In a nutshell, 1993’s Undertow and 1995’s Ænima perpetuated rougher and more risqué syntheses of progressive and alternative metal. The acclaimed band, set to launch a 2022 US tour (get tickets via Ticketmaster), has evolved significantly without losing sight of its most vital trademarks, ensuring that all of its work feels at home within the same catalog.
Indeed, the quartet (drummer Danny Carey, vocalist Maynard James Keenan, bassist Justin Chancellor, and guitarist Adam Jones) have spent the last 30-odd years fusing the industrial salaciousness of Nine Inch Nails with the mesmeric sophistication of Pink Floyd and King Crimson, yielding a beloved sound all their own. No one crafts equally perverse and philosophical slices of prog metal quite like Tool.
The end result is a musical production which attempts to simultaneously voice their nationality as well as their generation.The post Tool’s 10 Best Songs appeared first on Consequence. The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds. In this project I identified two subgenres of indie music scenes (neoflamenco and neofado) and analyzed how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. My dissertation "Saudade, Duende, and Feedback: The Hybrid Voices of Twenty-First-Century Neoflamenco and Neofado" focused on the negotiation of identity and hybrid cultural production in twenty-first-century Iberia. In this project I identified two… Read more I identify here two subgenres of indie and electronic music scenes and analyze how the… Read more The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I have developed a framework with which to contextualize and conceptualize the various issues addressed by these bands: authenticity, globalization, nostalgia, cultural capital, national-gender identity, and the economic crisis plaguing contemporary Europe. Their music references these and other global indie bands alongside those of twentieth century Iberian urban folk icons-Bambino, Camarón de la Isla, Enrique Morente, Amália Rodrigues, Alfredo Marceneiro, and Carlos do Carmo. They are the torchbearers of tradition for an Iberian generation raised on The Velvet Underground, David Bowie, The Clash, The Replacements, Nirvana, and The Strokes. The end result is a musical production which simultaneously attempts to voice their nationality as well as their generation.
The hybrid musicians I interviewed for this project combine flamenco or fado with a variety of indie sounds: rock, pop, power pop, hip hop, trip hop, post punk, spaghetti western, shoegaze, or experimental electronic. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures.