KidInTheDark666
What's yours is mine and what's mine is mine too
Hardly.
The Flash
Dennis Wilcock did 9/11
Bit of a challenge to make anything Helloween-related interesting, to be fair.
CriedWhenBrucieLeft
Meme Only Account
How could a thread encompassing any number of stellar guitar players from the history of all the music that's ever been; how could that possibly be inferior to a Helloween discography review discussion?! Utter lunacy talk.
CriedWhenBrucieLeft
Meme Only Account
Guitar-Orientated Instrumental Music
:welcome: GUITAR-ORIENTATED INSTRUMENTAL MUSIC Heartwarming chitchat about all your favourite pluckers & pickers. Post your thoughts, your clips, your reviews, right here. Even your lists! Discuss guitars, guitar heroes, guitar technique, gear, harmonic theory... Discuss anything that's...
forum.maidenfans.com
@Forostar
@jazz from hell
@JudasMyGuide
@The Flash
@Niall Kielt
@Diesel 11
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Cat Milk Supreme
Ancient Mariner
Cant believe I didn't get tagged here, you total clown.
Cat Milk Supreme
Ancient Mariner
Cat Milk Supreme
Ancient Mariner
Good list
jazz from hell
Ancient Mariner
Yes, let’s do it.
JudasMyGuide
Ancient Mariner
Hey, what the heck, I'll put this one here also, my answer to whether Met 1 is overrated in the Epics Nomination thread
(it's much more about DT than about that thread, actually)
Yeah it is. It is a very good song, but it's definitely overrated.
Part of my personal problem with a lot of 80's/90's prog-metal epics (including the ever-beloved Divine Wings of Tragedy or A Change of Seasons) is that the music doesn't really progress much - it's more of a hodgepodge mess of ideas strung together, sometimes with the overall intention to make them escalate the tension within the song logically, sometimes not (the "tripping the light fantastic" should - by the internal logic - be the climax of ACOS, near its end, like for example the "Triumphant, champion of Ithaca" part of The Odyssey ... but you get another almost ten minutes after that) and Metropolis is definitely an example of that. It sounds great, the individual parts are nice and I can respect it, just as I respect Outcry (which - as its "follower" - has similar completely nonsensical wankery section which is just so great to listen to), but as a whole it just can't work as one of the bests.
For all the talk about how... e.g. Endless Sacrifice makes no sense with random noodlings in the middle, it's actually the complete opposite - even in the instrumental part almost every individual passage logically grows out of / reacts to the previous one which is very well noticeable especially if you concentrate on the backing riffs and such - with all of it culminating in that "All you've forsaken" part and the final chorus, which brings an emotional catharsis. It has many times over been decried as an example of DT "wankery" getting in their songwriting, but it's actually a particularly well-written song, including the "wanking" parts.
Even some of the other latter DT epics, like Count of Tuscany or ITPOE, which both do have parts that shift gears rather abruptly, it still makes much more of a cohesive whole, allowing for familiarity, playing with motives (in different instrumentation even) and in general working really well; much of the early stuff is indeed hard to remember - so kudos to them for being able to play it live - but not particularly substantial, methinks.
And, like, Scarred is just a wreck in that regard.
That might explain why I'd take even the 12-step suite, for example, over some of the "classics".
On the other hand some of the obviously separated songs put together in a "cluster" of sorts (A Mind Beside Itself, SDOIT) can actually work, because sometimes these bring out the best in one another in their "intertextuality". Sometimes with actual repetition of certain themes and moods (the "preview" to The Silent Man in the middle of Erotomania might be one of the most beautifully poignant moments in DT discography in general) or with kinda ingenious sequence to the moods (from the hectic and nervous War/Test That Stumped to the numbing and gentle and depressing Goodnight Kiss to an actual campfire hope ascending in Solitary Shell) which again, is kinda lacking in those early epics, because of not enough "repetition and previews" or lesser variation of moods (because these are much more unified, genre-wise, which limits their amount of "moodiness")
And it's not just thing of the past - The Seventh Wonder, for example, though I love them, have this exact problem, which culminated in the title track to The Great Escape which is mostly just 30 minutes of (admittedly very beautiful) meandering.
(just for the record, the same goes for Blind Guardian's And Then There Was Silence - kick-ass individual parts, not much sense as a whole)
I guess most of you are probably going to disagree, but any thoughts?
(it's much more about DT than about that thread, actually)
Yeah it is. It is a very good song, but it's definitely overrated.
Part of my personal problem with a lot of 80's/90's prog-metal epics (including the ever-beloved Divine Wings of Tragedy or A Change of Seasons) is that the music doesn't really progress much - it's more of a hodgepodge mess of ideas strung together, sometimes with the overall intention to make them escalate the tension within the song logically, sometimes not (the "tripping the light fantastic" should - by the internal logic - be the climax of ACOS, near its end, like for example the "Triumphant, champion of Ithaca" part of The Odyssey ... but you get another almost ten minutes after that) and Metropolis is definitely an example of that. It sounds great, the individual parts are nice and I can respect it, just as I respect Outcry (which - as its "follower" - has similar completely nonsensical wankery section which is just so great to listen to), but as a whole it just can't work as one of the bests.
For all the talk about how... e.g. Endless Sacrifice makes no sense with random noodlings in the middle, it's actually the complete opposite - even in the instrumental part almost every individual passage logically grows out of / reacts to the previous one which is very well noticeable especially if you concentrate on the backing riffs and such - with all of it culminating in that "All you've forsaken" part and the final chorus, which brings an emotional catharsis. It has many times over been decried as an example of DT "wankery" getting in their songwriting, but it's actually a particularly well-written song, including the "wanking" parts.
Even some of the other latter DT epics, like Count of Tuscany or ITPOE, which both do have parts that shift gears rather abruptly, it still makes much more of a cohesive whole, allowing for familiarity, playing with motives (in different instrumentation even) and in general working really well; much of the early stuff is indeed hard to remember - so kudos to them for being able to play it live - but not particularly substantial, methinks.
And, like, Scarred is just a wreck in that regard.
That might explain why I'd take even the 12-step suite, for example, over some of the "classics".
On the other hand some of the obviously separated songs put together in a "cluster" of sorts (A Mind Beside Itself, SDOIT) can actually work, because sometimes these bring out the best in one another in their "intertextuality". Sometimes with actual repetition of certain themes and moods (the "preview" to The Silent Man in the middle of Erotomania might be one of the most beautifully poignant moments in DT discography in general) or with kinda ingenious sequence to the moods (from the hectic and nervous War/Test That Stumped to the numbing and gentle and depressing Goodnight Kiss to an actual campfire hope ascending in Solitary Shell) which again, is kinda lacking in those early epics, because of not enough "repetition and previews" or lesser variation of moods (because these are much more unified, genre-wise, which limits their amount of "moodiness")
And it's not just thing of the past - The Seventh Wonder, for example, though I love them, have this exact problem, which culminated in the title track to The Great Escape which is mostly just 30 minutes of (admittedly very beautiful) meandering.
(just for the record, the same goes for Blind Guardian's And Then There Was Silence - kick-ass individual parts, not much sense as a whole)
I guess most of you are probably going to disagree, but any thoughts?
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Saapanael
Ancient Mariner
I don’t consider Metropolis, the song and the album it’s on, to be particularly great among DT’s discography. The instrumental build-up in the intro remains the strongest part of the song for me, although I haven’t played it in a while. The most impressive thing about Images and Words for me is how technically proficient and able to lock in with each other they were at a young age, not the songwriting.
The Flash
Dennis Wilcock did 9/11
My liking of Metropolis Pt. 1 gradually decreased as years went on. I guess there was an element of novelty that I appreciated in my earlier years as a DT fan that just wasn't there anymore after further exposure to the genre. I still like it, but I don't have it in the upper echelon of DT songs.
Same here.
Same here.
The Dissident
Ancient Mariner
The only issue with Metropolis Part 1, is the instrumental section goes on a little too long. But the non-instrumental component is perfection.
Pibroch_Whistler
Educated Fool
would be interesting to see a Tiermaker listing Prog-Rock albums by the number of naked butts on the front cover