Tag Archives: Tool

30 Day Music Challenge: Day 20 – A Song I Listen To When I’m Angry

Tool – Ticks and Leeches

Generally, I don’t find anger to be a productive thing to be absorbed in/by. I guess I could say that about a number of emotional states, but with other emotions, I can pick at and cannibalise them, and sometimes produce something (creatively) that might be worthwhile. When I’m really angry, it blankets almost everything and I’d rather shift out of that place as soon as possible. Listening to music does two things for me – it either maintains my focus on the emotion I want or need, or it helps me shift it away from something I don’t want to think or feel anymore.

That makes Ticks & Leeches almost the perfect song for me when I’m in that state because, aside from the catharsis in listening to something that is accusatory and furious, I think there’s a certain duality to where and how  it can be directed. That is, it can be extrospective or introspective. I need that because I find it essential to examine my reasons for being mad in the first place before I take it anywhere else, and most of the time I do that, anger isn’t the thing I want to bring to the table at all.

Also, I think it’s been well-documented that the drumming is insane and that Danny Carey may not be human.

 

S4E


Theme Songs for Favourite Things – Cars

Deftones – Passenger

for

Favourite Car – Torana LX SLR 5000

It would be foolish of me to pretend that I know more about this beautiful piece of machinery than I actually do, as well as quite against the purpose of these posts to get overly technical on everyone. Thus, if you’d like to learn more, check out Holden Torana, or Wikipedia for a decent history and overview of the various models.

What I will say is that the Torana is an icon of Australian motoring history, both in sport (racing) and socially. I have a lot of fond memories associated with these cars (and not the typically teenage car / backseat type memories, I’ll just point out. Those are reserved for the Kingswood – which is also a Holden). Most of the memories I have are associated with family road-trips in a white LC model. Aside from the obligatory fights between my brothers and I over who would get to ride in the front seat, I loved just watching the suburbs slowly disappear and become vast fields of Salvation Jane or dense, dark forests, rolling hills, steep cliffs and the occasional, long-abandoned crumbling stone cottage or graveyards filled with headstones from the 1800’s – the kind of things that drove my imagination wild.

In later years, I had a massive crush on a guy who drove an LH, (and I assure you it was about the guy, not the car). We’d sometimes go out on midnight drives, the kind which put our lives in danger in general just for the sheer thrill of it, but I was always too scared to tell this guy how much I liked him. Such is the folly of youth, I suppose – getting things the wrong way around and being prepared to risk a life but not the heart.

With production on the Torana models ceasing in 1980, these now vintage cars are highly coveted by many, including myself. Alas, while my mother paid $400 dollars for one in the mid-80’s, some models now fetch well over $100k, though – depending on condition – it’s possible still to find them under $10k. As things stand, for the time being it’s one for the ‘if I ever get rich…‘ list.

While I’m here, I may as well mention that Holden are also responsible for another car I’m quite partial to, the Monaro, which itself is a beautiful car and would be the definite runner-up as far as  favourite go.

Holden HX Monaro GTS

But the Torana gets the gong for all the memories I have with it. In terms of performance, I’m not even remotely capable of making a judgement and I don’t really have the inclination to change that, I’d rather appeciate the beauty of the beast from an entirely aesthetic and nostalgic perspective. I’ve picked the SLR over the other models simply because it’s my dream car.

As for the theme song, well I hope it’s fairly self-explanatory… The Torana is one damn sexy car, and DeftonesPassenger is suitably one of the sexiest songs there is, with Chino Moreno and Maynard James Keenan (Tool) delivering an intriguing – not to mention breathless – duet.

While I’m still footing it in most of my travels, and I’m very far from being the type of girl who will jump in any kind of car without knowing much more than the name of the driver, anyone who rolls up next to me behind the wheel of one of these, I’ll at least give ’em a wink just for their supremely good taste (in cars, that is).

 

 

S4E


Protected: Just Another One of ‘Those’ Days

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What More Could I Ask For…?

All My Stars Aligned

 It’s been an exciting week for me, thanks to the arrival of music from two of my all-time favourite artists. To start with, there was the release of Welcome to England, the first video/single from the soon to be released Abnormally Attracted To Sin, by Tori Amos. Watching that video for the first time, I have no fear or shame in admitting that I got a little teary-eyed. Tori is an artist whose work resonates with me on such a deep level that every time I hear something new, it’s a gift. The album is slated for release May 19 – I’m not entirely sure if that’s world-wide, but I certainly hope so! The deluxe version of the album features a DVD that contains a series of “visualettes”, companion pieces to each song. I hope the two will be released simultaneously, I’m not too keen on the idea of waiting that extra time to hear the full album…

This will tide me over in the mean time, though.

Second event this week was the arrival of my copy of Salival, by Tool. I missed out on this the first time around, but for the past six months I have been actively searching for a good copy (CD/DVD version), at a price I would pay, and at a time I was able to pay it.  All things considered, six months is not too long a wait for all those things to happen at once, and even at twice the time, it would still have been more the worth the wait. I made a point of not listening to any of the songs before I had a physical copy, so everything on the disc was something new to me. In a word, it’s phenomenal. Live versions of Third Eye and Pushit are testament to the band having no equal when it comes to the intracacies of the songs they write, yet still remaining organic – open to re-interpretation; whereas covers of Led Zeppelin’s No Quarter and Peach’s You Lied are made entirely their own. It’s a shame this was such a limited release, as it’s definitely a must-have for any Tool fan.

For those who don’ have it, and don’t mind knowing what they’re missing out on, here is the brilliant cover of No Quarter.

S4E

 


Music Piracy

If you think it’s what all the cool kids are doing, you don’t know any cool kids…

I’ve made mention previously of the fact that I don’t and won’t advocate music piracy. I am now going to explain why, because I make those statements out of my love for music and not for any particular sense of obligation – legal, moral or otherwise. And let me make it clear right now that I have no associations what so ever to any record labels, distribution companies or even a retail outlet for CD’s. Also note that this post is specifically in regards to music piracy only, not other forms of free distribution of music, or downloads per se.

First and foremost, it’s necessary to explain that it is my own preference to have original, hard-copy versions of the music that is in my library, even though I primarily listen to it through the computer. I’m not a fan of purely digital media. It’s not because I fear losing my music collection due to a computer glitch, but because I personally get greater satisfaction from that little extra sense of ownership of something. The purchase of a new CD, appreciating the artwork, reading the lyrics when made available – it’s all part of a complete listening experience to me. That’s not to say I can’t fully appreciate music when I don’t have a physical copy of it; I wouldn’t use and/or post links to freely available downloads if that were the case. It’s because – amongst a few other reasons – more often than not the production of the CD is as much a creative process as the writing of the music, and can even heighten it.

Some artists, such as perennial favourite Tool, take so much care, consideration and effort when creating their products that it’s actually a real shame not to have them – they’re as much an experience themselves as  the music they represent. Tool seem to have very specific ideas about how they wish to deliver their music to the public. Their songs are not available on iTunes, nor will they release a live DVD, stating that the experience is not comparable to the real thing. These are decisions I respect greatly – if I am able to appreciate all aspects of their music, I can most certainly appreciate the mode of delivery.

The moral side does play a part in my preference for legitimite copies. Personally, I do feel a certain amount of obligation towards replacing any free downloads I continue to enjoy with original copies of the CD (with the notable exception of Daytrotter Sessions – I do, eventually, purchase CD’s by the artists if I don’t own them already, but I keep the Session downloads in my library as they are versions not found elsewhere). If I do not like a song well enough to feel the compulsion to buy a CD, it gets deleted from my library. (My measure is if I skip it more than 50% of the time it comes up on shuffle, it goes ;)).

The purchase of a secondhand CD is a slightly more grey area, but it does still err on the side of unfavourable. However, I must admit that a fair portion of my CD’s were bought secondhand – though I do try to buy at least one brand new CD for any artist. For the most part, I buy secondhand because I can’t find it any other way. The reason I say it’s unfavourable because the artist doesn’t recieve anything from the re-sale of a CD, barring a new listener, if that. There’s no way to measure secondhand CD sales in order for them to reflect an artists popularity or anything else, and of course they recieve no monetary benefits as they would from new sales.

The continued spread of music, via digital distribution (legal or not), re-sale etc. does have it’s benefits and therefore a place. The more people that become aware of an artist the better, and as popularity grows, the artists may be afforded even greater benefits from their record companies. The problem with piracy (as opposed to freely distributed music) is that for a great many artists, the continued awareness doesn’t necessarily translate to sales, and sales is what gives record companies the most confidence in affording artists those benefits.  Maybe that doesn’t seem like much of a problem for well established artists that recieve huge amounts of money regardless, but even then I think using that excuse for music piracy is a cop out. Not to mention the hordes of independent artists, as well as smaller record labels, struggling to continue putting new, quality music on the market.

It\’s not up to me to determine the wage of a musician, those things are relative as well as wildly differing in scope, but if I were the boss of a company and told one of my workers “hey, thanks for turning up to work today and making 300 hundred excellent quality chairs. Unfortunately, after we sent them out to the shops, some  mug copied the design and gave them away, so you’re only going to get paid for a quarter of them”, I would be a poor boss indeed, no matter what amount I ended up paying the worker – but that is exactly what you do when you pirate music. And guess what? Believe it or not, a lot of people associated with the production and distribution of a CD worked to get it on the shelves. Sound engineers, mixers, artists for the cover and numerous other people deserve the credit and appreciation for their work, too. Using the fact that these people might have more money than you do in an attempt to essentially say that they should just give it to you for nothing, is ignorant at best.

Last of all, why should anyone else get to make decisions about how something they have not had one hand in creating is distributed, or whether or not those that did get paid?

Here is the way I look at it: Buying a CD or pirating, you – the consumer – have relatively the same result – the ability to listen to the music. But from what I see, music piracy speaks more about how someone feels in regards to money, who has it, who doesn’t and who they think deserves it more; the purchase of a CD is a sign of appreciation and respect for the music and the artists who created it. I know which attitude I respect more.

S4E