Greatest Death Metal Release (no bullshit 'top ten' lists!)

westknadrian said:
lol what do you know about my musical tastes
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More than enough.

To wit:

a "greatest death metal releases" list would be hard to compile because there are only like 10 death metal albums in history that are worth giving a shit about, and most of them are opeth
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I can only say that I hope you're insured: I understand AZT is expensive.
 
yawn so i don't listen to death metal. i'll just join the 99.9% of the population that is apparently gay and retarded
 
Scourge of God said:
I'm suggesting that the music you listen to marks you as a queer, you fag.
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I'm suggesting that the insults you continue to deliver because you disagree/dislike something/someone marks you as queer, you fag.

Get with it and learn to post without the need of continually resorting to insults. It's old and tired (by a long shot) at this point.
 
Mmmmm....I think that the 12 tone thing is a stretch. Retrograde, Inversion, RI and other such developmental techniques do not have their origins in 12 tone music and are certainly not peculiar to it.
 
hibernal_dream said:
How?
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Because by the beginning of the 20th century, tonality had reached a breaking point. There was nothing left to experiment with. Every possible chord progression/modulation/harmonic novelties had been completely tapped out. The next logical step was atonal music, primarily 12-tone and pitch-classes.
 
jasonpiano25 said:
Because by the beginning of the 20th century, tonality had reached a breaking point. There was nothing left to experiment with. Every possible chord progression/modulation/harmonic novelties had been completely tapped out. The next logical step was atonal music, primarily 12-tone and pitch-classes.
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Yes, but you said it was essential step in the evolution of music. Essential to what - ie what did it lead to? If it's just a dead end, then it's not essential, much like Neanderthals weren't an essential step in the evolution of the homo genus.
 
Well, atonality led to essentially all of the genres that broke out in the 20th century. And there are way too many to list, but a few would be bi-tonality, microtonality, cacophony, clusters chords, and more exotic influences to say the least. Music composed in the classical style is still happening today, nearly a hundred years after Schonberg developed the 12-tone system. That system and its music is considered old now. There has been so much music since then that has built upon that.
 
atonal music was not "essential in the development of music," it's a tangential style. when you listen to shoenberg, for example, what's the POINT? it doesn't sound good. isn't that the point of music? music should be immediately and outwardly "good" sounding, unless you just like listening to bad sounds which makes you either a weirdo or a pretentious faggot
 
westknadrian said:
atonal music was not "essential in the development of music," it's a tangential style. when you listen to shoenberg, for example, what's the POINT? it doesn't sound good. isn't that the point of music? music should be immediately and outwardly "good" sounding, unless you just like listening to bad sounds which makes you either a weirdo or a pretentious faggot
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lol
 
soundave said:
Mmmmm....I think that the 12 tone thing is a stretch. Retrograde, Inversion, RI and other such developmental techniques do not have their origins in 12 tone music and are certainly not peculiar to it.
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As techniques, they're primarily associated with serialism - which is not and never has been synonymous with twelve-tone composition. I'm not sure why people keep dragging twelve-tone serialism into the discussion, but, there you have it.
 
westknadrian said:
atonal music was not "essential in the development of music," it's a tangential style. when you listen to shoenberg, for example, what's the POINT? it doesn't sound good. isn't that the point of music? music should be immediately and outwardly "good" sounding, unless you just like listening to bad sounds which makes you either a weirdo or a pretentious faggot
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First of all, yes it was essential. You'd be hard-pressed to find any composer post 1945 that wasn't directly or at least partially influenced by Webern (student of Schoenberg).

Second, I know a lot of people that love listening to Schoenberg, Berg, Webern and a host of other pioneering composers. I include myself in this group.

Third, the point of music is not just about what the listener likes, it's also about what the composer wants to express. Music is an artform and a means of expression. That's the point of music: expression.

And finally, just because you don't like the sound of a certain type of music, everyone who does is a "weirdo" or "pretentious faggot"? Well, in that case, I'm sure the 99% of the world that doesn't listen to death metal (or OH MY GOD Opeth!!!) would think that this music isn't "good" sounding. Hell, I know plenty of people that absolutely revolt at the mention of death metal, but I love it. I don't hold it against them because I know it's not for everyone. But at the same time they don't crucify me for liking it either.
 
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