Jabberwocky

Just Seroquel and Budeprion.

I'm surprised there isn't loads of people coming in defending Axl and saying how shitty guitarist Zakk is (if they even know who he is), and how Axl is a revolutionary music god.

Probably will start soon....

Ok I'll start it...

J. D. Fucking Salinger... -

Fuck that arrogant windbag trogladite Zakk. BLS sounds like bland and generic metal suited for a WWE wrestler's entrance. Please continue to pickle your liver Zakk while I hope for the tsunami to carry away those fevered egos like yourself and Haaaacksyll to Arizona Bay.

Just check here.......I only go on this site mostly for Anything goes and such.

Just here as well. I was thinking everything was going well so I went away for a 6 months. I came back to see what was up because all had grown silent on the status of ChiDem and it was business as usual here.

Little of this rock1

LOTS of this

Ah, just like I remembered it.

damn man, excellent post, but so damn heartbreaking!

and Merck had all of us fooled with his little joke about the tuesdays thing.. it took a life of its own, there's people still thinking it can come out one of this tuesdays.. i wonder if he really is aware of the harm he did with that stupid joke

Very excellent post, and yes it is heartbreaking and Merck...oh boy...I've seen better heads on pints of beer. He knows the harm but could obviously care less. Bottom line, Chinese Democracy only exists in the fourth dimension.

Who the hell did this guy have to suck off to get his job?

Talk about not having your facts straight and what the fuck is he doing going off on some "Asshole List" tangent.

A shitty review riddled with ADD.

Back on topic..............here is a theory........getting permission for all of the sound bytes during the bridge could be the delay on why the album is not out yet.

I may be wrong but those clips have to be public domain. I'm not sure that there's even a copyright on his speeches. Even if there is, you can always sight Fair Use.

No brainer, Libertad for sure.

Chinese Democracy only exists in the Fourth Dimension, far away from the grasp of us mere mortals.

Ok- to say that a white woman cannot do anything for you- because she is white- is racist. "your truth" is that you are a racist. Shall I get a defenition of racist for you? And Im not saying that it makes you a bad person or anything like that- but it proves my earlier post: EVERYONE is racist.

OK, how about I put it like this. White women don't get me hard. I'm not sexually attracted to them. Again, why is that aspect IN PARTICULAR racist?

I'm just being a smartass and joking around with everyone else but what I've said about myself is 100% true. And with regards to proving your post earlier about how everybody is racist, stereotypes are based on generalizations and generaliizations are based on some kernel of truth.

Either way,

lol... Once I went black... And I never went back to black....

We always say, once you go black we dont want you back..lol.

The only thing a white woman could ever do for me is point me in the direction of a sistah

Well thats a racist comment if Ive ever heard one.....

What's racist about it? Just stating my truth. White women don't do it for me and surprise surprise I'M WHITE

lol... Once I went black... And I never went back to black....

We always say, once you go black we dont want you back..lol.

The only thing a white woman could ever do for me is point me in the direction of a sistah

Oh yeah, they were doing their shtick back when I was in high school.

A simple "if the album is delayed beyond what we had indicated to you earlier this year, we will let you know" statement is all that it would take to make fans feel at ease.

Well put.

The Album Does Not Exist™

4. Trouble - Manic Frustration

Psychotic Reaction!

Yeah that's on the self-titled one they put out back in '90. Like Manic Frustration it's out of print and have been trying to get my hands on it for a long time.

1. John Oswald - Plunderphonics

2. Skinny Puppy - Cleanse, Fold,And Manipulate

3. Capt. Beefheart - Trout Mask Replica

4. Trouble - Manic Frustration

5. Guns N Roses - Appetite For Destruction

I have to agree with you marina. Instead of sitting on the sidelines WAITING for shit to happen or to change, just get out there and MAKE shit happen. That's the thing that pisses me off with people (mainly hard rockers and metalheads) who constantly slag on punk,techno,emo,hip hop,experimental,etc. by call it shitty music, or calling them a bunch of fags or they can't play or whathaveyou. At least they had the initiative to do something for themselves and if they pick up fans along the way then that's good. Shit, even if you don't wanna play an instrument and you know of some bands that you like then start a small indie record label. All you need is a master copy, some blank CD's, some printer ink and a freebie website and you're good to go. It's way easier to make and distribute music now then it was when I first started 15 years ago.

Make the best of the here and now because closeminded generational envy is not going to get you anywhere.

ALL traditional music sucks and is overrated.

The new goal is to destroy music and make it new again by focusing on form,instrumentation,arrangement,recording devices, texture, etc

does that sound open minded?

Oh come on dude, I was just being a smart ass. I was reading it off a flyer for a label I record for. I grew up on blues, bluegrass, reggea, punk, hard rock, emo (the original emo from 20 years ago) etc but my preference is experimental music. Some people get hard ons over Judas Preist, some people get hard ons over Merzbow.

But yeah I really do think traditional music is overrated but who can I fault for that? Nobody. The human mind and ear is designed to pick up on melody but it doesn't mean what what I do and what my peers do isn't considered art or music just because it doesn't stick to traditional conventions. Experimental just doesn't get the chance because it ends up being buried by the traditional way and people's unwillingness to even try to attempt to listen or try something different because they want to play it safe and sound. Some people complain about rocks repetativeness but that's because you can only get 16 bars off of a guitar.

I ain't trying to bitch you out or anything, just see where I'm coming from.

in other words "I can't hack it playing actual music, so I'm gonna make a bunch of noise and call it 'modern' or 'experimental' because I can't play".

moreblacks' history lesson of the day.

No need to worry your pretty little head banging head off nobody is going to take away your precious little classic rock music away from you. Things will still be the same 100 years from now, I pwomise womise.

Noise music is music that uses sounds regarded as unpleasant or painful under normal circumstances. "Noise" music is regarded by some as a contradiction in terms, because "noise" is generally defined as unwanted and undesigned or unintentional sound and music as the opposite. However, "noise" in a more general sense refers to any extremely loud or discordant sound, and that these sounds are often the basis of noise music. Secondly, as famous noise musician Masami Akita said, "If by noise you mean uncomfortable sound, then pop music is noise to me." Noise music is not necessarily "noise" to the listeners, although it is certainly "noisy" in the more general sense of the term.

Noise music is loosely related to industrial, sharing its DIY ethos, independence and ethic of using "non-musical" sources. It also shares with early, Throbbing Gristle-era Industrial, a fascination with the hypnotic, and magical qualities of sound. Often punishing and abrasive, Noise music can be difficult listening, ranging from the free-form extreme electronic music of Merzbow and Masonna to the more sculptured sounds of Otomo Yoshihide and Aube, to the cold haiku sound-scapes of Ryoji Ikeda and Toshimaru Nakamura.

Luigi Russolo, a Futurist painter of the very early 20th century, was perhaps the first Noise Musician. His 1913 manifesto L'Arte de Rumori (The Art of Noises) stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. (See: cognitive dissonance) Russolo found traditional melodic music confining and envisioned Noise Music as its future replacement. He designed and constructed a number of noise-generating devices called Intonarumori and assembled a noise orchestra to perform with them. A performance of his Gran Concerto Futuristico (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived. Although Russolo's works bear little resemblance to modern Noise Music, his pioneering creations cannot be overlooked as an essential stage in the evolution of this genre, and many artists are familiar with his manifesto

Beginning in the 1920s, composers (in particular Edgard Varèse and George Antheil) began to use early mechanical musical instruments--such as the player piano and the siren--to create music that referenced the noise of the modern world. In the 1930s, under the influence of Henry Cowell in San Francisco, Lou Harrison and John Cage began composing music for "junk" percussion ensembles — scouring junkyards and Chinatown antique shops for appropriately tuned brake drums, flower pots, gongs, and more. Cage started his Imaginary Landscape series in 1939, which combined elements like recorded sound, percussion, and (in the case of Imaginary Landscape #4) twelve radios. After the second world war, other composers (including Pierre Schaeffer, Iannis Xenakis, and Karlheinz Stockhausen) started to experiment with early synthesizers, tape machines and radio equipment to produce electronic music, often with very abstract sounds and structures. Much of this music has proven influential on the creators of noise music.

With the advent of the radio, Pierre Schaeffer coined the term musique concrete to refer to the peculiar nature of sounds on tape, separated from the source that generated them initially. His ideas about non-referential sounds take their most extreme form in noise music, which often blurs or obscures the actions which produced the sounds while also suggesting the physicality of sound itself.

In all the cases of these forerunners, the sudden affordability of home recording technology in the 1970s with the simultaneous influence of punk rock established a new aesthetic of non-musicians creating music. When anyone could produce noise, and anyone could record and distribute it, then noise music provided a way for any person (artist or non-artist) to experiment with sound as a painter might with visual material. Noise began in earnest when classical avant-garde ideas became democratised, separated from the academic thought that started it, and experimented with by laymen with nothing at stake other than making music for its own end.

American archivist and writer Boyd Rice has been a seminal influence on Noise music. Starting in 1975, Rice began experimenting with the possibilities of pure sound. In his live performances, he attached an electric fan to an electric guitar and also used an electric shoe polisher as an instrument. He created extremely loud, cascading walls of noise and played pieces of recorded conversations, news reports, and music just beneath the threshold of comprehensibility. Rice has created works that combine brutal soundscapes with various poetics. He has also structured noise elements into harmonious, rhythmic pieces that defy easy categorization.

Originally influenced by the sounds of European bands like Whitehouse, Japanese style noise music then pushed this approach to an extreme of loudness and density, which in turn became a major influence on western noise bands. Sometimes known as "Japanoise" (not just as a pun in English, but even in Japanese: ジャパノイズ ), it is usually associated with "harsh" characteristics including walls of white noise, non-linear pulses, beats, sampled loops, dialogue, and sirens. Since the late 1980's this Japanese style has been probably the most prolific and noticeable part of the Noise Music scene. Thus in magazines and the popular imagination the term Noise Music is often closely associated with this style. Likewise the popularity and prolific output of musicians such as the aforementioned Noise Music figurehead/posterboy Merzbow, Otomo Yoshihide and other names like KK Null, Masonna, The Gerogerigegege and Hanatarash (founded by Boredoms frontman, Yamatsuka Eye) have made Japan something of a Mecca for many noise fans. In terms of sales, Noise music is not particularly more popular in Japan than in Europe or America. However, there is perhaps a higher level of recognition from crossover with mainstream genres and events, such as fashion shows or dance performances with music by noise artists, and a comparitively large number of noise live performances are held in Tokyo.

Also, in more recent years, the onkyo style of noise/free improv is becoming more prevalent in Japan. Centered around the Off Site club in Tokyo, and including artists such as Sachiko M, Otomo Yoshihide, Toshimaru Nakamura, Shigeru Kan-no and Taku Sugimoto, it is a form of electro-acoustic improv that focuses on quiet, pure tones, static and space. As with most genre descriptors, there is a backlash against the term, feeling that it solidifies the style into a fixed form (obviously the death knell for any free improv), but for now, it serves as a simple way to convey the general style of modern Japanese improvisational music.

Lou Reed's double-LP album Metal Machine Music released in 1975 is an early, well-known example of noise music. A lesser known, but perhaps more prophetic release regarding the future of Noise music, is Boyd Rice's 1978 LP, Pagan Muzak. Reed's Velvet Underground cohort John Cale's electronic drone music with artists such as Tony Conrad and LaMonte Young in the mid-60s can also be cited as having been influential. (see the CD release of Inside the Dream Syndicate Volume 1: Day of Niagra).

In recent years European musicians associated with jazz, electronica and black metal have been active in the Noise music arena. In Canada the Nihilist Spasm Band has been performing acoustic-based noise music for decades. In the early 1990s, the noise operas of Lisa Crystal Carver and Costes in Suckdog placed a new emphasis on drama and histrionics in noise music. This led, in part, to Chicago's free glam movement adding an emphasis on cultural and social dissonance to the concept of noise music. The aptly named noise rock fuses rock to noise, usually with recognisable "rock" instrumentation, but with greater use of distortion and electronic effects, varying degrees of atonalism, improvisation and white noise. One of the best-known bands of this genre is Boredoms. This style is more like a "traditional" band compared to abstract or electronic noise and sometimes bears a similarity to grindcore. The name noisecore is also used to refer to noise-influenced hardcore techno or rock.

Fans of the genre sometimes distinguish between "harsh noise", the more well-known super-dense and abrasive sounds of Merzbow, Masonna and similar artists, and other loose sub-genres like "rhythmic noise", "power electronics", "free noise" and so on. Confusingly, some industrial techno sub-genres have very similar names, i.e. power noise. Power noise is comparatively conventionally musical, and is not to be confused with power electronics, the synthesizer based subgenre of abstract and experimental noise performed by Whitehouse.

Other artists mix Noise with subtle ambient shades to create ambient noise music.

One possible influence of noise music has been to change the way of thinking about what is "musical" or "unmusical" noise, and recently many different genres, such as techno and hip-hop, include some kinds of sounds that could be viewed as "noise".

i love all these metalhead fashion mongers that rag on hip hop cuz their favorite shit SIMPLY IS NOT RELEVANT ANYMOOOORE, TIMES CHANGE those people had their time, their scene, u make urs n stop lookin up to grandad cuz he's just a backlog of stories n memories now, n if u haven't got the brass balls to make ur own u have no right to diss the people that do, how much u might not like em, u can't do no better n if u can why aren't u?

*giant appluase*

That needed to be said, thank you

B ) A White guy cant play the blues !

Blues sucks and is overrated

ALL traditional music sucks and is overrated.

The new goal is to destroy music and make it new again by focusing on form,instrumentation,arrangement,recording devices, texture, etc

Im not really into kiss...they have a few good songs

but if it werent for kiss we wouldnt have dimebag

SO FUCK YOU

We wouldn't have alot of the guitar gods if not for KISS. Albeit I don't like any KISS song but you can't deny their influence

The first two Deicide records were awesome but went to shit afterwards. The band Death is about the only death metal band I like.

More of a fan of grindcore

that's real rock and roll, bitches. take it or leave it.

True dat, true dat

and it's that reason why rock n roll in that sense of the word is considered lame, geriactric and completely narcissistic. If the majority of people were cool with Axl showing up 2 or 3 etc hours late then there wouldn't be riots would there. Nobody stood for that shit back ithen and nobody is going to stand for that shit now. Bottom line it is disrespectful and you better have a goddamn good reason why besides being an overpriveldged primadonna who's acting like a bitch with a skinned knee.

In case you people are wondering why there isn't any rock stars anymore case in point. " Axl where have you been, you're 2 hours late?" "I was taking a shower" *bursts of laughter from Eddie Trunk,Sebastian Bach,some wrassler and Axl*

See how easily relatable that is to the average working stiff?

All I can say is hold on to nostagia because that's all rock fans have left. It's been left to rot on the vine and that's fine by me

could your reupload it doesnt work for me.

you're not missing much. it's just some Enya sounding keyboard mixed over top the piano loop. it's shit