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Accelerated Evolution

Vault Fifteen


ROCKSTEADY

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My doom band, we've been playing for quite a bit. We right a little bit of music, but for the most part we follow the call and response system thats pretty prominent in Jazz circles. Improv

heavy shit with me on drums. We dont record in studio, All albums are live albums.

Vault Fifteen - Rogue Larva

This is from our second performance along time ago (just one song, my upload rates suck), Recorded on a video camera. The Quality sucks, after you listen to it a couple of times though, you'll be able to hear the music a little better. This was after 2 forties of steel and 4 bowls of weed in the gear van.

I made this thread because The next disc (our best shit) should be done pretty soon, i jut have to pick it up at Central Michigan University and haven't had the gas money. Once i get it though im throwin' up! (The Quality is WAY WAY WAY better)

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Daycare Jams

:MORE:

These were all un rehearsed improv jams, Lots of these tracks will most likely be turned into finer tuned call-and response jams, my personal fave is ray charles. All recorded in Bright Starts day care, the most epic practice space anywhere.

also, We used a good recorder for this, the Quality is WAY better

also, these are the working titles and Masters (only not in WAV), theres alot of stuff that needs to be cut, because its just nonsense filler or the lvls arent right etc etc etc...

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  • 3 weeks later...

My impressions on one listen as I go along:

fyitfytfytifyitfyitfyit: I love the heavy opening riff that starts up and the way the drums come in. The guitar tone is really thick and I love it. The drums don't have the power they need to accompany it as far as production. Got no problem with the drum line itself, but they should hit me as hard as the riffs. Try and get that down when you do a final cut of this shit. I'm at about 2:00 through right now and the way the riffs are evolving is really awesome. The drums from like 2:02 to 2:05 are really weird, the way the cymbals almost blast beat is kind of discordant in a bad way. It's better with the blasting that follows but still feels sort of akward. Try to experiment with the cymbal accompaniment. The riff that starts at 2:53 is great, sorta reminds me of Black Metal and the drums accompany it very well. The part at 3:20 is cool too. The discordance of the lead guitar at 3:10 and after is really great. I don't know how to describe it, but you guys do it really well, I like the stuff along those lines. I like the way the bridge around the 5:00 mark travels to my right ear (wearing headphones atm). I think it'd be awesome if you could get it to travel around a bit, so it feels like it circles and surrounds the listener. The Black Metal-esque riff that follows after is fucking fantastic. Seriously, this bridge is wonderful. The way it picks up at 6:27 is very cool too. The way the riff and drum come together at 7:06 is freaking awesome but the drum roll right before it seems akward. The roll at 7:28 is cool though. The riff kind of hitches for a second at 7:43, I'm assuming it was a slight slip up but it breaks the flow for a sec. The cymbals as the song slows at like 8:36 were cool, you should lengthen it a bit. At the 12 minute mark and I have to say this slow part is my fav part of the song thus far, even beating the BMish riff. The high lead that starts at 14:05 feels really akward and uncomfortable and the blast beats don't really mesh with it at all. 14:05 through 14:50 could be taken out to the benefit of the song IMO, and then just tie together the parts before and after it somehow. After that things feel a bit sloppy. Dunno how to describe it, but it feels like everyone went off on their own with only a slight idea of what to do and it's a bit jumbled. At 16:02 it comes together again and goes back to its pre-14:05 amazingness though. You guys really excel at slower bridges. The way you intersperse them between faster parts makes them all the much better. The variety of the pacing in the song is really cool. The way the rest of the music seems to drift out at 16:55 is great, the way that single guitar comes into play, slowly and mysteriously is wonderful. It's incredibly ambient and gives this really dark, hopeless feeling. The sparse drumming is really cool, but I think you should let the guitar move around alone a bit longer and really build that dark, amazing atmosphere together before the drums come in. The way the drums bleed in is really cool though. I also like the way it really picks up steam again afterwards and it gains that excellent slightly blackened feel again. The blast beats that start at 18:59 feel a bit strange, but the riff that follows is great and makes me think of Darkthrone. The drums at 19:16 that continue on are great, the cymbal crash with the steady snare beat is really great and if you got some better drum production it would be pretty crushing. The increased frequency of cymbal crashing at 19:50 is really great and intense. I like it. At around 20:07, when you start doing the 7 cymbal crashes then pausing the cymbals for 1 drum beat before starting the cymbals again is a really cool drum pattern and you should keep it up a bit longer. I like the way it ends with the last 30 seconds of ambient buzzing, but the part that starts at 20:30 I don't really like. It's a bit too near the ending to do that much of a change, especially one so radical. You should build the riff before it to take it to a great climax before you enter that great buzz at the end.

Overall opinion on "fyitfytfytifyitfyitfyit": Fucking awesome shit. The way you mix faster parts with the slower parts is amazing. The slower bridges are just plain awesome and atmospheric. The Blackened riffs bleed in and out of the music naturally, touching it up just when it's right without feeling forced in. The drums sometimes don't fit with the riffs or the riffs with the drums but when they combine they absolutely crush. Excellent fucking job. Also, your ability to make long instrumental tracks that don't get boring is pretty sweet. Kudos.

I'm gonna go get food now. I'll listen to the other to tracks later.

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