The Heavy

[thirdform]

and?

See my edit to that post, but the mids aren't turned down in a lot of metal, they're turned up.

 

[thirdform]

which is why I took his original post literally, music which gives you a physical sense of tension or movement in the chest. Which can include reggae and jungle, yes, but also mad noise rock with drunken drums and basically not much bass.

 

[mvuent]

which is why I took his original post literally, music which gives you a physical sense of tension or movement in the chest. Which can include reggae and jungle, yes, but also mad noise rock with drunken drums and basically not much bass.

yes the initial idea of this thread could be interpreted in a lot of different ways which was my issue or at least source of confusion with it. with the "demystified" version i felt like we were getting somewhere.

 

[version]

there is something about slowness i think that creates that heavy feeling.

I guess the heaviness that comes with dropping the tempo is to do with what Linebaugh's saying about movement, restricted or sluggish movement implying some sort of weight acting upon it.

 

[shakahislop]

quite interested in what waterfalls sound like since a danish guy from christiana talked to me about them ten years ago standing next to a waterfall. i'm not saying that they sound much like electric wizard but there is something in the sound. heavy rain is a similar sound. its the full spectrum saturation i think. rhythmically deficient though those waterfalls need to get their act together it's not 1900 anymore



this video plays the long game and doesn't really get into the groove until the third hour

 

[line b]

I never said tension. I only said movement. huge difference. harsh walls of sound create tension in the chest but not movement

 

[shakahislop]

I never said tension. I only said movement. huge difference. harsh walls of sound create tension in the chest but not movement

that's one of the things i like about merzbow as opposed to a lot of the noise lads (and lasses, there must be some, maybe just one somewhere), the static wash does chop about

 

[thirdform]

I never said tension. I only said movement. huge difference. harsh walls of sound create tension in the chest but not movement

all tension is technically movement, otherwise it wouldn't be tension.

 

[version]

 

[thirdform]

tensing is an extremely physical movement,

all tension is technically movement, otherwise it wouldn't be tension.

This is not snark. I don't understand how you can have movement impacted through sonic waves within the chest cavity without a sense of tension.

 

[thirdform]

otherwise you just wouldn't feel it. you'd just visualise it. which is something different and something i can't really relate to as a blind man.

 

[Murphy]

the track Constant Shallowness is Evil by Coil is an example which splits opinions and ears

multiple renditions on YT either have Balance screaming (chill John, chill) or are too tinny but somewhere on multiple dying hard drives is an instrumental where, maybe from a soundboard line, it punches and swirls. fuckin love it - not really power electronic noise throw down, more sustained saw drone barrelling circuit across frequencies

 

[version]

its no surprise that the metal stuff is the easiest example since i'd hazard a guess that this is where the term heavy comes from in the first place

The origin of the term "heavy metal" in a musical context is uncertain. The phrase has been used for centuries in chemistry and metallurgy, where the periodic table organizes elements of both light and heavy metals (e.g., uranium). An early use of the term in modern popular culture was by countercultural writer William S. Burroughs. His 1962 novel The Soft Machine includes a character known as "Uranian Willy, the Heavy Metal Kid". Burroughs' next novel, Nova Express (1964), develops the theme, using heavy metal as a metaphor for addictive drugs: "With their diseases and orgasm drugs and their sexless parasite life forms—Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with metal music". Inspired by Burroughs' novels, the term was used in the title of the 1967 album Featuring the Human Host and the Heavy Metal Kids by Hapshash and the Coloured Coat, which has been claimed to be its first use in the context of music. The phrase was later lifted by Sandy Pearlman, who used the term to describe the Byrds for their supposed "aluminium style of context and effect", particularly on their album The Notorious Byrd Brothers (1968).

 

[line b]

you know what I mean though. Im looking for the lurch, the knock, the thud. even the drone stuff posted has that, albeit less often. alot of the rock stuff you posted is the sonic equivalent of a swarm of hornets, which does imply movement and tension, but not weight.

 

[thirdform]

you know what I mean though. Im looking for the lurch, the knock, the thud. even the drone stuff posted has that, albeit less often. alot of the rock stuff you posted is the sonic equivalent of a swarm of hornets, which does imply movement and tension, but not weight.

try this then:

 

[woops]

noise lads (and lasses, there must be some, maybe just one somewhere)

yes of course there is

 

[shakahislop]

yes of course there is

this is some of the most offpiutting music i've heard in a while it sounds like a mental toddler

 

[Mr. Tea]

Electric Wizard doesn't really have bass though. It's just the distorted downtuned guitars that give an illusion of strong bass. But it's nothing compared to Bob Marley, really.

You can put a bass guitar through distortion pedals, you know.

 

[version]

There's that Sabbath tune where they put the bass through a wah too.

 

[Mr. Tea]

There's that Sabbath tune where they put the bass through a wah too.

N.I.B.?



As a bass player myself, Geezer has always been a major hero of mine.

Distorted bass guitar almost guarantees a certain heaviness:



To the extent that you can dispense with guitars altogether: