Another List

Third list.
Obituary: ‘Til Death
Opeth: All of them, impossible to name only one too.
Overkill: God Like – What’s Your Problem
Overdose: Beyond my Bad Dreams
Pantera: All of them, impossible to name only one
Pissing Razors: Box Life – Survival of Time
Portishead: Portishead (I love this record I can’t name only one song)
QOTSA: The Lost Art of Keeping a Secret
Quo Vadis: Defiant Imagination**
Rob Halford: The One you Love to Hate
Rotting Christ: After Dark I Feel
Ryker’s: End of Time
Suffocation: The Invoking
Slipknot: Eeyore (Yes, I enjoy listen to them once in a while, now flame me. Bitch)
Six Feet Under: Feasting on the Blood of the Insane (more flames, bitch)
Steve Vai: For the Love of God – Boston Rain Melody
The Crown: Death Metal Holocaust – Dream Bloody Hell
Type O Negative: Love you to Death – Black n- 1
The Cure: Pictures of You
The Darkness: Love on the Rocks with No Ice
Tool: Eulogy – Forty Six and Two
The Mistake: No scars
The Alan Parsons Project: I Wouldn’t want to Be Like You – Voyager/ What Goes Up – The Eagle Will Rise Again (This is a great song)
Ulver: Kveldsfänger (The whole cd)
Unleashed: Never Ending Hate
 
BurningSky said:
You are so incorrect it's laughable.
Click to expand...

Yes, isnt it? Dropped-d, single finger power chords played in virtually the same progressions for 4 albums, overlayed with gobs of effects, and Maynard's nasally self worship. If youd actually listen to Tool, analyze the structure and composition, and ignore all the "signal noise" (eye-candy/attempt at "deep" thoughts), youd see that they have far more in common with Nickelback than Opeth. Dont even get me started on A Perfect Circle...
 
Forth:
Vader: Cold Demons – Reign Forever World
Vintersorg: A Dialogue with the Stars
Vibrion: Schizoid’s Obsession – Metamorphosis
Vangelis: La Petite Fille de la Mer
Vital Remains: Dawn of the Apocalypse**
White Zombie: La Sexorcisto
Yes: And You and I – Yours is no Disgrace
Zyklon: World ov Worms**



**Currently listening to them, also those could be put on the ‘Now Playing’ thread, but I’m way too lazy to find it.
On a side note: Quo Vadis kicks insane ass, and this record is absolutely killer.
Also I could put some songs by Monstrosity, Saxon, Graveworn, Porcupine Tree, Paatos, Evoken, Dissection, Vehemence, Veneficum, Camel, Messugah, Mynjun, Dismember, Strapping Young Lad, Morte Macabre, Diabolical Masquerade that I’ve heard off, but I don’t own those records because I’m poor. Fuck.
And I assume I’m missing lots of songs here... Perhaps other day.
Oh, and by the way, I hate Megadeth
 
Quick list (random order):

Opeth - The Drapery Falls
Symphony X - Of Sins and Shadows
Metallica - Blackened
Helloween - How Many Tears
Adagio - Chosen
Avantasia - The Final Sacrifice
Edguy - Mysteria
Nevermore - The River Dragon Has Come
Death - Spirit Crusher
Testament - DNR (fav solo is First Strike is Deadly)
Judas Priest - Painkiller
Iron Maiden - Hallowed Be Thy Name
Primal Fear - Angel in Black
Megadeth - Holy Wars
Evergrey - Blinded
Slayer - Seasons in the Abyss
Grip Inc - Hostage to Heaven
Quo Vadis - On the Shores of Ithaka
Amorphis - The Way
After Forever - Beautiful Emptiness
Dream Theater - Home
Lost Horizon - Denial of Fate
Iced Earth - The Comming Curse
 
Justin S. said:
Yes, isnt it? Dropped-d, single finger power chords played in virtually the same progressions for 4 albums, overlayed with gobs of effects, and Maynard's nasally self worship. If youd actually listen to Tool, analyze the structure and composition, and ignore all the "signal noise" (eye-candy/attempt at "deep" thoughts), youd see that they have far more in common with Nickelback than Opeth. Dont even get me started on A Perfect Circle...
Click to expand...

Ahem.

Opeth uses single finger power chords in drop-D, overlayed with effects.

The "signal noise" you are referring to is called tone. Perhaps you're unaware of this, but the tone of music is equally important to harmony, rhythm, and melody. Ignoring this "signal noise" as you put it is missing an integral core of music itself, and while it is convenient to ignore that does not mean it isn't important. The fact Tool is willing and able to explore a wide variety of tones is only more evidence proving their depth of musicality.

You claim they use the same progressions over the course of four albums. Perhaps you'd like to prove such a statement, complete with a theoretical analysis of several of their songs. Until then, I must ignore such an ignorant statement.

After examining the structure and composition of Tool's songs, the only conclusion that I come to is that Tool's level of musical thinking is far above the vast majority of musicians today. To say that Tool has more in common with Nickelback than Opeth is akin to saying that John Lennon had more in common with George Bush than Paul McCartney.

To whoever said Maynard had a shitty, whiny voice:

I want you to go to a recording studio, put your voice on a track all by itself, harmonize that track with your own voice, post it here for us all to hear, and then repeat that statement again. I want a good laugh.

Until then, I find it hard to believe someone behind the safety of a computer and the internet is going to be a reliable judge of quality singing.
 
Omnibrad said:
Ahem.

Opeth uses single finger power chords in drop-D, overlayed with effects.

The "signal noise" you are referring to is called tone. Perhaps you're unaware of this, but the tone of music is equally important to harmony, rhythm, and melody. Ignoring this "signal noise" as you put it is missing an integral core of music itself, and while it is convenient to ignore that does not mean it isn't important. The fact Tool is willing and able to explore a wide variety of tones is only more evidence proving their depth of musicality.

You claim they use the same progressions over the course of four albums. Perhaps you'd like to prove such a statement, complete with a theoretical analysis of several of their songs. Until then, I must ignore such an ignorant statement.

After examining the structure and composition of Tool's songs, the only conclusion that I come to is that Tool's level of musical thinking is far above the vast majority of musicians today. To say that Tool has more in common with Nickelback than Opeth is akin to saying that John Lennon had more in common with George Bush than Paul McCartney.

To whoever said Maynard had a shitty, whiny voice:

I want you to go to a recording studio, put your voice on a track all by itself, harmonize that track with your own voice, post it here for us all to hear, and then repeat that statement again. I want a good laugh.

Until then, I find it hard to believe someone behind the safety of a computer and the internet is going to be a reliable judge of quality singing.
Click to expand...

AHEM. You are the prototypical obnoxious Tool fan. Rather than actually listen to my criticism you attack straw men, not to mention totally missing the point about "signal noise"; i wasnt describing anything in the audio realm.

- Opeth rarely tunes to D, and when they do, its more than power chords. I like D; i dont like 4 albums of it with the same progressions... surely you dont need me to show you that 46&2, stinkfist, The patient, Schism, etc. all center around similar progressons of 6th string roots.

- Im not against effects; im against using them to make up for a lack of actual creative material. Layering and adding depth is what they are for, not using them as the backbone of ones "sound".

- With "signal noise" i was labeling their whole approach and ridiculous imagery. If you took all of that away, they most certainly are a glorified rock band.

- Tone, as you describe it, is most certainly not as important as the fundamentals of music. Great music can be seen on the page, and doesnt even need to be expressed in sound. Production values and tone are lovely and can really add to the music but they are not core components.

- I did not overlook the irony of you dismissing Nickelbacks contribution to music (without any justification) and then demanding that i provide you a "theoretical analysis" for criticising Tool. Nickelback is "obviously" not in the same league as Tool, in your mind. In my scope, they are simply not that different. Take one page of Bach- it has more in it than the entire catalog of rock.

- Maynards voice has little range and is indeed very nasally. You may like that and thats fine. Too me, its beyond irritating. As far as my vocal talents go, i havent made it a priority yet, but i still dont sound like 3 pounds of snot are lodged up my nose.

Have a good one.
 
Justin S. said:
- Tone, as you describe it, is most certainly not as important as the fundamentals of music. Great music can be seen on the page, and doesnt even need to be expressed in sound. Production values and tone are lovely and can really add to the music but they are not core components.

-Take one page of Bach- it has more in it than the entire catalog of rock.
Click to expand...

I stronly disagree with this crap.

I can print off a sheet of music that has one whole note D on it. I can then hand that sheet to 1000 musicians and hear 1000 TOTALLY DIFFERENT interpretations of that music. great music is indeed seen on the page, but it is also an ethereal presence that each individual artist helps create with their style and TONE. to dismiss the importance of Tone is in my opinion, pedestrian.

as for Bach, i despise how much classical music gets glorified and jacked-off. YES, they are all great composers. but over a period of a few hundred years, these few people were the VERY BEST that existed. they represent a minority of the scene. however, to constantly inch them higher and higher to elude modern composition is ludicrious. that was then and this is now. today's writers get far too little credit compared to the old masters.
 
Justin S. said:
- Im not against effects; im against using them to make up for a lack of actual creative material. Layering and adding depth is what they are for, not using them as the backbone of ones "sound".
Click to expand...

You know as soon as I read that 'Deliverance' popped into mind. Maybe there's a bigger commonality between Opeth and Tool than we'd like to admit :lol:

Here's a short list for the purpose of staying on topic here.

Nevermore - Believe In Nothing
Amorphis - Black Winter Day
Vivaldi - The Summer - Tempo impettuoso d'Estate Presto (this is so fun to play on guitar)
Arsis - Elegant and Perverse
Blood Red Throne - Tortured Soul Appearance
Bloodbath - Blood Vortex
Camel - Lunar Sea
Carcass - Heartwork
Children of Bodom - Kissing the Shadows
Chrono Trigger - At the Bottom of Night
Dan Swano - The Big Sleep
Dark Tranquillity - The Endless Feed
Emperor - In the Wordless Chamber
Enslaved - Isa
Frank Klepacki - Hell March
The Gathering - Analog Park
Immortal - Grim and Frostbitten Kingdoms
In Flames - Dead Eternity
J.S. Bach - Prelude No. 5 D Major BWV 850
Kalmah - Heritance of Berija
Kreator - The Ancient Plague
Machinae Supremacy - Lord Krutor's Dominion
Morte Macabre - Apoteosi Del Mistero
Necrophagist - Culminary Hyperversity
Nightrage - In My Heart
Nightwish - End of all Hope
Norther - Mirror of Madness
Opeth - Serenity Painted Death
Portishead - It Could Be Sweet
Raison D'etre - The Slow Ascent
Rammstein - Mein Teil
Slumber - Dreamscape
Sonata Arctica - The Cage
Steel - Say Goodbye (to love)
Summoning - Grey Heavens
Tenhi - Kielo
Total Annihilation - Track 5 (fucking beautiful orchestral piece)
Ulver - Gnosis (I LOVE that triphop beat/keys that kicks in at about 2:50)
Vehemence - Her Beautiful Eyes
Warmen - Unknown Soldier
 
Opeth - The Moor
Novembre - Come Pierrot
Death - Flesh and the power it holds
Psychotic Waltz - Into The Everflow
Tool - Eulogy
Primordial - Cast to the pyre
Mastodon - Naked Burn
Strapping Young Lad - Aftermath
Devin Townsend - Deep Peace
King Crimson - Starless
Machine Head - Violate
Anacrusis - Sound the alarm
Meshuggah - Corridor of chameleons
Godflesh - Christbait Rising
Neurosis - Under the surface
Voivod - Bacteria
Soundgarden - Let me drown
 
ok..here I go:

Yes - And You And I
Caravan - In The Land Of Grey And Pink
Radiohead - Karma Police
Camel - Air Born
King Crimson - Epitaph
Porcupine Tree - Trains/Don't Hate Me/A Smart Kid ...well..almost everything :)
Slayer - Seasons In The Abyss
Iron Maiden - The Clairvoyant/Wasted Years/Ghost Of The Navigator..just to name a few.
Opeth - Everything
Samael - Baphomet's Throne
Judas Priest - Before The Dawn
Bruce Dickinson - Chemical Wedding
Arcturus - Radical Cut
Black Sabbath - Heaven And Hell
Saturnus - For Your Demons, Fall Of Nakkiel (Maybe the most moody and beautiful piece of music I have ever heard)
Dream Theater - Metropolis pt. 1: "The Miracle And The Sleeper" / Metropolis pt. 2
Jeff Buckley - The whole "Grace" album. absolutely beautiful album.
Storm - Oppi Fjellet
Anathema - Deep/Tempoary Peace/Anyone, Anywhere/Alternative 4
Lou Reed - A Perfect Day
Apocalyptica - Nothing Else Matters/Hall Of The Mountain King
Agalloch - ..And The Great Cold Dead Of The Earth/A Desolation Song/I Am The Wooden Doors/As Embers Dress The Sky/In The Shadow Of Our Pale Companion
Nest - Calmly Passing Monument
Katatonia - Rainroom
Ayreon - School/Valley Of The Queens/Childhood/Hope/As the Druids Turn To Stone

And soo much more...well...fuck it.
 
Simon & Garfunkel - The Only Living Boy In New York
Rush - The Pass
October Tide - 12 Days Of Rain
Sigur Ros - Olsen Olsen
Resurrection - Smell Of Blood
Carole King - Only Love Is Real
Stevie Wonder - Visions
Judas Priest - Victim Of Changes
Judee Sill - Crayon Angels
Captain Beyond - Thousand Days Of Yesterdays
Leon Russell - A Song For You
Evoken - Antithesis Of Light
Miles Davis - Blue In Green
Porcupine Tree - Lazarus
Rainbow - Gates Of Babylon
Steve Hackett - Ace Of Wands
Massacre - Dawn Of Eternity
Tudor Lodge - Help Me Find Myself
Black Bonzo - Lady Of The Light
Nevermore - The Sanity Assassin
Flasket Brinner - Grismakt
 
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