{"id":808,"date":"2009-10-02T15:39:51","date_gmt":"2009-10-02T15:39:51","guid":{"rendered":"http:\/\/scientopia.org\/blogs\/goodmath\/2009\/10\/02\/friday-random-ten-102\/"},"modified":"2009-10-02T15:39:51","modified_gmt":"2009-10-02T15:39:51","slug":"friday-random-ten-102","status":"publish","type":"post","link":"http:\/\/www.goodmath.org\/blog\/2009\/10\/02\/friday-random-ten-102\/","title":{"rendered":"Friday Random Ten, 10\/2"},"content":{"rendered":"
    \n
  1. Dead Soul Tribe, “Goodbye City Life”<\/b>: mediocre prog metal. Not bad,
    \nbut nothing special either.<\/li>\n
  2. Dave Matthews Band, “Lying in the Hands of God”<\/b>: I know, lots of people think
    \nI’m crazy to like DMB. But I do. And I find this song terribly depressing. One of the
    \nmembers of the DMB was an amazing saxaphone player named LeRoi Moore. Moore’s
    \nsaxaphone play was absolutely fantastic – incredibly skillfull, tasteful, with a huge
    \nrange. Moore was killed in an auto accident, and his place was taken in live shows
    \nby Jeff Coffin from the Flecktones. Coffin is, in my opinion, a godawful
    \ngimmicky player with no taste, no style, and who knows one volume setting: way too
    \nloud. This track uses old samples of Moore from before he died – the last time we’ll
    \nget to hear his beautiful playing. <\/li>\n
  3. Marillion, “The Space” (electric)<\/b>: this one is actually a double. I just got
    \nthe digital version of Marillions new album, which consists of acoustic rewrites
    \nof a selection of their old songs. This is one of the tracks that they chose.
    \nThe original version is from “Season’s End”, the band’s first recording with Steve
    \nHogarth as the lead singer. It’s a great song – one of the best from that album. The
    \noriginal version is very interesting – because it’s recognizably Marillion, and yet
    \nthere’s a huge difference to the sound of the song compared to the stuff they’d been
    \nperforming with Fish on vocals – and that basic difference emerged all at once on
    \nthis album, and stayed with them through the dozen albums since. Like I said,
    \nit’s classic Marillion, with beautiful transitions, elegant instrumental
    \nbreaks, intricate structure. A lovely song, which is carried by Hogarths vocals,
    \nKelly’s keyboards, and Rothery’s electric guitar.\n<\/li>\n
  4. Marillion, “The Space” (acoustic rewrite)<\/b>: An amazing difference. From an
    \nincredibly dense electric song, to a sparse, intimate acoustic. It’s not just an
    \nacoustic remix, but a really deep rewrite of the song. The rhythm of the vocals has
    \nchanged. The main vocals are now sung mainly against acoustic bass guitar and
    \na but of rythmic chunking on the guitar. Everything is much more syncopated. It’s
    \nhard to believe it’s the same song. I need a few more listens – but I think I actually
    \nprefer this newer version – the rhythmic changes and the sparse arrangement just
    \nincrease the emotional impact of the song. It’s really quite impressive.<\/li>\n
  5. IQ, “Breathtaker”<\/b>: Bit of a jarring change after the acoustic version of
    \n“The Space”. But IQ is one of the very best neo-progressive bands out there. Like
    \nMarillion, they started off as a Genesis sound-alike, but grew into their own sound.
    \nGreat song, from “Subterranea”, the<\/em> IQ album to buy if you’ve never heard
    \nthem before.<\/li>\n
  6. Isis, “From Sinking”<\/b>: Post-rock, from one of the harder\/louder post-rock
    \nbands. Isis is a bit of a harder listen for many people, because they include
    \ndeath-metal-style screeched vocals, which can really grate. But their overall
    \nsound is brilliant – it’s worth getting over the vocals to enjoy them.\n<\/li>\n
  7. Dirty Three, “Feral”<\/b>: Another big transition, but still post-rock. Dirty
    \nthree is a mostly-acoustic post-rock ensemble from the more classical end of the
    \nspectrum. Their compositional style is much more minimalistic than a lot of others.
    \nBut it’s beautiful stuff. Highly recommended.<\/li>\n
  8. The Flower Kings, “Flight 999 Brinstone Air”<\/b>: What can I say about the
    \nFlower Kings that I haven’t said before? THey’re a neo-progressive band that’s
    \nfit to drop the neo – they could stand up well next to pretty much any of the
    \noriginal wave of prog in both quality and creativity. This is a typical
    \ninstrumental track from them. If you’ve never listened to the Flower Kings,
    \ngive them a try. It’s pure brilliance.<\/li>\n
  9. Isotope 217, “New Beyond”<\/b>: This is hard to classify. It might be sort-of
    \nprogressive rock. It might be sort-of odd Jazz fusion. I just don’t even know where
    \nto put it. It’s a recent acquisition, and to be honest, I haven’t formed a firm opinion
    \nof it yet. (That could be good or bad. Much of my favorite music is stuff that I wasn’t
    \nsure about at first. I tend to like things that challenge me as a listener, and so
    \nthat sometimes means listening a few times to absorb it.)<\/li>\n
  10. Abigail’s Ghost, “d_letion”<\/b>: Abigail’s Ghost was recommended to me by
    \na reader as an American neo-prog band that I’d probably like. Unfortunately, I’m really
    \nnot wild about it. I don’t know if this album is typical of their sound. But I really
    \ndon’t like this one.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Dead Soul Tribe, “Goodbye City Life”: mediocre prog metal. Not bad, but nothing special either. Dave Matthews Band, “Lying in the Hands of God”: I know, lots of people think I’m crazy to like DMB. But I do. And I find this song terribly depressing. One of the members of the DMB was an amazing […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[41],"tags":[192,201],"class_list":["post-808","post","type-post","status-publish","format-standard","hentry","category-music","tag-lists","tag-music-2"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p4lzZS-d2","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/posts\/808","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/comments?post=808"}],"version-history":[{"count":0,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/posts\/808\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/media?parent=808"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/categories?post=808"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/tags?post=808"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}