Ah yes, it's finally that time. I've discussed my love for the "edgy" forms of hardcore often, constantly citing powerviolence, screamo, fastcore, and crust as the superior forms of the genre. After all they're the least "bro"-y of all the styles, less full of Hitler-youth-esque guys in Nike Air Maxes in camo shorts than the other genres (PV has always been more of a "you bet there's a skull drawn in my notebook" type look). In fact I've often embraced those styles due to their rejection of the hardcore bro, their ability to remain fiercely independent in the face of senseless 90's worship and rejection of some of the more intense aspects of straight edge. That is, however, all about to change as we delve deep into the style that spawned all the horrible hardcore "fashion" that so many awkward 20-something men, fresh off their warped tour phase, have adopted in a vain attempt to prove their masculinity. I'm talking of course about Youth Crew, where shirts aren't necessary but the incessant need for gang vocals and floor-tom heavy breakdowns are.
Bluegrass generates most of its interest from technical ability, even in its most traditional veins. Generally, the genre operates a lot like jazz: different configurations of instruments improvise solos on standard tunes. There’s mostly likely an upright bass and some light percussion like tambourine or washboard in the rhythm section, treble instruments like fiddle, banjo, mandolin, and guitar taking solos, and multi-part harmonies in the vocals. Bluegrass generally borrows from the same sources as country and folk: Scottish, Irish, and English folk music, African American spirituals, and blues. Progressive bluegrass started, like progressive rock, in the late 60s. While, the compositions never really reached the complexity of prog rock, the idea was the same in the beginning: the chord progressions got more complex, it started borrowing from other genres most notably jazz, modern rock, pop, and classical music, and the lyrics became deeper.
Regardless of one's musical background, free jazz is one of those genres that can be extremely confusing and often border on nonsensical and sonically belligerent. There are even fans of jazz who still can't get into the likes of the late works of John Coltrane or anything made by Pharaoh Sanders, preferring instead to listen to other, less insane iterations of the genre. While we believe that music's value is something strictly decided by the listener, we've also found that, despite the difficulty of the genre, free jazz is incredibly rewarding. There's something undeniably special about musicians that can improvise; if music is the expression of the soul, then free jazz is the direct output of an unrestrained musical voice. While it can sound like noise, it's in fact a huge show of musicianship, as the artist in question must compress everything they know about music theory into one single point and, in a sense, abandon the strictures it causes for what they feel. In this way, we think free jazz can be one of the most magical and spiritually uplifting genres of music out there, and for those interested in exploring the genre further, the following albums are great introductions to the most liberated plane of jazz.
What exactly is Real Emo™? To put it simply, Real Emo™ was a movement started by a select few hardcore bands located in or around DC in the early 80's and continued on through the late 80's/early 90's. Around this time is when bands on the West Coast adopted the more experimental, melodic approach to hardcore punk music and began to lay many of the foundations for what would eventually become screamo. The music is often stylistically similar to early hardcore acts such as Minor Threat or The Bad Brains in that it is fast and passionate, but differs in the sense that the lyrics tend to be a bit more introspective and the overall sound far more melodic. With bands like Nation Of Ulysses and Moss Icon further experimentation became increasingly popular as well, adding many "spacier" elements as well as incorporating a bit of spoken word. Nation Of Ulysses even had a saxophone occasionally, something that later bands like Native Nod couldn't help but pick up. And, interestingly enough, not a single had any "twinkly" guitar parts.
Despite being relatively underground in the general world of music, John Zorn has established himself as one of the most important avant-garde musicians ever. With one of the most prolific discographies in music—accounting to about 90+ solo albums and 50+ side projects in genres ranging from classical to film score work to jazz to metal to free and structured improvisation and (seemingly) everything in between—Zorn has simply conquered music, like a sax-wielding Alexander the Great.
My last Starter Kit (on Contemporary Thrash) brought in more recent bands and albums that cranked their amps past 11 and shredded faces with their speed. However, any genre is (to quote Shrek), like an onion; there are layers and layers of difference all balled up in one, and thrash metal is no different. While most people are at least aware of the genre’s staples (Metallica, Slayer, Anthrax, Megadeth, etc.), they might not know of the lesser known bands that speed even past the big names.