I spent 45 minutes on a lame joke, screwing around with over a dozen ‘animate’ settings, making watching the whole thing a trippy experience even if you have to mute it, if your taste is so terrible that you hate catchy dance-pop, ugh, plebeians… (Note for the overly-literal: that was sarcasm.)
• Guyed asks for “sauce” (in *chan-speak, that’s source, as in, “what’s the source of this thing?”)
• So I put sauce on his post.
• Note the guy is from nihon-land.
• Make him feel welcome with the song of his people.
First, let’s leave aside the obvious fact that no artform’s quality can nor should be objectively quantified; that subject has been beaten to death. Now then…
I have a habit of hitting Next, Next, Next on my MP3 player depending on my mood; most of the time I’m just not satisfied with whatever it throws at me. On one of my breaks, one song I passed over at that time was Great Hall Awaits A Fallen Brother by Bathory, but when it landed on Mermaid Festa Vol.1 (Kotori Mix) I let it play. Despite remembering the inability to quantify quality, I am confident in stating that there likely is no human being on Earth who, listening to both, could possibly say Great Hall Awaits A Fallen Brother (with its themes of brotherhood, glories and horrors of battle, loss, afterlife…) is worse than Mermaid Festa Vol. 1 — whether we’re speaking of the original or solo’d by one of the µ’s, this one the only out of the entire Love Live! discography IMO where all ten versions are worth keeping around; not even Snow Halation can survive the tedium of the vocals of Nozomi and Nico.
And yet, at that moment I chose to listen to Kotori’s nasally, shrill singing (Aya Uchida sounds so much better in her natural tone) along to a cheerful “seaside dance beat” full of flirty lyrics over the powerful, operatic Quorthon buoying this masterfully-crafted monolith of heavy metal’s supremacy as a musical genre.
Now why is that? Continue reading “is quality paramount? or even to be considered?”
>spent at least 15 years as a heavy metal elitist, and anti-weeaboo grognard, too
>about 4-5 years ago, thanks to Saya no Uta being the straw that broke the camel’s back, gave Japanese cartoons a chance; am now hooked for life
>at about the same time, Magia by Kalafina (ED of Madoka Magica, one of the first anime I watched because it was written by the same author of Saya no Uta and this was shortly after it first finished airing so EVERYONE was raving) showed me the light that non-metal doesn’t automatically mean crappy music!
>but it took me months time to admit that I liked what I was hearing, to get over my lifelong stance of “it’s not metal, therefore it sucks”
>as a friend says, otakudom forever corrupted my core programming
>anyway, a year or two later, I finally broke down and began listening to stereotypical cutesy-girly anime songs, not just the “normal/adult-sounding” bands/singers like Nana Mizuki, Aoi Eir, and Yoko Hikasa; curse you 3rd ED of Cardcaptor Sakura (Fruits Candy by ??) for being so addictively catchy, paving the way for me unironically enjoying such sugary sweets as sweet&sweet holiday by Printemps years down the road!
>now have playlists with Judas Priest next to k-ON! character songs, Amnesia OSTs next to all ten variations of Snow Halation, and so on Continue reading “how it happened”
Added overpriced mini-album Bitter Kiss by Aya Uchida, whom ma’habocath discovered — just like he discovers almost all Japanese singers — by investigating the voice actress behind an anime character, in this case the sweet and beautiful Kotori Minami.
This one was less than impressed at first, especially with the accompanying girly-rock. But after several more chances, Aya and friends has grown on ma’habocath, who now appreciates her lovely and passionate vocals very much.
This one looks forward to enjoying more of her work, along with the rest of the voice actresses (all 23 of them!) involved with the Love Live! franchise. Continue reading “another album update, also maho is mahou”
From a sweat4health forum post so no “khajiitification“.
• Heart of Steel by Manowar
○ All aspects, from every direction, this is very definition of manly tears.
• Honorable mentions from Manowar: Gates of Valhalla, Secret of Steel, Warriors of the World. Eric Adams and Quorthon (of Bathory) are my favorite male singers of all time.
• Great Hall Awaits A Fallen Brother by Bathory
○ All 8 minutes are a powerful journey about death in battle and the trip to warrior’s heaven that takes you through ~3:38, with lyrics like “Stricken down, my brother, this was your day / Rest you now, we will meet again”, finally culminating in the part starting at ~5:15 with that eye-punching bass guitar and “Close your eyes, lay still, no more pain / Washed away, your blood, a gentle rain / The blood shed is blood of mine”…
• Death and Resurrection of a Northern Son by Bathory
○ Not as much as Great Hall Awaits A Fallen Brother, as only the singing and lyrics of ~3:25-6:42 from the late should-be-heavy-metal-legend, multi-instrumentalist, singer-songwriter Thomas Börje “Quorthon” Forsberg is the tear-jerker here, the first part on glorious combat leading up to getting sent to the great hall in the sky by “missing the unseen blow that cut me down from behind”. Continue reading “music: spine-shiverers and tear-jerkers!”
Because every once in a while, something absurd will pop in this one’s head. For example, this morning when yang shuffled to this:
ma’habocath spontaneously imagined these girls: Continue reading “here’s why it’s good ma’hab will never learn to draw!”