“Think of [moving] like Tetris. You’ve gotta fit everything into one space.” In many puzzle games, you get bonus points for lumping similar pieces together. That sort of design philosophy carries over into album sorting as well. How strictly do you adhere to empirical alphabetical order? Do you count articles [the/el]? Do you lump side projects by members of a band with the band’s discography? Or do you loosely lump albums by genre or …mood?
For me, 2018 is the turning point where albums readjusted to the digital age. For materialistic listeners, we can easily afford and acquaint ourselves with CDs, records, and cassettes. For highlight listeners, it’s easier than ever to legally access just about any album we could think, at least in the top 100. Now we are the gatekeepers. If we like something, we can invest our time before we invest our money. The industry paywall guesswork is gone.
WANNA READ AN ESSAY ABOUT MY THOUGHTS ON ALBUMS AS A WHOLE IN 2018? THEN SEE MY LIST? UNLESS THE FEVER PITCH OF A DRAWING FEATURED HERE DOESN’T CLUE YOU IN TO MY TOP 15, OF COURSE! CLICK HERE TO KEEP ON READING!
Just as my writing focus shifted away from thrifting, I’ve lost some interest in long-form nonfiction narration under the guise of concert reviews. They’ll still happen occasionally. Over the past month, I’ve written little more than thinking up an introduction to a hypothetical Metallica review: “Without exaggeration, I’ve listened to Symphony and Metallica while writing over 50% of the material I’ve uploaded here. Did they disappoint?” So let’s briefly cover this backlogged batch of 5 concert reviews.
Average Rating: ★★★☆☆ [3/5] [53 stars out of a 100 possible star rating]
Adjusted Rating: ★★★★☆ [4/5] [some excellence]
WANNA CHECK OUT THIS SET OF CONCERT REVIEW EXPERIMENTS? KEEP ON READING!
“Today, I helped maybe 10 people. Why not 10,000 people?” When I first started working, I was just happy to help anyone I could. As I become more experienced in both work and life, I see the value in both continually improving my work and the lives of others. This effort requires sacrifice. You might sacrifice leisure for study time or steady work for the chance to do more rewarding, better work. Bands are great examples:
We only have a finite amount of time in life. Every minute you spend on one idea, project, or person detracts from another possibility. I have over 20 reviews I’ve been considering writing lately. Some may come to fruition, others, not. The list of reviews I’m most interested in writing in some form or another is a tie-in to a new project I’ve joined that may lead to more success than completing any of these reviews.
I was nearly kicked out of a Glenn Danzig concert years ago for taking a photograph. Just as he has a right to a “no photography policy,” I have a right to push the limit. The show hadn’t started, so I got off with a stern warning, unlike others that were dragged out later on. During yesterday’s Testament concert, I had time to think about concert etiquette, so let’s start with the most controversial one!
Despite seeming like GWAR knock-offs or KISS wannabes, and not drawing in the possibly sold out crowds that Powerman 5000 or Аркона [Arkona] both recently were able to bring to Studio Seven, Lordi have a certain umph that is clear especially after wading through a number of their terrible to good random local opening acts.
I didn’t see as many concerts in 2016 as I did in previous years. Maybe career development, working on this site, and an oversaturation of lukewarm concerts in 2015 dissuaded me? I did see some memorable performances in 2016, intend to attend new venues, and especially want to get outside my concert comfort zone in 2017.
Since 2008, I’ve participated in a game of hearing as many albums released in that year as possible, and I’ve incorporated my own stipulations: no greatest hits albums with an unreleased song, no archival releases by posthumous musicians, and re-releases of albums officially released in another year don’t count. The complete list of the 104 albums I heard is over at my RateYourMusic account.
Shouldn’t seeing the same band twice in two years at the same venue yield similar results? I was really impressed last year with the energy and composition that Аркона (Arkona) brought while touring with fellow folk metal band Heidevolk, so it was safe to assume that another year of development now supporting symphonic metal band Epica could be even better, right?