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This is actually a fascinating/intellectual/political video on several levels. Like...

We all know this male model is actually black, but due to genetics/lack of melanin he turned out whiter than white.

And then, we all (hopefully) are also aware the peoples of eastern Asia who are apparently worshiping him in this vid are very fond of whiter than white skin - why is that?

And last, but not least, what does the Eiffel Tower have to do with any of this? Is there a specific white French symbolism that goes with the Eiffel Tower?

I think this is a great vid, even at my old age it makes me think.
 
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This is actually a fascinating/intellectual/political video on several levels. Like...

We all know this male model is actually black, but due to genetics/lack of melanin he turned out whiter than white.

And then, we all (hopefully) are also aware the peoples of eastern Asia who are apparently worshiping him in this vid are very fond of whiter than white skin - why is that?

And last, but not least, what does the Eiffel Tower have to do with any of this? Is there a specific white French symbolism that goes with the Eiffel Tower?

I think this is a great vid, even at my old age it makes me think.
Might I suggest you give this a read then: :)

PS: The Eiffel tower (and the rest of the city) is actually a sort of replica of Paris, but in China.
 
Tool's new album is on the repeat for the weekend. Very crisp production.
Very progressive, even for them. They've been building towards this kind of epic concept album for a while now.

Strangely they have been slightly critical of the audio engineering on the record (done by guitarist Adam Jones). Maynard even went as far as to say it sounds great for 8 years ago...
 
Very progressive, even for them. They've been building towards this kind of epic concept album for a while now.

Strangely they have been slightly critical of the audio engineering on the record (done by guitarist Adam Jones). Maynard even went as far as to say it sounds great for 8 years ago...
If I have to be brutally honest, I cannot see a development in their sound since Lateralus.

Ænima is easily the most distinct record they have put out. With its fusion of industrial and tribal sounds, not to mention the Jungian inspired lyrics about breaking free from your 'shadow', it still remains one of those records that is just so unique that nothing sounds like it. Along with Ænima, I also think that Lateralus was fairly groundbreaking at its release, even if the Fibonacci-structure of the title track is borderline-gimmicky at times. Since 2001, the sound of Lateralus has become so emulated by modern prog-metal bands (and Tool, themselves, with their two latest albums) that it is not as distinct any more, but that is maybe just a testimony of the progressiveness of the album - the fact that it almost spun off an entire genre.

Honestly, I think that the new album Fear Inoculum is a sonic masterpiece (as is Lateralus), but the songwriting just cannot match that of the two above-mentioned albums. It is still better than 10.000 Days, but that does not say too much, because 10.000 Days also lacks in conceptual direction, songwriting and sound quality compared to Ænima and Lateralus. In my own personal opinion of the albums, Fear Inoculum probably sits somewhere between 10.000 Days and Undertow (Undertow, which, by the way, is at the exact opposite end of the scale - raw and agressive compared to the polished and reflective sounds/melodies of Tool's newer albums).

Maybe I just don't get the concept behind Fear Inoculum, but for songwriting alone, it leaves me somewhat cold. Maybe it just takes more time to grow on me.
 
If I have to be brutally honest, I cannot see a development in their sound since Lateralus.

Ænima is easily the most distinct record they have put out. With its fusion of industrial and tribal sounds, not to mention the Jungian inspired lyrics about breaking free from your 'shadow', it still remains one of those records that is just so unique that nothing sounds like it. Along with Ænima, I also think that Lateralus was fairly groundbreaking at its release, even if the Fibonacci-structure of the title track is borderline-gimmicky at times. Since 2001, the sound of Lateralus has become so emulated by modern prog-metal bands (and Tool, themselves, with their two latest albums) that it is not as distinct any more, but that is maybe just a testimony of the progressiveness of the album - the fact that it almost spun off an entire genre.

Honestly, I think that the new album Fear Inoculum is a sonic masterpiece (as is Lateralus), but the songwriting just cannot match that of the two above-mentioned albums. It is still better than 10.000 Days, but that does not say too much, because 10.000 Days also lacks in conceptual direction, songwriting and sound quality compared to Ænima and Lateralus. In my own personal opinion of the albums, Fear Inoculum probably sits somewhere between 10.000 Days and Undertow (Undertow, which, by the way, is at the exact opposite end of the scale - raw and agressive compared to the polished and reflective sounds/melodies of Tool's newer albums).

Maybe I just don't get the concept behind Fear Inoculum, but for songwriting alone, it leaves me somewhat cold. Maybe it just takes more time to grow on me.
Fair enough.

TBH I've always felt that Fear Inoculum, and at times 10,000 Days were more "composed" than "written", if that makes any sense. Aenima has it's appeal because it has songs, while the last two albums are dominated by compositions IMO and this makes them a more aquired taste.
 
Fair enough.

TBH I've always felt that Fear Inoculum, and at times 10,000 Days were more "composed" than "written", if that makes any sense. Aenima has it's appeal because it has songs, while the last two albums are dominated by compositions IMO and this makes them a more aquired taste.
I am not really sure what you are referring to. Is it the length and shifts of a song that determines whether it is "composed" or "written"? In that case, I can see what you mean, but I don´t think compositions are more progressive, necessarily.
 
I am not really sure what you are referring to. Is it the length and shifts of a song that determines whether it is "composed" or "written"? In that case, I can see what you mean, but I don´t think compositions are more progressive, necessarily.
Sort of, but I'm thinking more in terms of a soundscape than a typical anthemic rock song. Like an orchestral arrangement but with a prog rock band.

I do agree that compositions aren't necessarily more progressive. Take the likes of Yngwe Malmsteen or Joe Satriani - some great stuff, but hardly cutting edge when compared to say Steve Vai or Devin Townsend
 
Sort of, but I'm thinking more in terms of a soundscape than a typical anthemic rock song. Like an orchestral arrangement but with a prog rock band.

I do agree that compositions aren't necessarily more progressive. Take the likes of Yngwe Malmsteen or Joe Satriani - some great stuff, but hardly cutting edge when compared to say Steve Vai or Devin Townsend
That makes sense. But for soundscape I prefer Lateralus over Fear Inoculuim. I think that soundscape is the sole area where Lateralus is "better" than Aenima, although I'd probably also argue that the claustrophic - and occasionally aggressive - sound of Aenima makes more sense considering the inward-looking theme of self-development.
 

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