of course fail doing so. I’m struggling with this particular situation as we speak, after having listened to the band In Legend’s debut EP Pandemonium for what feels like the 100th time, and after trying to find an introduction that does this work justice for what feels like the 200th time. So, let us therefore try to simply look at things as they are: In fact, In Legend sound different than everything you have heard before - and, nevertheless, after the first listen one can already feel some sort of intimateness and well-being that one rarely gets to discover in music nowadays. Yes, I’m using big words from the very start… and yet they hit nail on the head. But maybe it would be better to first of all introduce the project in general before this turns into a completely obscure wave of enthusiasm that might cause all readers to rather shake their heads than to look any further.

    In Legend is the (and yes, this denotation, albeit it might not fit 100 %, might possibly be the most appropriate one that I can think of at first) side project of Bastian Emig, also known as the drummer of the world’s first and famous band Van Canto. Thus, one could rightfully assume that the membership in this band might have already laid the foundation for an inclination towards extraordinary sounds because Van Canto have in fact made themselves a name as being a truly exotic phenomenon within the scene, particularly due to their unconventional approach to , wherewith they have nevertheless been able to attain considerable success and fan following until now. I am almost sure that the same development will eventually happen to In Legend because this project also manages to challenge prevalent conventions in music in a very original way.

    For example, just like Van Canto, In Legend is also lacking the most important instrument of music - the guitar. Only a bass (played by Daniel Wicke) and the drums (played by Dennis Otto) deliver the necessary rhythm and groove in order to worthily prop up the main instrument . Nevertheless, the oftentimes builds up an incredible heaviness and energy that can definitely compete with the usual bands in terms of intensity and dynamics. Bastian himself describes In Legend as sounding a bit like “Tori Amos on cocaine” and this depiction can somehow really be applied to the whole thing.

    EP Review

    The first song Pandemonium already serves as a proper introduction to the sound of In Legend and presents the listener after a short spoken-word passage with a heavily hammering intro on the bass keys of the which is accompanied by dynamic double bass attacks of the drums. Never before had I heard a in such a heavy way - but one must admit that it perfectly matches the dusky mood of the song. What also immediately sticks out in this song is the versatile voice of Bastian Emig. While I can imagine that it might take some time for certain people to get used to it, as a matter of fact his voice already captivates the listener in this first song and does not let him go again. On this 4-track EP one can seriously discover everything from soft, clean vocal passages to powerful, partly even screamed parts or even spoken-word-like, rhythmic vocal work. And also the arrangements themselves are characterized by these changes in dynamics.

    The EP contains everything from energetic piano hammering (not for nothing is the sound of In Legend also described as being ) to fast, lively passages and also calm, atmospheric and even romantic moments (for example in the intro of Prestinate and generally in the song The Healer), and one already finds out about that in the first song. There is never a dull moment in the whole course of this work - on the contrary: The whole CD is so full of brilliant new ideas, diversity, and technical finesses that it almost exceeds the listener’s imagination. And if that was not enough, Bastian Emig also has a keen sense of wonderful melodies (which can be discovered in the terrific closing song Heya, for example) which immediately get stuck in the ear canals and make no move to leave in the near future. In particular one also needs to put a special emphasis on the “song in the song” with the title Remedy - an absolutely stunning that seamlessly follows up the third song The Healer and simply offers a wonderfully calm and melancholic break to the rest of the album. One can virtually think of it as the moment of relief before the (contrary to the rest of the album) rather optimistic and “lighter” piece Heya picks up the pace for one last time.

    Conclusion: As mentioned above, this debut EP just blew me away. I had already been exposed and gotten used to a lot of different stuff in the genre before but In Legend manage the impossible and enthuse me with only four songs like no other band did in a long while. Rarely has any debut offered as much inventiveness, passion, and fresh air as can be seen here, and with the high musical quality and the very high artistic value of this output one can only wonder what kind of great things In Legend are gonna provide us with in the future when the first full length album arrives (which is already said to come out in fall/winter 2010). “The perfect blend of hard, soft and uncompromising passion” - that is how the biography of the band puts it - and from my side there is hardly any better description for this more than ambitious project.


    01. Pandemonium
    02. Prestinate
    03. The Healer (Inclusive Remedy)
    04. Heya


    Bastian Emig "Vortex Generating Super Operator" - vocals, piano
    Daniel Wicke "The Bass Cyclone" - bass
    Dennis Otto "The Drumming Tornado" - drums


    Cover Picture


    Music: 10
    Sound: 9.5
    Extras: There is a hidden secret to be discovered in the EP which is very creative
    Total: 9.8 / 10

    First Video

    Similar / Connected Bands:

    Van Canto | Jester's Funeral | The Razorblades | Jovian Spin | Narakam | Apocalyptica | Tori Amos | David Garrett | My Own Private Alaska | Yann Tiersen | Serj Tankian | Him | Dommin | Sabaton | Riverside | Dream Theater | Borknagar | Sonata Arctica | Trans-Siberian Orchestra | Ben Folds | Sentenced | For My Pain... | Keane | Augustana | Muse | Jamie Cullum | Dax Johnson | The Fray | Coldplay | Jack's Mannequin
  • A chat with Serotonal...

    Nov 27 2009, 2h16 por Blessedheart

    Fronted by Darren White, ex-vocalist with Liverpool doom metal pioneers Anathema, Serotonal are one of the few bands playing heavy music on Merseyside. I spoke to four of them on the eve of the release of their debut full-length album, 'Monumental: Songs Of Misery And Hope'. First off, I asked them to introduce themselves...

    Matt: OK, we're on.

    Andy Heath: Andy Heath, bass.

    Darren White: I'm Darren White, vocals.

    Jon Francis-White: I'm Jon Francis-White, guitars.

    Gary Hill: Gary Hill, guitars.

    Matt: OK, thanks for that guys...

    Darren: (faux Yorkshire accent) And Wayne in't 'ere. Wayne plays drums, an' he's int Yorkshire.

    Matt: Oh, Wayne? Oh right...he's from Yorkshire, is he?

    Darren: Yeah.

    Andy: Mmm.

    Matt: OK...well, in a way it's kind of a good thing that he's not disrespect to him of course, but, well...there's questions concerning Liverpool coming up, in particular, so... Anyway, first of all I'd better just ask about the new album. It's your first proper full-length've had demos and EPs out and that before, but this is the first full-length thing you've done. So can any of you go into any kind of detail about what you reckon about the album, how it sounds, how it kinda sums up where you are musically. Any comments on that?

    Darren: Yeah, I mean I could sort of say about the lyrics anyway, or what the overall sort of feel of the title and things like that and where it's all linked in. It's called 'Monumental: Songs Of Misery And Hope''s like a double title because 'Monumental' on its own maybe was sort of just too simplistic, and 'Songs Of Misery And Hope' just kind of explains it really, y'know, to people, just makes it more to the point that it is songs of misery and hope really throughout the album...there's dark sounding things, there's really seriously sort of disturbing parts to what's it's about, yet there's always an element of hope throughout, and that's always been the case with what I've written anyway, so it's just a continuation for me. Musically, it's...

    Jon: Dynamic...

    Darren: Heaviness...

    Jon: ...dynamic soundscape of power and grace.


    Matt: Mmm. So you got like a range of emotions and sounds going on, it sounds like...

    Darren: Yeah.

    Jon: Yeah.

    Darren: Yeah.

    Matt: Is that like a reflection of your personalities, d'you reckon, or your lives?

    Jon: Potentially, yeah.

    Darren: Yeah...

    Jon:...I'd say...

    Darren: ...yeah. I mean, I've always felt comfortable playing more melancholic music, you know, or, sort of sides of what's going on inside me head and that you know, or soul or whatever you know, to try and get those negative energies out...the best way is to do it through music I think, rather than going out on the streets and having a fight with someone. Get all your negative energies out like that, you know?

    Jon: Do you think the way we like know, I suppose like, you know, looking from the outside type of thing, it's like the music, it moves, and so, the point is like, you know, it doesn't matter how slow or melancholic a melody can be, if it's got, like a pulse in it, you know, I suppose it, you know, if it keeps on moving, you can kind of like, you know, travel with the music a little bit more as well, so...I suppose in terms of atmosphere, it's just, it's always moving. That's the way I see the songs, you know, they breathe, type of thing.

    Matt: that something you work hard on when you're working on the songs, to kinda reflect the lyrics in the music, or does it just come more naturally and you just throw it all together and it ends up sounding good, or what?

    Jon: I think the lyrics come last, and Daz is probably best explaining that, but my interpretation of the reason why the lyrics come last is like Daz has like, you know, a constructive involvement in, I suppose, like, you know, orchestrating the songs - well, the riffs, ideas, or whatnot - into actual songs. So, I think it works to his advantage when he's writing lyrics, because he's been involved in the movement of the music, and then he can kinda stand and look at it from an objective point of view, with a clearer mind to writing his lyrics. I don't know...would that be an accurate description?

    Darren: Yeah, I mean I'll try and write some stuff while we're writing the riffs, or jamming on the riffs, I'll try and sort of, like, get a feel for how I might want to sing on a part but, I feel better once the song is done, and I think it's like, good enough, if you like, y'know, it has to be really right and good, and I have to try and get it as well, y'know. Sometimes with a song, I'll get it immediately. Other times it'll take a while until I get it, and once I'm in it, and I get the vibe of the music, then I can write the lyrics that will try and sort of suit the atmosphere of the song, suit every little different part of the song, and I'm very analytical when it comes to doing that. Even when we recorded it, as Gaz will, no doubt sort of back up, because when we recorded the vocals, the most of them were recorded not in the studio that we'd done the album in but in my 'Rooms Of Doom', (laughter)...which is - as I said before to you - those rooms at the top of me house unrenovated which are away from the street enough because they're high up, but they're totally unrenovated and miserable, so they're the Rooms Of Doom, but we set up a little sort of recording studio in there and Gary done all the recording, and as I say, as Gaz will back up, the amount of times that I'll say "I'll just do another one of them" (laughter)...and it's like time's getting on you know, and like Gaz's got a little bit of a drive to get back home and that like, and I (laughs) know...but we got there in the end, you know...we worked really, really hard on doing that.

    Jon: I think to say that you've got an analytic ear is an understatement, to be honest... (laughs)

    Darren: It's a good thing to have, you know...

    Jon: Yeah, yeah, quality control...

    Darren: If you're gonna put art out into the public domain, it has to be worthy, you know.

    Matt: Yeah...well you take it pretty seriously then.

    Darren: Definitely, yeah, yeah...really, I'd feel really disappointed if I put something out, and I felt that there might be a possibility that some people'd say "Oh, you know, he's past it now, you know" (laughter)..."what he done before was great but like look at how sad he is" or "look what he's doing now", you know, that would be the nightmare that people would wonder that, you know. It's one thing if they think it's different than what I've done before and they think, OK, that's a different thing, but if it's just simply not as good as what I've done before then I'd feel really...that I'd failed. Well I wanna obviously improve meself, so everything that we write...I might be a bit over-critical to these guys, because there may be more, sort of, just feeling the happiness of sort of writing and getting something out and then there's me sorta saying, "Oh yeah, but you know..." trying to sort of tighten every little screw and maybe sometimes it's not necessary, you know...

    Jon: Putting the breaks on...(laughter)...yeah. It's worth it in the end though...

    Darren: But we get there in the end, you know.

    Matt: Yeah,, would you guys say you're perfectionists, or not?

    Jon: Yeah. I'd say very fussy, and...yeah. Very fussy.

    Matt: And is that a good thing?

    Jon: Absolutely, yeah, yeah.

    Andy: Yeah, definitely. Frustrating at times, but...

    Jon: But it ensures quality control, doesn't it? I mean, as Daz says, elaborating on what he said there, throwing material out just for the sake of it kinda defeats the object of it in the first place if you know what I mean. And I think that's one of the fundamental elements about Serotonal, really, the fact that, you know, we don't have a format and stick to it, do you know what I mean? It's like we all appreciate different genres of music, but, you know, we all agree on one thing, we love heavy music, so there's different elements...sometimes melodic elements, y'know, sometimes really, like, up to date kind of like, y'know, heavy riffs there and it' I say a dynamic blend of different elements coming together to form one sound, which I, personally, from someone who's fussy when it comes to listening to music, personally, I find that interesting, the fact that like, you know, we're honest with every song, if you know what I mean. We're not scared of trying something new, we'll just long as it does the song justice, we wouldn't step too far off the rails, we'll keep it within the reason, but, we don't mind like, you know, straying off now and then.

    Matt: Yeah, fair enough. OK, I should ask a question that I would ask any band really. It's a bit of a boring question, but it's kind of essential. How would you actually categorise yourselves, musically?

    Jon: That's a hard one...

    Darren: Really heavy...a really heavy rock band! (laughter)

    Matt: Heavy rock?

    Darren: Yeah.

    Jon: It's hard to say like, you know, when people say to me, like, you know "Just tell us what type of stuff yous do". The only way I can kinda describe it - and it's not even accurate - it's like, you know if you listen to stuff like Massive Attack or whatever, it's got that melancholic pulse, if you like. I'd like to think that some of our more moody stuff has that kind of element. You know, obviously the fuzzy, heavy guitars...y'know, Black Sabbath, I suppose, and, y'know, I suppose the...I dunno, it's hard to explain, but it's's weird, isn't it? How would you categorise our music?

    Gary: People categorise it as doom...

    Jon: But it's not...

    Gary: ...just 'cause Darren was in, you know, doom bands and...but it's...that's just the easiest thing to put it into, but it's not...I wouldn't say it was metal in its...

    Jon: Yeah, absolutely...

    Gary: a pure form of, like 'balls to the wall' type shit...

    Darren: It's got a spirit of all of that, hasn't it? There's a spirit that runs through it that, it's like that...

    Gary: Yeah, yeah, yeah. It's just rock. Heavy rock.

    Jon: Yeah, there's something in it for everyone, you know what I mean? That's the way, if you look at the songs across the board, like you know, there's...I feel we've got a way with doing know, a perfect pop song, like 'Wasteland' for example. You know, we've got a way...we've pulled that off like, you know, it wasn't intentional, it wasn't deliberate. There's different elements all the way through it like, and, from like, really gut-wrenching doom outbreaks, to really catchy 4/4 pop numbers...there's everything there like, you know. It's full colour.

    Darren: As long as it's got melody...

    Jon: Feel.

    Darren: ...and feel and emotion, and then, when it's heavy, it's really heavy...but running through it also my head, in my goal for us is that, like, there's a spirit of sort of...trueness...

    Jon: Yeah, honesty...yeah.

    Darren: ...which is how...I don't know how you can define trueness, but it's like, trying to use valve amps and get an organic sound, trying to sort of like go with the natural sounds, and recording live, if we can, and when we can, and, you know...

    Gary: Having a wide boundary and that like...

    Darren: Yeah, it's like, without categorising ourselves, but like, at the end of the day, we like to be very heavy, you know, I mean Gary's using...well, they're both using Gibson guitars, and a range of Gibson guitars which are...obviously to people who know, they're gonna make heavy sounds. You know, we're always looking at valve amps, they're always getting obsessed with valve amps and getting louder and heavier. Wayne...we're made up with Wayne's drumkit because his bass drum is massive...(laughter)...and has a real...(imitates heavy bass drum sound)...boom to it, so in rehearsal it just sounds really nice...

    Jon: You can feel the air coming out of his bass drum, can't you? When you're standing there...

    Darren: Yeah...

    Jon: It's great!

    Darren: So there's just, like, that sort of pulse running through things and that, you know. I mean I always sort of say, you know, Celtic Frost are a big inspiration for me, and Kyuss, and I can't really think of any others that sort of like, you know, 'cause there's just so much other stuff that I like as well that come into what we do.

    Jon: That is the thing isn't it like, you know? I mean we all have our different kinds of music that we like to listen to in personal time and that, but as I say like, we all come from like a predominant, heavy background, so I mean everything we've experienced since like, being nineteen or whatever up until now, I think all them elements, all that learning if you like, comes through in the music that we do. I hope.

    Darren: One of the reasons why it's been so easy for us as well, it's like, I'm the oldest in the band, and then you've got Andy who's the youngest, and in between you've got the other guys., and so all the way through, you've got different sort of...different evolution with us as people, and a different, sort of...even though we all like heavy music and we do like metal as well as all the other forms of music we like, there's still those eras that are different, you know like, my era is different to Andy's and that you know and I want him to like some of the stuff that I like and I want him to sort of go "Listen to your heritage" and that you know? (laughter) And at the same time he says to me...

    Jon: Get back to the classroom...

    Darren: know, "Listen to what's up to date" and that, you know? But he's finding out recently some of the up to date bands he likes, they're now defunct, and there's a new wave coming on through...

    Andy: Yeah.

    Darren: you know, the younger kids out there...

    Jon: See, the funny thing is that there's a lot of contradiction going on, if you like, because a lot of, like, new music if you like, a lot of it does end up sounding like, y'know, you can pigeonhole it, you know what I mean? You can totally pigeonhole a lot of like generic kind of metal bands, if you like, and, I think like, fortunately for us, I believe, because we're not kind of basing our writing material or ideas on new bands, new music or whatever, I think that kind of helps us generate original material...hopefully! (laughs)

    Darren: Well there are some new, good new bands out at the moment that I'm probably know Pelican?

    Matt: Pelican, yeah.

    Jon: Don't be plugging other bands Daz!


    Darren: Nah, it's alright! Pelican, do you know them?

    Matt: Yeah, I know Pelican, yeah.

    Darren: Yeah, yeah, been getting into them lately...

    Jon: Apparently I need to listen to them.

    Matt: You do!

    Darren: ...Gaz has got onto Baroness recently, haven't you Gaz?

    Gaz: Yeah, yeah...

    Darren: And Gaz has always liked Mastodon and that and he's kinda like, turned me onto them a little bit. So you know, we're all learning about, like, new stuff as well from each other as well.

    Gaz: Yeah.

    Matt: Mmm. So, I mean do you...when you're writing new songs, do you kind of have any pre-determined idea about how you want it to sound, or is it just like...

    Jon: Always.

    Matt: Always.

    Jon: Always, yeah, I's like, same with Gaz, I mean the type of backgrounds me and Gaz come from, I mean I've been working with Gaz since...God, how old were we when we started writing together? Sixteen, seventeen, something like that...

    Gary: Yeah, you were about seventeen, I was eighteen...

    Jon: Eighteen, yeah...

    Gary: ...nineteen...

    Jon: But the way we...I mean at the time we were both in a black metal band together and stuff, and he retired from that black metal band and became the band's sound guy like, didn't ya?

    Gary: Retired!


    Jon: But ever since then, me and Gaz kinda like started our relationship around about then, and like we had little side projects, little death metal experiments, you know and the way he'd work would be similar to me. He'd go home with his drum machine and record the bass himself, record the drums himself, get the guitars on there, and I'd do the same so we...from me and Gaz's point of view, coming up with the riffs or whatever, we always have an idea of what the drums should be doing, we always have an idea of what the bass should be doing, but I will put my hand on the table and admit, I cannot write a song for toffee. I can write music, but I can't write songs, like, you know and I think that' know, it's kind of like a self-helping band like, you know, me and Gaz'll come up with some ideas, we'll play them to each other, you know, we'll see each other's riffs, adapt on each other's riffs, play it 'til we're comfortable, then the drums and bass'll then come in, glue all the bits together and then, you know, Daz'll put his vocals on top after it's been orchestrated, and then, at the end of that process we've got a song, so that's kind of how the writing process works. But yeah, the answer to the question is I always have a pre-determined idea of what the drums and bass should be doing, prior to actually putting the riff out there.

    Matt: OK. Well I wanna talk about...Liverpool, I guess...and...

    Jon: (laughs) Miserypool!

    Matt: Miserypool...


    Nice, am I right in thinking you all grew up in Anfield, or somewhere near?

    Jon: Anfield.

    Gary: Yeah...

    Andy: Kirkdale.

    Gary: And Walton.

    Darren: And I'm Anfield, yeah.

    Jon: Orrell Park, tell the truth!


    Matt: OK, so you know...not exactly paradise...

    Jon: No.

    Gary: No.

    Matt: ...if I'm being honest...

    Gary: No.

    Matt: I mean how d'ya think your upbringing, and where you've been living all your lives, how d'ya think that's actually influenced your music and what you do?

    Jon: Well I come from a very scally family like, you know what I mean? Me mum's side of the family are from Kirkby, and me dad's side of the family are from Scotland Road, and, I don't know how, I think Daniel Osbourne in second year seniors changed everything for me by introducing me to Iron Maiden. If it hadn't've been for him I'd probably still be playing footie outside the laundrette...

    (laughter) I consider meself to be very fortunate and lucky that I was introduced to music at an early stage.

    Darren: I came to Liverpool when I was maybe five or something like that, me family moved to Liverpool, 'cause me dad was originally from Liverpool and he kinda moved back when he left the Air Force, and so up until that point I'd, like, lived in different places, when me dad was in the Air Force, so as a kid I was moving about, and living in different places until coming to Liverpool, and so, even though I feel, like, a bond to Liverpool in that sense 'cause then I was there from that age 'til I was about twenty two, something like that when I left, I do feel that bond with Liverpool, but I always felt like I was not...because I wasn't born in Liverpool, I wasn't a Scouser, and so I always felt, kinda like, that unattached feeling and that, you know? And then I've lived for a few years in Colchester and then I went travelling and I've come back to Liverpool, because of some nostalgic feeling that I had when I came back, and then I...because I wanted to obviously concentrate on doing Serotonal, I had to sorta stay in Liverpool, and...but I still do feel that sort of...

    Gary: Can't help it...

    Darren: foot is in Liverpool, and appreciates it, but because I've been different places I know that Liverpool has got its like, really annoying bad sides, but I've decided to move back to it, you know, and decided to move back to North Liverpool of all places, to Anfield because, within it, I can see that there's a character and there's a...y'know, I love old houses and there's a...they're all Victorian houses, back to back terraces everywhere, and I see the beauty in all of them through all the litter, the dogshit and the...

    Jon: Glass...

    Darren: ...and the glass...


    ...and, you know, some of the boarded up houses, which are beautiful houses...I can see that beauty amidst all the decay, and that was my big influence growing up and that, and while I was growing up seeing the area around me declining and going into decay year on year, you know. When I was a kid, all the shops were open. By the time I left Liverpool, they were all boarded up, windows smashed, if they were still there, you know. Businesses closed down...

    Gary: The system had collapsed...

    Darren: ...that was what was going on around me as I grew up, and so, you know, that must've had an influence...

    Jon: I mean we live, I's like the secrets behind Liverpool because Liverpool, when it gets media attention if you like, it's, you know, it gets a lot of positive media attention and it does deserve it because the centre of, the Liverpool city centre...

    Darren: I'd say most of the media attention on Liverpool was negative...

    Jon: Well no, what I mean is, you know, they have like whole...

    Darren: There's a lot of hype that comes from...

    Jon: Yeah, there's a lot of hype, but there's also...I mean, I suppose we live in the shadows of that thing if you know what I mean...but having said that, you know I have witnessed a change in Anfield, like Anfield has kind of, like, you can tell it's invested in, but people's minds haven't been changed yet...

    Darren: Yeah...

    Jon: ...the bad habits still exist like, unfortunately...

    Darren: There are people trying to make a change and that...for the better. We'll see...

    Gary: Thing is like, the 1% ruins it for everyone else, d'ya know what I mean? It's...

    Darren:'s always like that...

    Gary: ...could be like fifty people and if one person's a bad egg then it just ruins it.

    Jon: Yeah, that's it...

    Darren: Like if you go to a nightclub, and everyone's in a jovial mood and you've had a good night...

    Gary: just takes one knobhead...

    Darren: ...but then there's a big scrap...

    Gary: Yeah, yeah...

    Darren: ...a big fight breaks then think...

    Gary: The whole night's ruined, yeah.

    Darren: ...What a moody night that was, you know?

    Gary: I think that's the same everywhere though, in England...

    Darren: Yeah, that is...

    Jon: But to be honest with you, like if you look at 'Songs Of Misery And Hope', just to kinda point out what you were on about in terms of the meaning behind the songs...

    Darren: It fits in, doesn't it? It sits in.

    Jon:'s the same with fits the same. It's like we cling onto the idea of a better way, you know what I mean, even though that means us being scarred by the things that we don't particularly agree with, in society, that's 'Songs Of Misery And Hope' again isn't it like, you know?

    Darren: Mmm...but when I come to the city centre in Liverpool, y'know, I love it, I like the...

    Jon: Vibrance.

    Darren: ...the vibrance of it, yeah, the different sort of interesting sort of shops and different people and that, you know, you get know, not everyone looks the same and that you know, and it's a change from being round Anfield and that, where you get a lot of the scallies and that, you know?

    Jon: Funnily enough, there's a saying...not like an established saying but, in Anfield you don't really see students, and we're now starting to see a couple of little students here and there which indicates that potentially, the area's gonna improve! (laughs)...So it's like that kinda, you know, I mean we can't complain, I mean...

    Gary: John Moore's gets hold of it and that... (laughs)

    Jon: That's it like, yeah, yeah, yeah, but I mean we can't complain, it's like you know, it's, I mean, again, as with Daz, like I grew up in Anfield like, you know, I've got so many memories of being a boy in Anfield, and Stanley Park was my paradise groing up, and I live right by it. So our little area where we live in Anfield, it' can't help but feel attached to it, like you's a lovely, atmospheric area, you know...

    Darren: The cemetry...

    Jon: Yeah!

    Darren: ...we always used to go to the cemetry. I used to go to it meself years ago when I was writing lyrics with Anathema and that, and we'd go over there and do band photoshoots...


    Darren: ...and then...

    Jon: The usual setup...

    Gary: Pull faces... (laughs)

    Darren: ...and you know, it's true, I literally used to go there, and sit there for a while and that, on me own sometimes. We'd go there together and hang out, and have a few beers and that like, or a smoke and that, but then I'd go there on me own sometimes like, when I was writing lyrics, just to kinda get in the mood and that. And the thing is like, funnily enough, you know, just a handfull of years later, Jon used to walk through there, but with a different vibe in it, you know, he used to have like his...

    Jon: (laughs)

    Darren: ...long black leather coat and his you know, his black metal music blaring into his headphones...

    Jon: Listening to Nåstrond, yeah, with dead long hair, walking through the cemetry on me own...I wouldn't do that now!


    Darren: Same cemetry, but just different music...

    Jon: Yeah.

    Matt: Oh, has this definitely had a noticeable effect on your music, kinda thing, or...

    Andy: Yeah...

    Matt: ...would you be able to define that effect, or influence?

    Jon: I think as an individual, it's kind of helped shape me into being the individual I am, you know, me morals and beliefs and me attitude in general. I think that has, you know, it has contributed towards that, but not necessarily the effect on the music I wouldn't say...

    Darren: Well I would say that the 'misery and hope' aspect and that would be, like we just sorta said before that like there is something in there, you know? That we've lived with misery and hope, and we're writing about misery and hope...

    Jon: Well we live with misery and hope every day.

    Darren: But we haven't consciously gone out like, it's like 'Oh, let's write a concept album about misery and hope'. That's just the way I exist. It's like that in my head and that kinda thing.

    Matt: So that's the way you've always done lyrics then...

    Darren: Yeah...more or less, yeah...

    Matt: So that whole album title, does that kind of, like, reflect your overall approach to music, so it's just...

    Darren: Yeah, yeah...

    Matt:'s not, I mean, it will effect, it'll reflect your future output as well, like...

    Darren: I would think so, I don't know how I can shake it off, you'll be different, 'cause I might maybe right about different things and get inspired by different things for different songs, but ultimately that'll just run through it all like a sort of a continual thing and that with little, sort of, alternate avenues of interest but it'll be that that will be the essential theme running through everything. I can't help it, and...which I think actually is what life is like really, you know? We live our lives like that don't we, you know? Sort of battling in our own minds for happiness, while sometimes struggling with unhappiness...negativity and fear, anxiety and all those things that can bog us down, when, ultimately, at the end of the day, if we try and change our way of thinking, consciously change our way of thinking, and to try and be positive, and try and be open and experience things to the fullest, then good opportunities, I think then actually come to you. So it's like...

    Jon: Karma...

    Darren:'s battling between trying to be positive and then getting battered down by negative things and being able to sorta put yourself in perspective and that...

    Matt: Yeah...well it sounds like you've got quite a good approach to your music and your lyrics and it seems to reflect life in general and the struggles that we have to go through...the mental struggles, as much as anything else...

    Darren: That's it, yeah. I think, you know, and we all go introspective. All of us have that, you know, even when you see someone who looks...who always appears to be ultra confident, running round, always the life and soul of the party, you know, you don't know what goes on in their heads when they go home at night...

    Jon: They're the people who have most problems...


    Matt: Yeah, well you have to wonder, don't you?

    Jon: Yeah.

    Matt: Is it just like a front? Or are they hiding something?

    Jon: That's it, yeah.

    Darren: Yeah, yeah.

    Matt: Well you guys all seem quite down to earth...I mean is that the way you see yourselves, or...?

    Darren: Well we try to be anyway.

    Andy: Yeah...

    Jon: Just normal lads at the end of the day just doing music, you know, that's it.

    Darren: Mmm.

    Andy: Something we love...

    Jon: Yeah...

    Darren: Yeah...

    Matt: We'll see how long that lasts when this album sells millions of copies!


    Darren: If it sells millions of copies, I'll...I'll try and eat that glass.


    I'll come back here one day and I'll try and eat that glass...

    Gary: I'll hold you to that, Daz, you know!


    Darren: If we sell millions...I'll go for it.

    Matt: Yeah, oh well...

    Darren: I don't reckon I'll be eating that glass, however!


    Matt: Well not with that attitude, you won't...


    Matt: Yeah...well hopefully you will. I hope it sells millions of copies.

    Darren: I'll be just happy to play Roadburn Festival in Holland and that like, with some...

    Gary: Yeah...

    Darren: ...some fellow decent bands who would know how to use valve amps and that and stuff...


    Matt: Oh...OK. Well that's the main criteria, is it?


    Darren: That's it, yeah, it is! I can't define it any other way really...though I'm not a guitarist, I do appreciate the sound of a nice valve. Gaz has got a nice one at the moment, haven't ya Gaz? Nice new one...

    Gary: Yeah, yeah...

    Darren: Caused him trouble at first, but he's...

    Gary: Yeah, it's sorted...

    Darren: ...sorted that out now...

    Matt: Teething problems.

    Gary: Yeah, yeah...fuse was blown and shit...


    Matt: Well I should ask you about future touring plans, have you got any? Are you gonna be touring this album, or...?

    Darren: Well we intend to...we intend to. We just have to sort of try and keep avenues open and see which tours we might get offered, or you know, agencies might come to us and that, like you know. We're sort of sending out little sort of signals at the moment, to sort of say to agents that we're open to going on tours if they wanna sort of put us on, so...a support tour would obviously be helpful, wouldn't it? You know, touring with perhaps a more established band.

    Gary: That's more...the most preferable...what we'd like to do...

    Jon: Yeah.

    Darren: Yeah.

    Gary: ...a good tour support with someone...

    Darren: I mean, Anathema have already offered to take us out on tour, it's just if our record label can come up with the goods, if you like, you know, and get us to sorta be able to actually make that happen, you know.

    Matt: Right...oh so it's all down to them, really?

    Darren: Really, when it boils down to it, the offer is there, it's just if we can logistically do it. They've given us the opportunity...

    Gary: And we have been told, you know, when we signed, that like, there will be tour supports there, so we just have to wait and see.

    Darren: Mmm.

    Jon: See, the thing is, with the record company, the record company kinda does things behind an iron curtain if you like, and, you know, at the end of the period, they'll let us know what they've done type of thing, so a lot of the time, you know, even though we know that the label is doing things and that like, we...I mean, the only thing we can do at the moment anyway is just like, you know, we've been writing a lot of new material and obviously the anticipation of getting the album out, so, I think our intentions at the moment is to let the album come out, see what feedback is generated from the album...we've already put a couple of feelers out for agents and things like that, but I think, fundamentally, the most important thing for us to do is just carry on and keep the fire burning by writing. So that's kind of like the unintended plan, so to speak.

    Matt: Right. So, I mean do you guys think of yourselves as a live band, or a studio band, or...?

    Jon: Live band.

    Andy: Definitely a live band.


    Jon: Love it...we just need the right gigs really you know and...we've had this converstaion before, I mean we've played gigs in Liverpool, and, sadly the gigs in Liverpool have been like, you know, I suppose the most soul-destroying ones because it seems to be hard to bring people out to Liverpool to come and see your band like, you know. I think there is a big trend in Liverpool at the moment and, you know, I suppose we're outside of that trend, and I suppose a minority in our own city in that respect, but I mean, as a band, I think really we've done our fair share of like, you know, playing to thirty people, type of thing, and it would be nice to move up to that next step and play like bigger festivals, or...but we'll see what opportunities are generated as a result of the album release, and take it from there, type of thing.

    Matt: Oh well things should start picking up anyway...

    Darren: Yeah...

    Matt: seems, from what I've read so far in the media that the album's doing OK...critically anyway...

    Jon: Yeah.

    Andy: Mmm.

    Matt: I dunno...I can't say from being outside the band but, it seems like you're picking up some new fans along the way...I dunno.

    Darren: Yeah...

    Jon: Hopefully like, yeah, I mean we have noticed a subtle...(laughs)...development of interest in the band, like, but it is subtle, I have to say like, but, I mean, you know, when you're used to, like you know, hardly anyone knowing who you are and stuff, and playing these small little gigs and no one knows who you are, it's nice to, you know, kind of answers a lot of questions when we, like for example in Birmingham, you know, we seem to have gone down well in Birmingham. You know, it was quite full, from what I could see and there seemed to be that there were people there interested in what we were doing anyway before we even played so you know, that's feedback in itself in a roundabout way, isn't it?

    Matt: Yeah, definitely. I wanna talk a bit about metal in Liverpool. I guess you... well, it's hard to categorise you, as we've said before, but I guess you kinda come under 'metal'...

    Jon: Yeah.

    Matt: ...'ish, so what do you guys think about the metal scene, or hard rock scene in Liverpool?

    Jon: We haven't really felt one have we?

    Darren: No, not really, no!

    Jon: I know there's bands out there, I mean we rehearse with a couple of heavier bands and stuff, but I mean, you don't really see heavy bands playing that much in Liverpool, do you?

    Darren: I know there are some bands who've played in the Korova and that, like, that you may have seen yourself and that you know?

    Jon: They weren't from Liverpool though, were they? One was from America...

    Darren: No, there were some Liverpool bands...

    Jon: Was there?

    Darren: ...and there are Liverpool bands who are sort of...have been playing those kinda gigs and that, you know, and I've sorta checked them out...I really, honestly don't remember the band's names at the moment, but I like their vibe, but just sort of, you know, they're not like what I would really go for or get excited about, so I haven't sorta followed them up and seen them again...

    Gary: It's mostly death metal stuff, isn't it? That's about it like...

    Darren: Yeah...there was one band - I don't remember their name - that we played with in that gig...we played a gig, like, about a year ago with Grief and Trap Them, and they'd sorta travelled over from America but then there was a load of like sorta local bands as well, and Ramesses played, from the south coast and that, and there was a couple of local bands that I thought...

    Gary: Dragged Into Sunlight?

    Darren: ...'Who are they?'...

    Gary: ...Was that one of them?

    Darren: Was that it, yeah? There was one band, and I was impressed with them because, like, the time between the bass drum and the snare was particularly know?

    Jon: (laughs)

    Darren: ...and it was like, you know, this is slower than winter, this is bordering on, like, Sunn O))) speed here, and, y'know, I was impressed with their diligence in being able to sort of, like, resist hitting the snare too early!

    (laughter) know, it was like, it was extremely slow, and I had to appreciate it...

    Jon: Tantric doom! (laughs)

    Darren: Yeah, it's like that in a way, yeah! It's tantric in its essence, that's right.

    Jon: Yeah.

    Darren: And, you know, so I appreciated them but I don't remember, maybe they were Dragged Into Sunlight, I'm not sure, but none of those bands have really, sort of followed things through if you like, or they've had the same difficulties as ourselves in Liverpool, in which, you know, it's very difficult to sort of get yourself established when you're playing such underground music...

    Jon: Yeah, yeah, yeah...

    Matt: Well I think...certainly extreme metal...obviously there's the mainstream stuff, you know your Machine Head or whatever, that quite a lot of the kids like these days, but the more extreme, underground stuff isn't very popular round here.

    Jon: No.

    Matt: Obviously, it's underground, so it's not gonna be that popular anyway, but even considering that, there's just so few people I meet that seem to be into that kinda stuff. I mean why do you think that is...what is it about Liverpool, or Merseyside in particular...?

    Darren: I think it's a society thing, to be honest.

    Jon: I mean it's quite a 'poser' city though isn't it really, if you think about it, you know? if you look at it, everything's gotta be 'in'. You know what I mean? You see a lot of that, like, you know what I mean? It's like a lot of bands that you see...I haven't really paid that much attention lately so I might be wrong now, me opinion might be out of date, but I mean, you know there's that, like, tight jeans and Winklepickers with, like, Telecasters and Vox amps and that, and, you knowm curly bunheads and stuff, you know, there's a lot of that like and it seems to be...

    Darren: I haven't got anything...not that we've got anything against people with Telecasters and...

    Jon: No, no, no, not at all, you know...

    Darren: ...bunheads, curly bunheads and that...

    Jon: ...but I mean it's a trend, it's a trend nonetheless, that's what I'm saying, it's a trend just so happens that, like, Liverpool is of them cities, you know, a jangly, kind of like, you know, 'beat'...what's the word? You know...'beat...pop' city like, you know what I mean?

    Darren: Mmm...

    Jon: I don't know whether that's the right terminology to use for that, them types of bands...

    Andy: I think it's quite correct...


    Darren: But I think that's everywhere...

    Jon: It is everywhere...

    Darren: ...that's everywhere, you's just...

    Jon: ...but Liverpool, predominantly in Liverpool, it's massive in Liverpool, that tight jeans and Winklepicker thing, it is, isn't it? Long trenchcoats and that...

    Darren: I don't mind, as long as people go and see live music, I don't really mind what the...

    Matt: Yeah that's true, that's true.

    Darren: ...what the music is, however, you know, like metal is very underground here and that you said, like, the Machine Head kinda metal is fair enough, you know, you'll have plenty of people will come out the woodwork for that, but, you know, it is fairly underground for a city so large and so appreciative of music...when you get like a fairly decent doom band, you know, just see the turnout being quite low, but that's...ultimately, at the end of the day if you're a band and that, like, then you should just sort of think, alright well the people are gonna come out as long as we play the music well and they enjoy it, that's ultimately all that matters and...

    Jon: In comparison...

    Darren:'s hard to, as a band, to sort of like deal with that, you know...but you just sort of do it and try and stay true to yourselves and hopefully the people then will appreciate that trueness, and then...

    Jon: It's a funny thing because our...I suppose our neighbour city, Manchester, if you like...whenever we've played live in Manchester, it's always felt good. You know, it's feels as though people actually come to see ya when you go to Manchester, whereas it's the opposite end of the spectrum here, you know what I mean?

    Darren: Mmm.

    Matt: So you get a bigger turnout in the audience at Manchester?

    Jon: Absolutely...I think so, yeah.

    Darren: Mmm...yes.

    Jon: There's people there who come to see your band, and they express the fact that they're enjoying your music, which helps a band, you know, that's the element...if you haven't got that, if you've got thirty people in front of you and they're not that bothered, you know, your performance is gonna be limited, to an extent, whereas if you're playing to an audience that are actually there and enjoying it and want more of it, it's gonna encourage the band to, kind of, perform even better. And I think that's the main element, you know, asking the question earlier on, do we...'are we a live band?' We are a live band but, you know, depending on who we're playing to, has an impact and effect on how we are as a live band, you know what I mean?

    Matt: Mmm. Er...right...can't really think of anything else to ask...

    Jon: (laughs) We've covered it all...

    Matt: Well, I dunno if we have, but...

    Darren: Oh I could witter on for ages you know, I'm sure Jon...


    ...Jon could witter on for ages as well!

    Jon: I'm in a chatty mood now like, yeah,'s 'cause I've had a pint!


    Darren: On top of something else...yeah.

    Jon: I'm everyone's mate now like, you know...


    Matt: Oh well, well if anyone's got anything else they wanna say about anything I've asked, or anything, then feel free.

    Jon: Yourself?

    Gary: No...

    Darren: No...can't really think now.

    Jon: Rock hard, rock heavy, rock animal!

    Andy: It's a 'joint' effort!


    Darren: Well it was, it was today, yeah!

    Jon: The 'joint' venture!

    All: Yeah, yeah...

    Matt: OK, is that it then?

    Gary: Yeah.

    Matt: Anything else?

    Jon: Yeah...thanks! Nice one. Cheers.

    Matt: No problem. Good to speak to you guys.

    Andy: Thank you.

    Darren: And to you, yeah.

    Matt: And er...yeah, I'll stop.

    Darren: We'll do readers' questions next time!

    For more information on Serotonal, visit and
  • icons for Fluid

    Set 4 2009, 19h11 por qeek

    Mac? Fluid user? Grab one of these neat icons I made:
  • Other Uses For Your iPod

    Ago 12 2009, 19h30 por agquarx

    1. You can make a barrier between your thoughts and the outside world with just a flick of your thumb, choosing that "Energetic" smart playlist. Use really big earphones, Hi-Fi ones, with really strong bass. Don't worry, if you go deaf you will simply increase the volume.

    2. Heal relationships. Give your spare Shuffle to your spouse, set to "Romantic" playlist. Make her listen to it. If she protests, bondage is a good idea. She can't simply say no to your tunes. iPods have a brain of their own. Guard against premature skipping of songs.

    3. ***NEU*** Use your iPod as a way to measure how high you are. I used it today to tell me when to do certain things while on mushrooms and ephedra (stuff I take to have visions of living Universe and in Astarte rituals). How to do the actual measurement? I used for it a playlist I have on my iPod "Astarte", called {LOVE}{LIKE} because it contains sets of both LOVED and LIKED tracks, sorted together, alphabetically. It contains about (let me check) 1562 tunes now. I selected it and it began playing at RANDOM. I noticed how OFTEN I pressed the NEXT button on my iPod wheel, which is easy to notice action, even when you see and hear things and the walls are breathing. I press NEXT button every time I don't like the song and want the iPod to SKIP to the next random choice. This way I pull into the Universe by gathering the Chaos variables. The more I am high, the LESS OFTEN I skip, because I am too absorbed by what is happening and what I feel. When I am less high, I press the button MORE OFTEN, because in so many songs I encounter those I like less with high probability and if I am not so absorbed by the reality of the trip, I start to be choosy and picky. After the trip (e.g. when I'm SOBER :-)) I can analyze the SKIP PATTERNS to see what genres are good for certain substances I take (iPod/iTunes notices every time you skip a song and even notes WHEN you last skipped it).

    4. ???
  • 50 questions about my top 50 artists...

    Ago 20 2008, 19h30 por Blessedheart

    I 'nicked' this from my brother (Ad_nauseam, or 'ginger scum' as he's known to the police).

    1. How did you get into 29? (Arch Enemy)

    I first heard them on MTV2's 'Headbanger's Ball' and wasn't overly impressed. Then I heard them again and was.

    2. What was the first song you ever heard by 22? (Radiohead)

    You're asking me to transport myself back in time by about thirteen or fourteen years. I may well be wrong but my guess would be Street Spirit (Fade Out)

    3. What’s your favorite lyric by 33? (Carcass)

    Dunno. Probably something about cutting up dead bodies and then microwaving them.

    4. What is your favorite album by 49? (Nirvana)

    Bleach or In Utero. That band was much better raw.

    5. How many albums by 13 do you own? (Ulver)

    Basically all of them.

    6. What is your favorite song by 50? (Foo Fighters)


    7. Is there a song by 39 that makes you sad? (Sepultura)

    Hell no!

    8. What is your favorite album by 15? (Candlemass)

    Probably Tales Of Creation.

    9. What is your favorite song by 5? (Dead Can Dance)

    Persephone (The Gathering of Flowers). If you've heard it, I don't need to explain why.

    10. Is there a song by 6 that makes you happy? (My Dying Bride)


    Actually they all make me happy in a strange kind of way.

    11. What is your favorite album by 40? (Tool)

    Lateralus. One of the masterpieces of the 00s.

    12. What is your favorite song by 10? (Anathema)

    I have no idea. One of their...songs.

    13. What is a good memory you have involving 30? (Faith No More)

    None. :-(

    14. What is your favorite song by 38? (Suede)

    It's a tie between Europe Is Our Playground (not bad for a b-side, huh?), Still Life and Pantomime Horse.

    15. Is there a song by 19 that makes you happy? (Marilyn Manson)

    'Happy' is a word that I don't throw around lightly.

    16. How many times have you seen 25 live? (The Cure)

    None, much to my disappointment.

    One day.

    17. What is the first song you ever heard by 23? (Opeth)

    In My Time of Need

    18. What is your favorite album by 11? (Pink Floyd)

    Without doubt Dark Side of the Moon. Flawless from start to finish.

    19. Who is a favorite member of 1? (Iron Maiden)


    Seriously, don't get me started on Maiden - we'll be here for hours.

    20. Have you ever seen 14 live? (Pearl Jam)

    Yes! At Leeds Festival in 2006. 'twas jolly good.

    21. What is a good memory involving 27? (Soundgarden)

    Not strictly Soundgarden, but seeing Audioslave doing Loud Love and Outshined was pretty spectacular.

    22. What is your favorite song by 16? (Alice in Chains)

    Hard. Maybe Love Hate Love or Frogs. Wait, no...Get Born Again!

    23. What is the first song you ever heard by 47? (The Sisters of Mercy)

    No Time to Cry.

    24. What is your favorite album by 18? (Nevermore)

    Either Dreaming Neon Black or This Godless Endeavor.

    25. What is your favorite song by 21? (Red Hot Chili Peppers)

    Too hard.

    26. What is the first song you ever heard by 26? (Slayer)

    I can't remember. Probably either Seasons In The Abyss or Angel of Death. I'm leaning towards the former.

    27. What is your favorite album by 3? (Nick Cave and the Bad Seeds)

    No More Shall We Part. The absolute masterpiece.

    28. What is you favorite song by 22? (Radiohead)

    Fiendishly tough question. Pyramid Song or The Tourist or There There or How to Disappear Completely.

    29. What was the first song you ever heard by 32? (Miranda Sex Garden)

    Dunno. Something from Fairytales Of Slavery.

    30. What is your favorite song by 8? (The Smashing Pumpkins)

    They must have about 500 songs. Leave me alone.

    31. How many times have you seen 17 live? (Mediæval Bæbes)

    None. I'd love to see them though. That would be magic.

    32. Is there a song by 44 that makes you happy? (Muse)

    Yes. Knights of Cydonia of course!

    33. What is you favorite album by 12? (Metallica)

    ...and Justice for All, I think.

    34. What is the worst song by 45? (Dio)

    One of the cheesy ones from Sacred Heart.

    35. What was the first song you ever heard by 34? (King Crimson)

    Either Epitaph or 21st Century Schizoid Man or Red. Or maybe something else. What's it to you anyway?

    36. What is your favorite album by 48? (System of a Down)

    Toxicity. It came out the week before 9/11. Happy days.

    37. How many times have you seen 42 live? (Katatonia)


    38. What is you favorite song by 36? (Bruce Dickinson)


    39. What was the first song you ever heard by 28? (Pantera)

    Maybe Cowboys from Hell or I'm Broken. Or Revolution Is My Name.

    40. What is your favorite album by 7? (Cradle of Filth)


    41. Is there a song by 31 that makes you happy? (Deftones)

    No. You're really asking that question to the wrong person. I just don't listen to that kind of music most of the time!

    42. What is your favorite album by 41? (Fantômas)

    [album artist=Fantômas]The Director's Cut

    43. What is your favorite song by 24? (Type O Negative)

    Haunted, I reckon.

    44. What is a good memory you have involving 46? (Can)

    Discovering them.

    45. What is your favorite song by 35? (The Smiths)

    How Soon Is Now?, obviously.

    46. Is there a song by 9 that makes you happy? (Nine Inch Nails)

    Only is probably the one that comes closest.

    47. What is your favorite album by 4? (Manic Street Preachers)

    Either The Holy Bible or This Is My Truth Tell Me Yours. Yes I am serious.

    48. Who is a favorite member of 37? (Queens of the Stone Age)

    Well that could only be Mr. Joshua Homme.

    49. What is the first song you ever heard by 43? (Depeche Mode)

    Just Can't Get Enough!

    50. How many albums do you own by 20? (Foo Fighters)

    All except the first.
  • Synchronizing iPod metadata and iTunes library

    Mar 17 2009, 9h19 por agquarx

    Do you know any free solution for synchronizing metadata gathered in iPod with main iTunes library? I mean back to iTunes library, overwriting old values. Metadata like number of plays, last skipped etc. I can't find anything on, all the programs seem to be shareware or commercial in nature...I need to do it, so I won't lose my work on polishing metadata while I'm using iPod in case it's damaged and I have to reload the music from main iTunes library. I need a free solution because I am unemployed in result of the world economical crisis and have no additional money to spend on software. Sticks and Stones
  • Chill out

    Mar 24 2009, 18h25 por agquarx

    Today I felt particular anxiety because my friend was not responding to my text messages and I wrote him rather revealing email a day before so I was worried that he took offense. I tend to be very open in my emails and share my intimate secrets if I consider you a friend, but not all people accept such sincerity. So I concocted a playlist to chill me out - all the records of Portishead, all the records of Emiliana Torrini and all the records of Meadieval Babes mixed evenly and stirred to acquire perfectly shuffled blend. I was tempted to add Loreena McKennitt to this mix, but I found out that she overthrows other musicians fast and makes me listen only to her heavenly voice, so I decided not to add her music to the mix. The mix contains right now 196 items for 12.4 hours of continuous playback. Naturally I was planning to listen to it that long. It was going to be a long day. The mix worked wonders. My spirit was refreshed by soothing vibes and angelic voices and I found out that 12 hours passed without me noticing. I updated tons of star ratings for the songs on this list. To this day I'm not sure if I heard all of the songs of aforementioned artists as I tend to listen to albums at random, even to new ones, so there always is a possibility that some songs were omitted due to random chance. Gotta love iPod shuffle feature, I can never decide what song to listen next and this way one more worry is off my head. Tell me what you think about my mix. Oh, I of course own all the CD's of those bands, but play only the digital versions of their songs. CD's are just so clunky to use. BTW I was listening while under influence of weed mixed with occasional powdered Ephedra Sinica to get a mix called (by those in know, like me ;-)) "Herbal Ecstasy". Happy scrobbling!
  • I Had A Wild Day by {agquarx} version 0.2

    Abr 22 2009, 11h56 por agquarx

    I waited for you whole day. I woke up
    from my furious dreams sweaty and
    unreserved. I showered and put on my new
    dress I bought only a day ago, a long
    one this time, dark black
    nanotech-enchanced velvet, with several
    purely white butterflies as single
    embroidery, and corset holding my
    breasts put. I never take off my silver
    Pentagram and now it rests safely
    between my ample breasts. I put on my
    high laced shoes. I don't wear panties
    today. Easy access is my motto.

    We've met one day on, you
    requested my friendship probably based
    on my stunning avatar, an avatar which
    was custom made by my ex, presenting me
    in a rather fetching pose and revealing
    a lot of my milky while skin and the
    salamander tatoo on my back I am so
    proud of. We both love each other's
    music in general and female fronted
    metal specific. I know you are a natural
    blonde (from your picture you've send me
    on my prompt request) with forget-me-not
    blue eyes, body deliciously plump, with
    all the required curvature (certainly my
    type!), but refrain myself from iconic
    blonde joke to break the ice. Somehow I
    feel you will matter a lot to me soon.
    Somehow I know you want a serious
    relationship, not just a one night
    stand. I hate one night stands. I need
    something real too. My heart was broken
    so many times before, but I rush head
    and shoulders into this relationship,
    without thinking. I attach so quickly.

    I was born in a big city. I am your
    usual city child. I know many things
    about love, but I still learn a lot from
    my meetings with online and offline
    friends and potential lovers. I had many
    loves, but none of them seemed stable
    enough to grab my attention for long. At
    least I fail to recall any that did .
    You were born in a big city too. We both
    know this vibe, this urgent pulse of
    life in a big city. You are from New
    York, and New York is a woman, too. Girl

    I make breakfast and eat it, all the
    time thinking of you. Will you message
    me on I can't hold on to
    myself and check the Inbox several times
    until my tongue becomes tied up from
    repeating the command over and over to
    the voice recognition system. I am still
    sweaty, the weather seems to be rather
    toward the spring. I have my last few
    euro, so I go out to buy some legal
    drugs in a Wired Accessories shop,
    without which I cannot really perform in
    Wired. People look strangely at my
    dress, but I don't care.

    Why do they look strangely? It's Poland,
    my dear. We are catholic, and that says
    a lot . At least most of people in
    Poland provide such explanation for
    their bigotry and pretend that they are
    otherwise. What pope says means a lot in
    Poland, also religious schemes mean a
    lot to most of the populace. People
    don't like strangers, it reminds them of
    western ideas and western freedoms. We
    are close to religious state, even in
    these days. A gothic dress embroidered
    with white butterflies and corsetted
    looks unusual in the spring weather,
    too. Of course nanotechnologickal
    revolution gave us fabrics that can be
    implanted with climate control, as my
    dress is, as all my dresses are.
    Millions over millions of nano sized
    climate control mites are planted all
    over it's complicated, more black than
    black fractal surface, connected by
    infinitesmal carbon filaments to create
    a web responding to my voice commands
    and the amount of sunlight exposure.
    Right now I walk in comfortable 18
    degrees Celsius, although outside is
    about 28 degrees. Wonders of modern
    female apparel.

    I also don't have any bag with me nor
    pockets on me, all I need is stored in
    the web containing my body (actually,
    it's a mesh of various webs, each one
    with it's particular purpose, forming a
    formidable processing power). The web
    stores my money equivalents, id
    information, medical information in case
    I get into an accident, my will, a
    communication device connected to my
    spinal cord that let's me send and
    receive net messages while I'm away from
    my computer, displayed over the visual
    information my brain gets from my
    retina. Nothing fancy, though, full
    immersive tech is forbidden outside the
    confines of ones' home. Because of
    traffic, of course, it wouldn't do me
    any good to get lost in some virtual
    representation while I cross a walkway.
    Poland still had a lot of heavy personel
    traffic on the streets. We care a lot
    about our freedom, I guess, a lot less
    for the environment. I hope this will
    change. I have a lot of hopes. I am a
    dreamer. I am a freedom fighter. I am a
    member of digital underground. You seem
    to share a lot of my interests, though
    you are not so much into coding as I am.
    You prefer poetry.

    I wonder what would they say if they
    knew I wear no panties. Wild imaginings
    flare up before my eyes as I go back
    home and sit before my Mac. I enter
    Wired, low-level, just to pass the time,
    not full virtualization, just the
    mundane screens. I read in Google News
    about Within Temptation's eleventh
    album. It seems to beat the charts. Time
    passes. It's ten o'clock, time to get
    wasted. I pressure-inject the portion of
    drugs I bought and wait for the stinging
    feeling of excitement signifying my
    readiness for the Wired. I feel my
    nipples become erect. My pupils dilate a
    lot and I can hear every sound of my
    body. My heart-bit bits like a jungle
    drum. Hey, I'm in love. My hair stands
    on ends. I get goose-bumps.

    I put on the virtualization helmet and
    say the Command. Wired! Millions of
    strings of data vibrate around me and
    one of them is your
    message-notion-entity, it's pink. I
    catch on to it and grab it in my white
    teeth. I pull and it hulls a huge chunk
    of data toward my self-image. A sudden
    wave of pleasure shots through my body.
    My clit is enlarged and full of my
    blood. You are close to me, so close,
    closer than ever. If I met you actually
    in so called reality, I would die of
    happiness, I guess incorrectly. I taste
    the dataset and it seems crispy enough
    to begin transmission. I crush the
    dataweb-minion between my white teeth
    and feel with my tongue as the web
    network lusciously enters my evaporated

    I see you now. You wear a skimpy
    nightdress and I see you also waited for
    me all day, your eyes shine with
    happiness. We touch fast our left hands
    and thus join our datastreams. It's
    dangerous, but I don't care now. You are
    so close! I can see drops of saliva on
    your mouth; pristine simulation of
    nano-connectors. The walls around us are
    pulsating to Chandeen - Imagination, my
    choice. I smile a crazy smile and you
    smile back. I can see your pupils are
    dilated too. Your hair is red today and
    your eyes are so blue, like the Hawaian
    sky I've seen on postcards.

    You put out your tongue and make an
    obscene gesture with it in the air,
    swirling it around, I admire dexterity
    of your fine musculature. I taste the
    air around us, it reminds me of a deep
    Amazon forest, it's full of expectation
    and desperate needs. I would lose
    balance if there was gravity in the
    simulation. I pull on your left hand and
    we start to rotate around the common
    center of mass. I command the interface
    to get me closer and currently it obeys.
    You've set the interface to obey *my*
    commands! I'm so proud of your trust. I
    kiss your hungry mouth. I feel salty
    residue on your tongue, as it dances in
    my mouth. I know it's a virtual drug. I
    accept sub-vocalizing. It embeds itself
    in my neural interface. I also show you
    my trust. You smile knowingly. I put my
    hand beneath your slithy robes and look
    for your full breasts. I feel your hands
    closing on my tight bottom and
    stabilizing us. I pinch your right
    nipple with my right hand while my left
    hand is still holding your left hand in
    connection constant. I feel sweat coming
    down my spine in the so called reality.
    The drugs had put my body into an
    overdrive. I kiss your beautiful small
    nose, the tip of your perfectly formed
    ear, the corner of your forget-me-not
    blue left eye, right eye (which seems a
    little green to me now, nice touch) and
    continue to kiss you on your mouth
    passionately while stimulating your hard
    nipple. You moan with pleasure. It's
    music to my ears.

    I'm fascinated with the now emerald
    green right eye of yours. I kiss it. You
    close it for a blink and it comes around
    with host of gold particles showing,
    shimmering. I kiss your smiling mouth
    just around your smile-wrinkle and our
    tongues touch again in a great dance of
    life. I taste your *imagination* and my
    hand swirls with it's level after level
    of impressive hacks. I breathlessly ask
    you wispering to your left ear if you
    made it yourself. You put your tongue in
    my right ear and the sensation blends
    with my stunned realization as I see a
    signature burning on my retina neurons -
    it's *my* signature and a common sign
    for free derivative work! You used my
    own code from my curious past to make
    the taste of your saliva. I laugh aloud
    in appretiation of the joke. I look for
    a hook. It's there. I hook my ring
    finger to your interface and make you to
    feel the taste of oranges by bending it.
    You seem startled at first, but then
    smile again. I love you so much. I love
    every smile of yours. They make me so

    My hand journeys down the voluptuous
    angle of your hip and back to the
    nipple, this time I press it with whole
    surface of my hand and caress whole
    breast, it fits perfectly in my grasp.
    So we have democratic interface binding
    now. I "vote" for a change as the word
    "change" comes up in the lyrics of the
    song. You begin to transform into a
    young male, taken from the greek
    sculptures. Your face is still
    recognizable, but now I feel the
    pressure of a hard, large member on my
    hip. It's of course impossibly huge.
    Size does matter if your can unlink
    yourself from the so called reality. We
    still revolve around the common center
    of mass. The colours of the walls are
    switching according to readouts of our
    bodies. Right now they enter crimson
    red, pulsing red and orange. I push you
    with a right hand and command gravity to
    enter the scene by removing one white
    butterfly and leting it fly away freely.
    It vanishes in the perspective of the
    scene. I stand now surely on my long,
    perfect legs. Your hand caress my young
    behind. I try to guess what you'll like
    to do now, with virtual, yet hard and
    ready manhood dangling from your hips,
    scaring me a little by it's size,
    although I know intellectually it cannot
    really hurt me in any way.

    I turn around still holding your left
    hand and murmur an utterance toward your
    mind-set. You tear at the dress I'm
    wearing, and unravel my hips. White
    butterflies detach from it and start
    circling us in a fluttering of movement.
    Suddenly I feel draft of cold air on my
    skin. It's freezing cold. This is the
    "outer space" setting you love so much.
    I'm so wet (there, I lied, this story
    contains the dreaded word "wet") and
    ready for penetration. I need to make it
    stand longer, though. I command a switch
    with my left ring finger. I feel your
    cock disappear, but soon it is replaced
    by a hand, I don't know which one as I
    look the other way. I command mirrors to
    become. Good idea, I hear your slight
    laughter. Around us appear hundreds of
    mirrors, above and beyond. I can see
    your right hand as it comes close to my
    pussy, two fingers forward. I feel your
    fingers enter me, sliding freely on my
    juices. My right hand in so called
    reality slides down to my clitoris and
    begins circling motions in sync to your
    hands' movements. I don't need two hands
    to control my body in Wired, I don't
    need eyes to see nor skin to feel your
    touch. I feel the third finger join the
    team and soon your whole hand is in me,
    whirling and pumping like the biggest
    dick you ever had. I command a switch
    (again) with a forking of your
    body-process with my right index finger,
    leaving your mind-process intact. I feel
    a the aforementioned huge member
    entering my anus from behind while your
    hand is still in my vagina, filling it
    all. Your mirror-body cock begins to
    fuck me slowly at first, then faster. I
    thank Goddess it's a stimulation, not so
    called reality, as I seem not to need
    any artificial wetness in my ass to make
    this penetration pleasurable,
    contrary-wise - I get large mounts of
    pleasure with every thrust.

    Your hands grab my raven-black hair and
    pull on it. I know it for a cue. My
    back instantly arches in a pose from my
    custom avatar. I know I look splendid
    now and the walls turn bright yellow,
    almost white, telling me your arousal
    levels are increased by {this} movement.
    Your hand is pushing on my vaginal walls
    and your member is pumping furiously in
    my fauvorite place. You seem to be so
    comfortable with a male body. I'm impressed.
    I detect a morphing
    function and then a slap on my bottom
    following it tells me you forked your
    hand to form another appendage, probably
    controlled by your...quick search in the
    now widely open code shows me you
    control them by your own vaginal
    muscles. It's a miracle I can think
    straight in this avalanche of feelings.
    In my mind a poem forms.

    Behind every invader stays
    A woman who
    got inside
    In oh so many stupid ways
    beg you to be my bride

    Behind your every mask belongs
    My ear,
    my eye, my fingers long
    This will cancel
    all our wrongs
    You make me brave, you
    make me strong

    Behind every woman stays
    A man who got
    In oh so many stupid ways
    I beg
    you to be my fellow, bride

    I tell the interface to form the poem as
    a performing ideogram and pulse it onto
    my back for you to see as a virtual
    tatoo extending my real one. You gasp
    when the two dimensional tentacles of
    the ideogram emerge on my skin. You bend
    over me and kiss my left ear, not
    stopping to stimulate me at all. Wonders
    of modern armaments. I can see that it's
    a yes. My happiness is almost painful,
    as is my pleasure, coming now soon to
    fruition. A slight sadness gets over me
    as I realize we can't become wifen in
    Poland. No real marriage for the persons
    of same sex. This thought quickly
    evaporates from my mind though. I can
    have a much closer relationship in
    Wired. People generally know so little
    about it's tangents and crannies and
    nuts and bolts.

    Right now I feel it's too much for me. I
    approach fast my first climax. I come,
    over and over again and my climactic
    spasms bring your male self over the
    edge. I hear a deep orgasmic scream in
    form of a growl in my ears while waves
    of intense pleasure are pushing my
    thought processes into the place of
    light and calm. I lose consciousness. I
    wake up with a helmet on my head,
    darkness around. Automatic exit
    procedure worked well.

    I check my Inbox on
    There is a message from you with a story
    like this one or at least a long comment
    or at least if you liked it or not :-).
  • What a day!

    Mai 26 2009, 1h51 por agquarx

    Today was one of the happiest days of my life. One person made it worth living. Maybe I am saying too much, but I think it's worth it. One guy asked to friend me. I clicked YES. I noticed he was very compatible musically with me, so I visited his profile and then recalled that I am not a subscriber and can't listen to his library any more (since introduced payments for all of this). I can't afford the payments. I became sad. But then I thought, as a jest, let's ask him - I wrote him in a shoutbox that I am poor and would he be so good and give me a subscription so I can listen to his library. I quickly forgot about it. You can imagine my surprise when I visited my email inbox several hours later and saw an email from confirming my gift subscription :-). It's so sweet, he hardly knows me, yet he bought me such a sweet gift :-). I think online friends are only friends in disguise and we can find so many great people among them! Comment if you had any experience like this or if you had an experience with a bad online friend, comment too!

    BTW I started a group "Redheads" for people loving red-headed female and male vocalist in any genre of music. Please join if you also like to listen to people with auburn hair! :-) ESPECiALLY if you are a red-head yourself!
  • Orban Loudness Meter Public Beta

    Jun 21 2009, 17h17 por Cuggar

    This is a nice free tool to measure the loudness of an album/track:

    You can read more about the technology behind it here:

    Measure some classic albums, some of your all time favourites. Then do the same tests for a few current major label releases. You will realize that the so called "loudness war" is a real danger to the global music culture.

    (disclaimer: I don't work for Orban!)