From my line of sight, not a lot of people are interested in other peoples' taste in music.
Some people really fucking hate the music I listen to.
I could rant for hours about the music I dislike wholeheartedly, but that's not the point of this post.
From the earliest days of my life, I was exposed to a lot of classic rock, and I took away a lot of likes and dislikes. I also had the occasional metal track being played around me, until I got my first HEAVY METAL TAPE (yes they still exist) at the ripe old age of 9 years old.
Believe it or not, that's a Christian heavy metal band. Lol.
Before Bloodgood I had been exposed to Iron Maiden and Ozzy, but that whole era after I turned 11 I was buying up shit like No Rest For The Wicked by Ozzy and Appetite For Destruction by GNR.
To me, this shit was extreme. To me, Master of Reality by Black Sabbath was the heaviest album of all time.
Then I found Megadeth, and the whole thrash phase kicked into high gear. It culminated in me being a part of a lot of unsuccessful thrash bands and ultimately, my love for heavier shit led me to a successful blackened melodic deathcore band.
There are a lot of songs I could put up. Poignant songs; overwhelmingly brutal songs; epic songs; short songs, long songs, medium length songs, songs that are 32 minutes long, and all of the little dumb shit between the songs.
I could ramble about the awesome production quality of a certain band, or the incredible talent of another, or the vocalist of a certain band in particular, and I could go into great detail.
The things that actually matter about music for me are the way it ultimately sounds, and the intricacies of its production. Outside of its genre, would it still hold up? If you blast it at high volume, will people yell at you and call it shit?
If it's not Future (by extension ANY form of urban music), any Christian rock band, or god forbid modern day country music, then 9/10 they're tasteless, moronic puppets that call Mefaillica their master.
I listen to shit in Japanese, Russian, German, Swedish, Norwegian; occasionally Italian, Arabic, random Latin/African dialects, or sometimes whatever you got.
I don't simply listen to metal, though.
I LOVE Japanese music in many forms and styles. I love certain folky, poppy things, too. For example, I believe Come On Eileen is one of the greatest musical achievements of the 20th century. I like a lot of Russian folk and some classical Spanish folk as well. Turkish folk music is good, and frankly so is a lot of Finnish folk.
Folk METAL is just the bestest thing on earth though.
Some people think power metal is the best, other dickwad pieces of shit only like hardcore/deathcore.
Fuck those pussies.
Folk metal is one step above Viking metal, one space removed from black metal, and 100% epic fucking win.
Plus there's all different kinds of folk metal infusion in a lot of avant-garde bands that shy away from the industrial side of things.
Honestly I really feel like my love for symphonic folk metal stemmed from my love of early ELO and Chicago. My Norwegian roots might have played a part as well, considering I listen to all different kinds of black metal and have loved them pretty much since the first time I heard them.
It is my belief that people are hardwired not just by their environment, but also their genetics, to like certain types of music more than others.
My musical inclination is clearly a product of my own engineering; I loved music from an early age, taught myself the piano from age 7, and when I fell in love with Green Day and Megadeth I pretty much demanded I buy myself a guitar (so I did at 13) and from there, my journey of exploring the sonic capacities of metal from my own perspective has been so fucking enlightening.
I understand music so well. People who equate it to math are fucking assholes. Savants who "visualize" the music can suck my fucking dick.
TALENT AND SKILL are born, nurtured, cultivated, and thrive off of sheer determination and countless hours of playing until you paint your neck in blood (from actually playing it correctly, not beating the living hell out of it like the Ramones). I don't even have to THINK to produce amazing music.
I MOVE MY FINGERS AND THE SHIT WORKS.
Because from the moment I turned 13 until the time I was 25 I was playing the guitar religiously, listening to music religiously, writing music religiously, and performing music extensively onstage.
The faster, the harder to play, and the better sounding, the more faster, harder, and better I make it.
I do everything humanly possible to produce quality melodies, licks, riffs, and solos, but the amount of effort I put into it is not equivalent to the amount of skill it requires to play the things I play.
As of RIGHT NOW, I might spend five hours practicing one riff, then put the guitar down for a month or so, then be able to play that riff flawlessly without effort.
I'm double-jointed in two places in my left hand as a result of me playing the guitar. I experience cramps, spasms, and stabbing pains every time I pick up the guitar now because I haven't played hard since I was 25. Every chance I get to play, I practice the fastest and most complicated shit I know how to play, but I've forgotten a lot of the stuff I was writing back in the day and shit. It's a real shame, too, because there are licks and melodies I wrote years back that I would love to implement in new songs today.
If I had my guitar at the moment.
I love complexity in an arrangement. I CRAVE HOOKS like a crackhead. I'm extremely judgmental of all music I listen to. This is more beneficial to my listening experience, because I love finding little things inside the production of a song that makes me stop and think... "wow, they actually did that."
Thinking about Queen, ELO, Chicago, and many other early rock bands, they weren't afraid to throw the most mind blowing hooks into a song if it made it a little longer. We wouldn't have shit like Bohemian Rhapsody, Kiuama, or 25 or 6 to 4.
I was never a fan of the Beatles. I liked George and John, but I only liked a couple of songs by Paul or Ringo.
I guess I respect a lot of the musicians from that era more than them, but they definitely wrote good songs and knew how to play well enough to write a bunch of songs that sounded absurdly different over the years. The White album was funky, and I liked some of it, but they weren't on the same level as the musicians that came directly before them, or directly after them. By 1975 the Beatles were trash by comparison to the uber-massive progressive rock bands IMO. Hell, even the pop punk bands that grew up listening to the Kinks, The Stooges, AND the Beatles were making music comparable to their predecessors.
Phil Rudd spent over 30 years playing the same 1-2 drum beat on EVERY SINGLE SONG AC/DC EVER WROTE. Angus and Malcolm were the real stars of that band, and Bon Scott, for all of his Satan worshiping, alcoholism, and wild sex, was a walking god in the music industry for roughly two years before his death.
The rhythm of the walking drum (read The Walking Drum by Louis L'Amour) was pretty much all you'd need to write Highway to Hell or Dirty Deeds Done Dirt Cheap.
Nowadays I guess you can find decent rhythm in some modern pop, like Uptown Funk, or in the dope flows of the two people who program the beat for every #1 single in the American music market every month since 2011.
It's a lot harder to find in underground metal music that breaks through to the major market than rap music, though.
Sometimes I just want Mikuni Shimokawa to sing me to sleep. <3
Kay. I rambled.
Later for now.