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Patrick Walker obviously can sing. That's the issue with your statement. They still also don't sound alike.

Well that's a matter of opinion. I find him to strain so hard that it sounds like he's going to give himself an aneurysm. He has almost zero range and forces out what little range he has. It's a painful, amazingly horrible sound. Warning is among the most overrated trash of the past few decades. It's just a My Dying Bride riff or two played over and over until it becomes almost a parody of songwriting combined with this creepy stalker motherfucker doing his best which still sucks.
 
He intentionally makes his voice quaver, which is probably what you're misinterpreting to be vocal strain. That's another thing that Ozzy Osbourne and him don't have in common.

I don't really have any issue with you not liking his voice or Warning in general, but he definitely doesn't sound like Ozzy Osbourne and multiple differences between them have been brought up that are pretty apparent and that anyone who knows how to listen to the way someone sings should notice immediately.
 
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Two amazing albums, some of my favourites. Headsplit somewhat recently reissued them on tape which is fucking cool.
I hadn't thought of them in years until an online acquaintance brought them up randomly. I'd forgotten how catchy they were, that Fornicator one especially. Still haven't heard the second Whore album though.

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He intentionally makes his voice quaver, which is probably what you're misinterpreting to be vocal strain. That's another thing that Ozzy Osbourne and him don't have in common.

I don't really have any issue with you not liking his voice or Warning in general, but he definitely doesn't sound like Ozzy Osbourne and multiple differences between them have been brought up that are pretty apparent and that anyone who knows how to listen to the way someone sings should notice immediately.

I could show the album to 100 people and at least 90 of them would call him an Ozzy rip-off. You're blowing up minor differences and acting like they are huge.
 
I've never heard anyone make that comparison before and I have read probably 100 reviews of the album, both positive and negative. The only singer that I've seen Patrick Walker compared to with any frequency is Michael Stipe of REM.

Consistent use of vibrato and intentional vocal quavering on nearly every word are not really minor technical differences, by the way. Walker's tone of voice is also a lot more full. Ozzy's voice has always been pretty thin. Ozzy also has a tendency to peak his vocals by singing very forcefully, which is something that Patrick Walker doesn't really do. He sings much more gently and extends words for dramatic emphasis.

I'm not really sure what they have in common aside from both being tenors, as I said earlier.
 
I hadn't thought of them in years until an online acquaintance brought them up randomly. I'd forgotten how catchy they were, that Fornicator one especially. Still haven't heard the second Whore album though.

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The second Whore album is nowhere near as good, but still rules in a generic Razorback Records band kind of way. I fucking love Nattefrost by the way. :kickass:

Whatever, the album isn't even 10% as good as the worst My Dying Bride record so there's really nothing more that needs to be said here.

You really are a total fuckwit. :lol:
 


八十八ヶ所巡礼 - ○△□

Learned of this band through a RYM friend, weird punky prog stuff, comparisons to Voivod definitely work. Some of these chords sound like a spaceship's sirens going off.
 
-->Hates Warning for being beta-male bitch shit with whiny ass vocals

-->Likes The Morningside who have a remarkable similarity, lyrically, with Warning

Can't even understand what they are saying and I don't care. Lyrics don't even matter that much. The problem with Warning is more how fucking awful that voice sounds. Almost as annoying as Neutral Milk Hotel vocals. I can't stand that kind of strained vocal where it sounds like the singer is trying to push out a stubborn turd.

I mean, let me put it this way, why would I want to listen to Warning when bands like Spirit Adrift exist in the same style but with vocals that don't annoy me and songwriting that doesn't bore me?
 
Can't even understand what they are saying and I don't care.

I don't believe people who say stuff like this. Suppose you really liked some doom metal record, thought it was epic, great riffs, etc. and then you later found out that the lyrics were all about having buttsex orgies in animal costumes, and you looked through the cd booklet (or whatever) and saw just pictures of people in animal costumes having buttsex with each other. I think this would have some kind of effect on you. I don't think listening to that music would be quite the same experience for you after that.

But even if your experience of it remained the same, I think that would only be the case because you actively forced the lyrical subject matter out of your mind, because doom metal records cannot be about having buttsex in animal costumes. It's simply not a thing! Those things don't even remotely go together. You couldn't take a doom metal record seriously if you thought of it that way. And that's why, by the way, doom metal bands don't go in for subject matter like animal costume buttsex orgies.

If lyrics didn't matter, then metal bands would just put out records with random lyrics about nothing at all, or about completely random subject matter, or they'd just make grunting noises that didn't correspond to real words at all. That would be easier, wouldn't it? Nobody can tell what they're saying, so who cares? But in fact there are lyrical norms in metal. Your position has to be that virtually the whole history of extreme/underground metal is built on a confusion.

I don't believe that there is such a thing as listening to music as pure sound if you are an adult human being, even if it's purely instrumental music. So I think people who say they don't care about lyrics at all are usually full of shit. You may not care about the gritty details of the lyrics of music you listen to, but I do believe that when you listen to it, you are not approaching it as though it's pure sound, but rather as sound associated with certain concepts and themes. Even that grants too much, actually, because I think that grown-ass human beings actually experience various musical sounds as fundamentally inseparable from the themes and concepts they're associated with. That is to say, they don't hear them as a coupling of sound and theme/concept. Rather, they hear the themes/concepts in the sound that's playing, and they approach music with expectations beyond even just that. So I think the "I don't care at all about lyrics" people are either lying or just confused.
 
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