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mickilennial
Nothing nearly interesting, just doping about. I finally finished Simoun a while back (which you suggested to me) and enjoyed it a bit.
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Travesty182
If you meant by link, here's the wallpaper for it. I cropped it to her body. http://www.emptyblue.it/data/wallpaper/KoreWaZombieDesuKa/12_0405korezon0084.jpg
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TheRollingBones
I just might have to pursue that idea. If so I'll drop you some royalties for the idea
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ShmapnShmazz
when i was 14 (but that is between you and I. these days you can't be emo without liking them so......)
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wastemyskin
"i wish something would kill me, 'cause i'm too scared to do it myself" is a personal highlight of how up lifting they are. "this hatred is fucking exhausting. i'll never be good enough for myself or anyone else."
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wastemyskin
two of my favourite emo/screamo bands. get to it! http://twoknights.bandcamp.com/ http://fatherfiguretx.bandcamp.com/
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oldhomehaibane
If I recall correctly he had no choice in the matter and was only doing his best with the insipid material that Lonesome Ace provided him with. Still, it’s more than a little frustrating and depressing that he squandered his considerable talent on such comfortable drivel.
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oldhomehaibane
earlier. It is as if what he was trying to express just then was something truly ineffable. Similarly, when he doesn’t finish the line “meet you on that other shore” it is as if Patton has been arrested by a profoundly ecstatic vision. We can imagine that it is an ecstacy so intense in its joyousness as to be almost unbearable itself. Patton gets it, the Boggs song doesn’t. If, after a long life, I passed away and awoke to find that heaven is real and that my father, who died when I was only a sophomore in high school, was waiting for me, I really think that my joy would be so profound as to be akin to the suffering I felt when I lost him. No words can really properly express what my feelings would be like, but I can sure as hell tell you that the tepid “golly, ain’t this nice” sentiment evoked by “Sweethearts...” isn’t even close. Now, that being said, I don’t blame Boggs for the weakness of this material.
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oldhomehaibane
which prevents us from ever feeling really uncomfortable. Likewise “Sweehearts...” manages only to express a blandly comfortable “golly, won’t that be nice” sentiment at the thought of lovers reuniting in heaven; it conveys none of the intense yearning and ecstacy of Patton’s “Prayer of Death.” The difference between “Sweetheart...” and “Prayer...”, which in my opinion is the difference between pop-trash and powerful art, is most clearly seen in Patton’s use of a technique where he refrains from finishing a vocal line, instead allowing his guitar to speak for him. In part one he stops just short of saying ‘shore’ in what should be the line “meet you on that other shore.” He also does it a little later when he sings “God is...” and lets his guitar express the feeling. God is what, exactly? He immediately follows this up with the complete statement “God is good” but we get the sense that this is a mere substitution, that that wasn’t what he was really trying to tell us just a while
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oldhomehaibane
Those are certainly two of them, but neither are the worst offenders in my opinion. I'm particularly referring to "New Prisoner's Song" and "Will Sweethearts Know Each Other There?" both of which are just sentimental, watered-down bullshit compared to the devastating nature of his earlier work. This is especially obvious when you compare these two songs to others that deal with similar themes but in a much more profound way. Compare "New Prisoner's Song" with Roscoe Holcomb's "Born and Raised in Covington" and "Sweethearts..." to Charley Patton's "Prayer of Death Parts 1 and 2." When Roscoe Holcomb, in his inimitable falsetto, sings "son, oh son, what have you done" and "fourteen long years in prison" we can really feel the gravity of what's been done and the weight that must be carried. The bareness of Holcomb's a cappella vocals serves to heighten their intensity, suggesting as it does the desolation of a ruined life, whereas the banjo in "New..." strikes an almost humorous tone
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Peasounay
okay i understand, i agree with you. Shell of Light is probably ma favourite from Untrue, but I also like very much the rest, they all are good. I think the ending of the song is actually that "shell of light", plus the lyrics: "closer" means closer to the end and that shell of light
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froggafiend
With regards to STITI, I'm not sure if it was remastered. The wiki link is referring to the 1996 re-issue, it was done just so they could capitalise on the success of Born Slippy .NUXX by including it on a limited edition bonus disc. In terms of re-issues, a good place to go is discogs.com or rateyourmusic.com. Discogs shows a number of STITI re-issues, the most recent is 2003, but it dosen't specify if it's a remaster or not. I bought the album in a package with Beacoup Fish which was released in 2005 and I don't think these are remastered versions. http://www.discogs.com/Underworld-Second-Toughest-In-The-Infants-Beaucoup-Fish/release/1637442. http://www.amazon.co.uk/Second-Toughest-Infants-Beaucoup-Fish/dp/B0009JOPLC. I have to ask about Dubno. To my knowledge the only remaster of the album was a limited edition released only on vinyl never cd. I have found a .flac download for it. Is this what you've been referring to?
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froggafiend
I had never heard of Plastikman before either, and I have to admit I don't know much about Above & Beyond & Justic tracke apart from that D.A.N.C.E track. My knowledge on electronic music isn't that great. For instance I have trouble categorising songs into their respective genres. Electronic music has too many subgenres, it's confusing sometimes.
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froggafiend
I never knew Dubnobasswithmyheadman was remastered. Thanks for pointing that out. The volume on the original cd is a bit flat. Second Toughest is the same. I just listened to Pearls Girl from 1992-2012 and compared it with my STITI cd and there is a noticable difference.
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froggafiend
Thanks for leaving me a comment. Here is the list http://www.mixmag.net/words/news/mixmags-greatest-dance-act-revealed. The reason I think for the #7 ranking is just a reflection of commercial sucess. Usually more recent acts rate higher than disbanded ones, and also groups who do well on the charts. So in that sense the top 3 spots sound correct. But the problem with "best of" lists is that the results usually reflect popularity and not talent; case in point - Deadmau5. If all the bands on the list were to be ranked by influence then Kraftwerk would have to be #1 but really they aren't dance, so not sure why they are on the list. If they just mean "electronic" then Aphex Twin is an obvious omission worthy of the top 5, also Autechre should be on there too.
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