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mathias wrote:one more spot for band left in ILFest.. May I recommend the group "SPACERITUAL and theAvondon have a fight on stage with swords"? http://www.ilovefuzz.com/viewtopic.php? ... 35#p248307

I'll even wire the swords to contact mics so we can run them through fuzz and delays..

If we didn't live on opposite ends of the south.....

theavondon wrote:

mathias wrote:one more spot for band left in ILFest.. May I recommend the group "SPACERITUAL and theAvondon have a fight on stage with swords"? viewtopic.php?f=150&t=16714&start=135#p248307

I'll even wire the swords to contact mics so we can run them through fuzz and delays..

If we didn't live on opposite ends of the south.....

FORD/GRIGGS DUET FOR DAMBLTOAN OP. 1 LIVE IN MILWAUKEE

SPACERITUAL wrote:

theavondon wrote:

mathias wrote:one more spot for band left in ILFest.. May I recommend the group "SPACERITUAL and theAvondon have a fight on stage with swords"? http://www.ilovefuzz.com/viewtopic.php? ... 35#p248307

I'll even wire the swords to contact mics so we can run them through fuzz and delays..

If we didn't live on opposite ends of the south.....

FORD/GRIGGS DUET FOR DAMBLTOAN OP. 1 LIVE IN MILWAUKEE

MOTHERFATHER YESSS

i live for performing in front of people.

i started playing music because i wasn't popular, and the guitar was my girlfriend (sad but true)

I love performing

even my home recording project is only home recording just beacuse i wasn't able to get any musicians to play with me

now my band is breaking up and i'll miss the live performing the most

DarkAxel wrote:I love performing

even my home recording project is only home recording just beacuse i wasn't able to get any musicians to play with me

now my band is breaking up and i'll miss the live performing the most

I know the feeling. Until recently, I wasn't doing shows for a few years, save for featuring one song appearances as an onstage guest a few times. I have to admit I really, really missed the stage lights and the audience.

x

My shorter version: don't be a fruity hipster and act like you don't care what other people think. Everybody wants people to like their music or they'd have a different passion.

my even shorter version: of course i care what other people think, but i work to satisfy my own standards first.

plhogan wrote:My shorter version: don't be a fruity hipster and act like you don't care what other people think. Everybody wants people to like their music or they'd have a different passion.

So when you and your band write/put together a song do you actually ask each other "do you think people are going to like this?" or "what can we change so people will like this more?"

If that's the case, it sounds to me like a miserable way to go about things.

Also, I would think that the majority of innovation/expansion throughout music history came about from the opposing mindset.

MiddleEarthCrisis wrote:

plhogan wrote:My shorter version: don't be a fruity hipster and act like you don't care what other people think. Everybody wants people to like their music or they'd have a different passion.

So when you and your band write/put together a song do you actually ask each other "do you think people are going to like this?" or "what can we change so people will like this more?"

If that's the case, it sounds to me like a miserable way to go about things.

Also, I would think that the majority of innovation/expansion throughout music history came about from the opposing mindset.

I don't say those particular words. But I do try to put myself in the place of someone listening to the music as an audience, and then ask myself things like "Does this sound good?" "Is it enjoyable or sonically interesting?" "Is this too repetitive?" etc. etc. etc.

bigchiefbc wrote:

MiddleEarthCrisis wrote:

plhogan wrote:My shorter version: don't be a fruity hipster and act like you don't care what other people think. Everybody wants people to like their music or they'd have a different passion.

So when you and your band write/put together a song do you actually ask each other "do you think people are going to like this?" or "what can we change so people will like this more?"

If that's the case, it sounds to me like a miserable way to go about things.

Also, I would think that the majority of innovation/expansion throughout music history came about from the opposing mindset.

I don't say those particular words. But I do try to put myself in the place of someone listening to the music as an audience, and then ask myself things like "Does this sound good?" "Is it enjoyable or sonically interesting?" "Is this too repetitive?" etc. etc. etc.

YOU AGAIN? ( )

With the current band, I write the basic concept/skeleton of the song, and then the other two members modify it for more likeyness.
Then I push it back the other way a bit with wisely chosen battles and we end up with something we agree upon as sonically interesting and at the least, not repulsive.

I'm really not sure what I'd end up with without the other two though.

I do get what you are saying and agree not many people write music with the intention of sounding awful, although many unintentionally succeed.
But, WTF do I know my favorite Lou Reed album is Metal Machine Music

i guess it's my good fortune in terms of potential accessibility that i enjoy BOTH Merzbow and the Beach Boys, Charles Mingus and the Who. which is to say that i've got one foot firmly planted in relatively accessible stuff. i like to think of MBV or Flying Saucer Attack as precedents, with their wispy folk/pop melodies set like semi-precious stones in a wall of insane electronic racket. my standards in terms of what i think is {too much, too long, too over the top, what i leave in/take out} aren't all that far from what the weirder end of pop listeners--e.g. the kind of UK music reviewer who dotes on Pet Sounds and Blur--would say, though they're certainly looser and more improvisatory/psychedelic/heuristic. but y'know, if you're doing something in song form, IMO it's almost an obvious thing in sonic/mathematical terms when, e.g, that fucking repeat in the coda has gone on too long. when the mind wanders, something's wrong in the structure or arrangement. unless your goal is to do something that people will listen to when they're smoking hash spliffs and woolgathering. form follows function, as the architect Louis Sullivan said in one of my favorite artistic maxims.

bigchiefbc wrote:I don't say those particular words. But I do try to put myself in the place of someone listening to the music as an audience, and then ask myself things like "Does this sound good?" "Is it enjoyable or sonically interesting?" "Is this too repetitive?" etc. etc. etc.

my process wouldn't be this so much as "does this passage/bridge/riff belong here?" "does it add to the song, or just make it longer?" "is the point of this song its lyric, or sticking a four-minute solo in the middle?" "how can i make this relatively dull yet 'finished' song more interesting?" "can i sing it in this key?" structural stuff.

which leads me to share one of my BIG SECRETS OF ARRANGING. let's say you need a solo/break in the middle of the song. you consider going around for a full iteration of the verse, but that's too long; you try soloing over the intro, but that's too boring. now what?

here's what. change key for eight bars and solo over that eight-bar break, and then resolve back to the original key. this strategy can be heard all over post-WW II popular music, and probably in prewar music too though i haven't made a detailed study. Richard Thompson does this all the time, as does Motorhead's "Ace of Spades," but the Ur-example of this everyone's probably heard is Aretha Franklin's version of "Respect."

MiddleEarthCrisis wrote:

plhogan wrote:My shorter version: don't be a fruity hipster and act like you don't care what other people think. Everybody wants people to like their music or they'd have a different passion.

So when you and your band write/put together a song do you actually ask each other "do you think people are going to like this?" or "what can we change so people will like this more?"

If that's the case, it sounds to me like a miserable way to go about things.

Also, I would think that the majority of innovation/expansion throughout music history came about from the opposing mindset.

No, that would be fucking stupid. But that's the fruity hipster shit I'm talking about, you've created a false dichotomy where it's either "I don't give a fuck what anyone thinks!" or it's "let's only make passionless pre-chewed pop music". It's obviously somewhere in between, and different musicians are at different points on a spectrum between not giving a fuck and making boring music.

Although it seems like you understand what we're saying and it just "rubs you the wrong way" to say you care what other people think. That will fade with time.