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Apparently Steve Wilson just finished the 5.1 and stereo mixes for King Crimson's "Three Of A Perfect Pair". Now that it, "Beat", and "Lark's Tongues in Aspic" are finished, I am just waiting for the release date. That will complete Wilson's work with Crimson, and Jakko Jakzyk should be doing "Thrak" if he hasn't finished already. I assume it will be released with "Power To Believe" and "ConstruKction of Light", whenever those get worked on.
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Mar 21, 2012 04:37
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...Steven Wilson is remixing King Crimson albums in 5.1? How did I not hear about this  Actually, I may have, I probably just forgot. But holy hell, is that going to be awesome.
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Mar 21, 2012 04:56
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Rageaholic Monkey posted:...Steven Wilson is remixing King Crimson albums in 5.1? How did I not hear about this A lot of them have been out for a long while
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Mar 21, 2012 06:24
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david puddy posted:A lot of them have been out for a long while  I'm gonna need to get my hands on a copy of the remastered ITCOTCK as soon as humanly possible.
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Mar 21, 2012 21:46
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I wasn't that impressed with some of his stereo mixes, but the 5.1 is a thing to behold.
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Mar 21, 2012 22:08
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Yeah they are great, the 40th anniversary edition of Lizard is especially awesome.
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Mar 21, 2012 22:35
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ITCOTKC's remaster is the only remaster where I've ever thought "holy poo poo how did this sound so bad before now?" The older releases feel like 96kbps MP3s in comparison.
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Mar 21, 2012 22:48
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david puddy posted:ITCOTKC's remaster is the only remaster where I've ever thought "holy poo poo how did this sound so bad before now?" The older releases feel like 96kbps MP3s in comparison. I love the album, but I was listening to the title track in my car the other day, and it sounded downright bad. I guess that was the first time I'd listened to it in my car. It sounded like the low end overpowered everything in the mix and it sounded really muddy and weird. Which I don't remember it sounding like on any other speakers. But all my other music sounds fine in my car  Anyway, I'll be interested to see how the remaster fares.
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Mar 21, 2012 23:07
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yeah, usually I turn cynical around the 4th remaster or so, but the 40th anniversary remasters are awesome, especially Court and Lizard (Lizard is basically a new album. really!!)
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Mar 22, 2012 13:49
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The ITCOTCK remaster is blowing my loving mind. I'm comparing the remaster to the original, listening to part of the new version and then part of the old version, and the old version really does sound like poo poo in comparison. So glad to have a version of this album that sounds this good. drat.
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Mar 23, 2012 04:15
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I really want to get some of the 40th remasters but I have nothing to listen to them in 5.1 unless I stayed in my school's 5.1 mix room to listen to it haha. On another note, I've been listening to quite a bit of Flower Kings lately and it just finally click. They have some stuff which I still find annoying as hell (Monkey Business for example, what a HORRIBLE track) but they seriously have their moments. Should I be checking Transatlantic too?
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Mar 23, 2012 17:39
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Gimmedaroot posted:Apparently Steve Wilson just finished the 5.1 and stereo mixes for King Crimson's "Three Of A Perfect Pair". Now that it, "Beat", and "Lark's Tongues in Aspic" are finished, I am just waiting for the release date. I think as of now ConstruKction of Light is not being planned. I guess there's a lot of red tape and stuff with that one, so as far as I know it's not getting the remaster treatment, which is really a shame. I want them all! I actually had heard and liked only some of KC before the remasters. I owned ITCOTKC and The Power to Believe and thought those were decent, but I didn't really pay a lot of mind to them until the remasters came out. I made it a point, though, to collect them and really get into KC, and it worked. I took my time and went through them all pretty much in chronological order (except Larks' Tongues in Aspic, which I heard, but didn't spend as much time on as the ones I had the remasters to). Now I've turned from just thinking of them as a good band to being a raving fanatic of them. I don't have a lot of experience with the older versions, but the remasters really really do sound amazing. Almost every one of them has me thinking to myself "Wow, this was really done in the 70s?" when I'm listening. I'm still kind of trying to get into the 80s trilogy of Discipline, Beat, and Three of a Perfect Pair. I've warmed up to them pretty decently now, though. The other day I got The Great Deceiver and the ProjeKcts Box Set, so I've got a lot of live and improv material to go through now, too. At first I didn't think I'd rebuy Thrak and The Power to Believe, since I already owned them and Jakko's doing them, but I'm pretty certain now I'm going to be a completionist and buy the hell out of them, especially if they come in the same awesome packaging that the rest of the set does. RDreamer fucked around with this message at 02:54 on Mar 24, 2012 |
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Mar 24, 2012 02:48
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God I fucking love Diablo 3 gold, it even paid for this shitty title
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I got into King Crimson when the 30th Anniversary editions were still coming out, and have the full set of those, including the gatefold editions of Earthbound, SaBB, Red, USA, and THRAK. Not to mention the countless live albums, KCCC releases, download-only live releases, projeKcts, posters and t-shirts I ordered from DGM... I really do need to hear the 40th Anniversary remasters, but haven't been able to bring myself to buy one. There's no band in the world I have spent more money on. Plus I already did the whole "rebuy the entire discography" thing with Gentle Giant, and then I at least had the excuse of many of the older CD releases really sounding like poo poo. It was drat frustrating getting into Gentle Giant as an American before the drt/Alucard/Repertoire remasters came out. Rollersnake fucked around with this message at 03:19 on Mar 24, 2012 |
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Mar 24, 2012 03:13
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Rollersnake posted:I really do need to hear the 40th Anniversary remasters, but haven't been able to bring myself to buy one. There's no band in the world I have spent more money on. Maybe this will convince you?
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Mar 24, 2012 09:04
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Recently I've found myself listening to their live albums more than anything else. USA, Absent Lovers, The Great Deceiver, there's something about their live albums that I don't get from other bands.
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Mar 24, 2012 12:18
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abske_fides posted:I really want to get some of the 40th remasters but I have nothing to listen to them in 5.1 unless I stayed in my school's 5.1 mix room to listen to it haha. Transatlantic are really solid, competent prog, but there's nothing about them that makes me go  like the Flower Kings do. Monkey Business is one of those super fun tracks. 
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Mar 24, 2012 12:49
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teen bear posted:Recently I've found myself listening to their live albums more than anything else. USA, Absent Lovers, The Great Deceiver, there's something about their live albums that I don't get from other bands. The performance of Starless on USA is maybe my favorite King Crimson-related anything ever, and more than anything else utterly destroys the common argument that Fripp's playing is academic and unemotional. The end honestly gives me chills every time. Absent Lovers is easily one of the best Crimson live albums, but the biggest highlight for me has to be Waiting Man. "Boy, that's the best we've done that in a long time," Adrian says at the end—I'd personally say it's the best they've done ever, but I've still got a lot of KCCC releases to go through.  My favorite Crimson release since the post-ProjeKct days is actually the live album Level Five. It's barely even album-length, but the track selection is so good. Dangerous Curves and Level Five are paired here in a very Talking Drum/LTiA part II sort of way, and it works so much better than what they ended up doing on The Power to Believe. Plus you get a good performance of the still-unfinished Power to Believe part 2 (Virtuous Circle), Deception of the Thrush, and an absolutely loving amazing performance of The ConstruKction of Light so flawless it's hard to believe it's actually live. I never realized how great this track was until I heard this performance—it's now one of my favorite Crimson songs, bizarrely terrible lyrics and all. Rollersnake fucked around with this message at 05:37 on Mar 25, 2012 |
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Mar 24, 2012 22:07
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Robert Fripp always said that an album was like a love letter, and a concert was like a "hot date". Having seen that Thrak tour back in 95, I can attest to that. The album was simply ok, but that concert was a monster. My head was ripped open.
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Mar 25, 2012 00:19
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CmdrSmirnoff posted:Transatlantic are really solid, competent prog, but there's nothing about them that makes me go I'll give Transatlantic a shot then... Monkey Business makes absolutely no sense after that huge epic hahaha. Anyone heard the Fripp albums with Eno? I've been meaning to check them out since we've started talking about ambient and Eno a bit in one of my music classes.
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Mar 25, 2012 14:36
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Rollersnake posted:My favorite Crimson release since the post-ProjeKct days is actually the live album Level Five. It's barely even album-length, but the track selection is so good. Dangerous Curves and Level Five are paired here in a very Talking Drum/LTiA part II sort of way, and it works so much better than what they ended up doing on The Power to Believe. Plus you get a good performance of the still-unfinished Power to Believe part 2 (Virtuous Circle), Deception of the Thrush, and an absolutely loving amazing performance of The ConstruKction of Light so flawless it's hard to believe it's actually live. I never realized how great this track was until I heard this performance—it's now one of my favorite Crimson songs, bizarrely terrible lyrics and all. I'm a big fan of TCoL so now I'll have to pick up Level Five along with some of the re-issues. abske_fides posted:Anyone heard the Fripp albums with Eno? I've been meaning to check them out since we've started talking about ambient and Eno a bit in one of my music classes. No Pussyfooting is an album I go back to every now and again but I never thought it was anything particularly special.
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Mar 25, 2012 14:44
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abske_fides posted:I'll give Transatlantic a shot then... Fripp & Eno are both brilliant on their own, but I can't say I've heard much from the two of them together that I've found really compelling. Well, Baby's On Fire has one of the best Fripp solos I've ever heard, but that's hardly ambient. I'd recommend picking up Midnight Blue and The Gates of Paradise by Fripp and almost everything ambient by Eno (but especially Apollo, Ambient 4: On Land, and both of his albums with Harold Budd) before looking into Fripp & Eno. The saddest Fripp & Eno related story I recall reading is that during the recording of The Equatorial Stars, they recorded what they considered one of the best pieces of music they'd ever made—and then lost it to a hard drive failure or something. As it is, The Equatorial Stars is a pretty good ambient album, but nothing essential. I haven't heard their most recent one. Oh, and be careful if you pick up an EG copy of Evening Star—I don't know how common misprinted copies are, but I have honestly bought this album twice, and both times it was actually Brian Eno's Before and After Science on the disc instead of Evening Star. This was a good thing initially as that was a hell of an introduction to solo Eno, but I did want an actual loving copy of Evening Star. Rollersnake fucked around with this message at 16:19 on Mar 25, 2012 |
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Mar 25, 2012 16:08
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That's really too bad because Evening Star is my fav of the Fripp and Eno albums. Truly beautiful. I had a boot somewhere of Fripp and Eno performing live in France in a cathedral. Apparently some people during the tour walked out because they were expecting a rock show. There are clips on youtube, but they are incorrectly titled 1979 when I am positive it was from 1975.
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Mar 25, 2012 21:23
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Gimmedaroot posted:That's really too bad because Evening Star is my fav of the Fripp and Eno albums. Truly beautiful. I had a boot somewhere of Fripp and Eno performing live in France in a cathedral. Apparently some people during the tour walked out because they were expecting a rock show. There are clips on youtube, but they are incorrectly titled 1979 when I am positive it was from 1975. Yeah I'd recommend Evening Star as the first one to check out, since it was actually composed (albeit very loosely) with the setup in mind. If you listen carefully to bootlegs from the few live gigs you can find the same tape loops or soloing ideas on the studio LP. Listening to the live bootleg is amazing considering how well put together the whole set is for material. You barely remember it's just two dudes and some tape machines.
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Mar 26, 2012 03:10
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Rollersnake posted:Absent Lovers is easily one of the best Crimson live albums, but the biggest highlight for me has to be Waiting Man. "Boy, that's the best we've done that in a long time," Adrian says at the end—I'd personally say it's the best they've done ever, but I've still got a lot of KCCC releases to go through. absolutely - it's one of those few examples of a band being completely plugged in for like, every single song, and they all know it too. IMO it's their best live album (out of the 10 or so I've heard) I finally broke down and got the Great Deciever set, and it's really very good if you just take it one disc at a time. They sound a bit like Can!
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Mar 26, 2012 14:56
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Well, Fire Make Thunder by OSI is out. So far I've only listened to it a couple of times but there's nothing really bad on the album. I really enjoyed Invisible Men and Bieg Chief II. Wind Won't Howl would have been awesome too if Radiologue hadn't been on the last album. Like most prog albums it will take me a few listens to figure out what I really like and what I don't, but so far it feels like a very consistent album.
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Mar 27, 2012 14:04
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Neurosis posted:Well, Fire Make Thunder by OSI is out. So far I've only listened to it a couple of times but there's nothing really bad on the album. I really enjoyed Invisible Men and Bieg Chief II. Wind Won't Howl would have been awesome too if Radiologue hadn't been on the last album. Like most prog albums it will take me a few listens to figure out what I really like and what I don't, but so far it feels like a very consistent album. The new OSI is great, and I agree, it feels very consistent throughout, and flows very well. Jim Matheo's playing sounds a bit different than the last album, especially when he's not playing anything heavy, and Kevin Moore is excellent as always. Has anyone checked out the new Flying Colors self titled that also came out today? It has Neal Morse, Portnoy, Steve Morse, Dave LaRue, and the singer from the pop rock band Alpha Rev, and it's one of the best things Portnoy has played on in quite some time. It's seriously worth checking out. Bits of prog here and there, but the whole thing is just incredibly melodic and strong throughout.
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Mar 27, 2012 17:30
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Evening Star is really a brilliant album, still one of the best ambient albums around IMO even now some 30+ years after it was made. The Equatorial Stars I just can't really get into it. It's not bad but it really doesn't have the sense of mystery or really any kind of emotion or atmosphere compared to a lot of other ambient music.
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Mar 27, 2012 17:38
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The second demo track of my prog recording project is finished, let me know what you guys think! http://www.reverbnation.com/metamusique
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Apr 2, 2012 19:13
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Iucounu posted:The second demo track of my prog recording project is finished, let me know what you guys think! But the cardinal sin, as far as I'm concerned, is that none of the vocal lines are memorable; they seem to be added as afterthoughts because you need vocals, and where they're present, they're never the centerpiece of anything that's happening. This is what killed a lot of bands that could have been really great -- Deadsoul Tribe, Rishloo, and Farmakon are great examples. Start with a memorable melody and work from there, or all the great chord progressions in the world won't help you win a repeat listener. My last comment is on the soloing -- the guitar tone is down pat, but too much focus is on the notes and not the rhythms, and it makes the solos come across as "incomprehensible solo in harmonic minor" or "incomprehensible pentatonic solo." There's too much going on and not enough room to breathe, and especially in the outro solo of "Escape Velocity," there's a lot of notes that are clearly improvised and don't come across as confidently played. It's as though the guitarist is saying, "Does this note work here? ...Yeah. Whew." Listen to the fit-and-finish on Steven Wilson's solo on "Trains" or Mikael Akerfeldt's first solo in "The Leper Affinity" and then pay very close attention to the transitions between notes on your tracks. As someone who learns best from the mistakes of others, my primary advice to you as an Opeth fan is to pick up Farmakon's A Warm Glimpse and pay attention to all the things that make them not Opeth. Vulture Culture fucked around with this message at 22:01 on Apr 2, 2012 |
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Apr 2, 2012 21:53
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Misogynist posted:This was quite an enjoyable listen, and I think you're very promising, but you need to break away from music that's filled with references to other bands ("Escape Velocity" is entirely too evocative of In Absentia and Blackfield, while "Pale Fire" was, I feel, inspired nearly 100% by Ghost Reveries and Out of Myself). That's not a bad thing, but I'm presuming you'd like to have an identity of your own, rather than being stuffed into a discount rack with a sticker that says "FOR FANS OF PORCUPINE TREE." That's very much for the exhaustive review, I really appreciate both your thoughts and the time it took you to write them. You've got us pegged to our influences exactly, which is something I'm both proud of and embarrassed by! We are still recording neophytes, it's a two man project, I play everything except drums, my buddy does drums and all the technical recording stuff. I really wish we had more members in our little project to bounce ideas off of and filter out some of our more derivative inclinations. You're absolutely correct about the lyrics being an afterthought. We will try and incorporate some of your suggestions into the final versions of the tracks. Thanks again for the effort you put into your review!
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Apr 2, 2012 23:06
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Prog lyrics should be embarrassing to listen to. They need a vague sense of mysticism with clunky or a flagrant disregard for rhyme, sung in a English accent with an utterly unremarkable voice. Something like: The ancient city of times long past Beheld a strangers secret worry Of future streaming waters entwined The path of which we know not when
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Apr 3, 2012 00:49
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DaWolfey posted:Prog lyrics should be embarrassing to listen to. They need a vague sense of mysticism with clunky or a flagrant disregard for rhyme, sung in a English accent with an utterly unremarkable voice. The Argus is one of the reasons I fell in love with Ween. It is absolutely dead-on, and sounds totally sincere if you're not really paying attention.
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Apr 3, 2012 04:51
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Misogynist posted:But the cardinal sin, as far as I'm concerned, is that none of the vocal lines are memorable; they seem to be added as afterthoughts because you need vocals, and where they're present, they're never the centerpiece of anything that's happening. This is what killed a lot of bands that could have been really great -- Deadsoul Tribe, Rishloo, and Farmakon are great examples. Start with a memorable melody and work from there, or all the great chord progressions in the world won't help you win a repeat listener. Man, that's the best advice I've seen posted on these forums in a long time regarding song writing. Vocal lines/melodies are priority one. e. to make this a little more constructive... Escape Velocity had better vocal lines than Pale Fire (IMO) and this is due to the magic trick that a lot of people never seem to get the hang of. Interval jumps in the vocal melodies. Wide interval jumps almost always make a melody more memorable (4th, 5th, 6th and especialy 7th's). I'll also applaud you for not tuning down to low C or B or what ever the flavor of the year drop tuning is...grats on that. One last thing, if you have the tracks - double the vocal lines. It'll do wonders for making a weaker singer sound like a stronger singer. FrankenVader fucked around with this message at 00:57 on Apr 4, 2012 |
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Apr 3, 2012 15:37
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Iucounu posted:The second demo track of my prog recording project is finished, let me know what you guys think! I'm going to take a different approach to Misogynist and say that, although your influences are clear as day, I think my main problem is the songwriting. Pale Fire starts off well, with the acoustic section that builds into the distorted riff. It's a good build-up and the segue into the distorted part is decent as well, but the song doesn't go anywhere after that. You revert back to a mellow/atmospheric section which doesn't really feel... "earned" for lack of a better word. The distorted part is underdeveloped and doesn't go anywhere. It just feels a bit clunky. I'm probably pretty terrible at explaining this, and maybe I'm projecting what I'd want to hear as opposed to what you wanted me to hear, but I think my recommendations for this track are to lose the mellow/heavy/mellow/heavy approach featuring almost identical parts and develop the actual riffs a little more. Also I feel like the song is playing at half speed. Your distorted parts lack energy. Listen to the Baying of the Hounds (you should probably change your riff a bit, by the way, it's pretty much identical to the intro) and you'll notice it has a lot more energy, a more driving rhythm. Your riff sounds a bit lethargic by comparison. I should also specify that the mellow/heavy thing is a problem I have with Opeth as well a lot of the time, especially on their first two and their last two albums. I just think that the songwriting process should be more than just a riff salad, it should feel cohesive. Morningrise and Heritage are perfect examples of this style of songwriting going horribly wrong. Ghost Reveries is probably one of their strongest albums from that standpoint, as most of it feels cohesive and thought out (some rough parts in Reverie/Harlequin Forest notwithstanding). I'd recommend listening to that album again with songwriting in mind. Listen to Ghost of Perdition, notice the callbacks to earlier parts of the song (the "higher" part getting revisited several times throughout the song, in different forms, most notably at 9:08 after a pretty sweet prog breakdown). More importantly, the music doesn't feel rushed, it doesn't feel cramped. Riffs are allowed to breathe, change and morph into other parts of the song. Look at doing something similar with your songwriting. Even if you start off as sounding like an Opeth cover band, realizing what works and what doesn't and playing around with these elements will go a long way towards improving your songwriting skills. I guess that's a lot of words, but really, I just want you to be aware of your songwriting and actually learn how to improve it and not coast on random soft/heavy segues like Akerfeldt's been doing recently. Not sure if you've heard Heritage, but it's full of weird, nonsensical segues and random song parts that go absolutely nowhere. Don't do that. It's not experimental, it's not avantgarde, it's just plain ol' lovely writing. Then there's the vocals. I'll just agree with what Misogynist wrote, although I'll add that they remind me more of Aghora than Deadsoul Tribe or the other bands mentioned. Personally, I liked DST and their vocalist had a really drat good voice (Murder of Crows has some pretty fantastic vocals, despite being Tool/Jethro Tull-ish as hell). Aghora, on the other hand, had serviceable vocals that weren't grating but they were completely superfluous; they added absolutely nothing to the music and were a mere distraction. That's pretty much how I feel about the vocals in Pale Fire. Sorry if I seem overly critical, I'm not, I just thought I'd write this as you seemed open to critique and suggestions. Hope you don't take this the wrong way.
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Apr 5, 2012 09:24
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Has anyone listened to Thick As a Brick 2 yet? I've been listening to it for a couple of days and I'm surprised by how awesome it is. Definitely some classic 70s Tull sounds going on; sounds like a proper sequel, which is very cool. There are some spoken word parts that seem a bit cheesy, but they're growing on me. Overall it's a pretty great album. Check out one of the standouts: https://www.youtube.com/watch?v=04KkcNAsI9U
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Apr 6, 2012 01:20
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Smekerman posted:I'm going to take a different approach to Misogynist and say that, although your influences are clear as day, I think my main problem is the songwriting. Pale Fire starts off well, with the acoustic section that builds into the distorted riff. It's a good build-up and the segue into the distorted part is decent as well, but the song doesn't go anywhere after that. You revert back to a mellow/atmospheric section which doesn't really feel... "earned" for lack of a better word. The distorted part is underdeveloped and doesn't go anywhere. It just feels a bit clunky. Thanks very much for a great review and your constructive criticism. I agree with your assessment. Our songs typically begin as riff salad and we construct transitions between the sections as best we can, and apparently it's more obvious than we intend for it to be. After the basic structure and transitions are laid out we add lyrics and vocal melodies as an afterthought, which is also pretty obvious. I never noticed the similarity to the Baying of the Hounds riff, I'll compare them when I get home tonight and see (I'm at work at the moment), but in my head I completely understand the comparison. I totally agree with your criticism of Heritage as well in all aspects. We have a few upcoming tracks that are a lot less Opeth and Porcupine Tree influenced. I will keep both your and Misogynist's critiques in mind and see if we can work on some of the issues you pointed out. Expect some new noise in a few weeks! Thanks again for the very thorough and detailed review, it is really cool that you guys have put so much time into listening and sharing your thoughts.
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Apr 6, 2012 03:24
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Cpt. Spring Types posted:Has anyone listened to Thick As a Brick 2 yet? I've been listening to it for a couple of days and I'm surprised by how awesome it is. Definitely some classic 70s Tull sounds going on; sounds like a proper sequel, which is very cool. There are some spoken word parts that seem a bit cheesy, but they're growing on me. Overall it's a pretty great album. I didn't know this existed. Thick as a Brick was always my favorite Tull album. Definitely going to pick this up.
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Apr 6, 2012 09:32
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I like TAAB2 as well, I've only listened to the 5.1 mix and Steve Wilson did another spectacular job with the surround. Its nice to hear Ian Anderson basically doing a Jethro Tull album with an old school vibe with hammond organ, glockenspiel, etc rather than cheesy newer synth sounds. I'm even tempted to go to the show this fall where he plays both versions...
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Apr 6, 2012 22:21
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While we're still on Steven Wilson and 5.1 mixes, I am on a Porcupine Tree 5.1 binge again and In Absentia and The Incident are absolutely made for this format. Definitely the best purchases I've ever made for my music collection.
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Apr 11, 2012 03:40
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Cpt. Spring Types posted:Has anyone listened to Thick As a Brick 2 yet? I've been listening to it for a couple of days and I'm surprised by how awesome it is. Definitely some classic 70s Tull sounds going on; sounds like a proper sequel, which is very cool. There are some spoken word parts that seem a bit cheesy, but they're growing on me. Overall it's a pretty great album. It is a good IA solo album - but I don't think he should have put it under the TAAB banner. You just can't live up to an album like that. I didn't really like the spoken word bits. If he had just taken out all the lyrical references to TAAB, the concept was good enough to hold its own. I thought the first minute and 38 seconds of the album should have been tossed - it generally just wasn't that good. But the rest of the album is pretty good. Florian Ophale does a fantastic job at recreating Martin Barre's classic sound. The rest of the band did not, however, do so good of a job at recreating classic Tull sounds and feels. IMO, you can tell that they're out of their element.
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Apr 11, 2012 03:51
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