well, it seems weird because it is done with unusual time signatures. It uses 13/4 time in the begining which gives way to standard 4/4 time and switches between them.
again, i am not feeling anything forced. maybe our definitions differ. When i hear a band like lincoln park or whatever, i hear sudio infused riffs that seem to manifest themselves as something tacked on such that the song is “catchy”. But in my oninion, music that is catchy isnt neccessarily good.
I just think the fact that they can generate a melodie that uses such intracate timing and play it so tightly is really awesome. They are very tight live.
ahhh, we are using different applicatins of forced.
my point was they were trying so very hard to ride the timing of the melody, and IMO not doing well.
Yea, Linkin Park and similar is manufactured to be catchy and get MTV sales. This, however, is not. That in and of itself is cool, but that doesnt make it good music.
I’ll give them credit for the originality and even for melding the metronomal beat…
But otherwise, 99.9999999% of listeners won’t catch that.
i know EveryTime I Die VERY well angrew up with those dudes…jordan lives with my bro…they are hardcore, u will not find hardcore on the radio…disturbed is hardcore for chicks
carry on
I seriously Laugh at you guys who dont like bands because they are main stream, newman, explain to me how they are “forced”, by this do you mean like an album deadline set forth by a contract, or radio play to get their music out?
BTW, I’m going to disagree with Newman on the “overproduced” aspect of music. Having some experience in attempting to make something that sounds professional, I can tell you, it is alot harder than just cranking out something raw. Yesm you can lose the original energy from the song if you spend too much time polishing, but everything is a tradeoff.
That said, I don’t have much value for live music. I prefer studio versions, because they just sound better. Most live acts sound like shit on the road. Of course, they cover it up by playing as loud as possible, which just helps mask the defects by overloading your ears.
Now on the 4th track of this cd. It’s ok so far, but I’m not as into it as I am some of their other tracks like “Prayer” and “Liberate”. Maybe it’ll grow on me.
eh, sorry newman. im not feeling the screaming. It just gives me a headache and makes me wanna skip to the next yrack in hopes that it will be better. I grew up listening to that shit and have slowly grown out of the screaming to liking emo, howver the whining gets annoying to. eh, i dont know anything.lol
Ive owned the first cd of disturbed and give it :tup::tup:
second album sucked imho
this album i would be kinda hesitant to purchase considering how muh of a let down there second cd was.
don’t know where it sounded “forced”, and as an ex-musician, I liked have a bit of polish on some of our tracks. not going to “black album” bob rock lengths, but not at g.g. allen’s depths either. nice compromise. you want the grit and feeling to slice through, but you want a nice, oily sheen to gleam up while listening. vince called it “that rifle-bolt shine”, aggressive but practiced, honed. royce gracie in a three-piece.
screaming is not talent. that said, there’s a considerable amount of skill involved in training one’s voice to last two 45-min. back to back sets doing that. our singer always had the tried and true glass wide-mouth milk bottle in the band room for warm ups. I know what’s involved in that, and I know I can’t do it. therefore I respect it. but - I’ll never confuse max cavalera’s gravel-filled growl (or david draimien’s) for maynard keenan’s soaring alto.
the album is good driving music, almost “relaxing” compared to some of my other rock/metal albums (which, admittedly, are getting less rotation nowadays, I must be growing up :eekdance: ) and just fun to listen to. and there are some off-tempo beats in it as well, which appeal to me.
