I'm a pretty cynical person so it takes time for me to get into music that everyone else is raving about as well as "classic" tunes/bands that I'm supposed to listen too and like. Really, it's not the best mindset to have because I'll miss boats and what not. In 2009 I was forced to listen to Dark Side Of The Moon thoroughly as one of the bands I was in was covering the entire album synced up to The Wizard Of Oz. Definitely an amazing album, of course, that has been dubbed one of the greats of all time. After the gig, I was curious about what Floyd had to offer (besides the radio tunes pounded into my head.) Then I found Meddle.
Being a bassist myself, "One Of These Days" had me hooked right off the cuff. I never knew white guys from Britain could groove so hard. "A Pillow Of Winds" reminded me of when my parents used to play me Simon & Garfunkel, with its spacey, melancholy mood and crisp, acoustic guitars. The song that really changed things for me was "Fearless." I never knew before this song that it was possible to play in a major key and still be so heavy.I've never been to keen on authority so the lyrics resonated pretty hard, while pushing me down the path of the freer life that I had/have been striving for. "Fearless" is now something I say when I'm faced with some kind of serious life challenge, as if I'm drawing power from that very song. The other two songs on the first side of the album show off their roots in jazz ("San Tropez") and blues ("Seamus") in a raw fashion. Gilmour sliding around on the acoustic with a dog howling in the background paints an image of me in my younger days growing up in rural Ohio. The fact that every song on the first side of this record is so different, yet they all blend together, still blows my mind every time I listen to it. Side two is the epic journey, "Echoes." This song, lyrics AND music, conjures up thoughts and images of the world on a grand scale. Nothing really in particular...just everything.
Meddle takes me back through memories of my childhood and gives me nuggets for the future. I love that and album written forty years ago can still be so relevant and mean so so much to a fella. Everyday I strive to be more "fearless" than I was the day before. "Fearlessly, the idiot faced the crowd.."
So the album I've chosen for my own personal 'Album That Changed My Life' is possibly an odd one for anyone that's been following the blog, or maybe not , and came about only after I'd eliminated other great albums that had been a formative influence on my music tastes, and also me personally, but the album that changed my life was 'White Pony' by Sacramento quintet Deftones.
So let me row back almost ten(fuck!) years to a just gone thirteen Stephen O ' Connor.It's not the prettiest picture.Terminally shy, awkward, pimple faced and quite a bit overweight, let's just say I wasn't the most outgoing, or probably well liked kid in my year.The couple of months in secondary school had been a wee bit rough(though when your thirteen EVERYTHING'S rough, so like, bummer) , but suffice to say by the time December had rolled around, I was quite a glum little dude.
Now I had always been a music fan , way back to when my mum and dad would let me stay up late on Friday nights, have a drink and then put on a mix of music that I've only recently come to realise would have a lasting effect on me , a bizarre hotchpotch of Queen, Talking Heads, Squeeze, Bowie, Smokie , REM and the obligatory Irish folk stuff, though even that being the like sof The Pogues, Christy Moore etc, decent enough tunes, and at age nine I had purchased my very first( and last, sad face) Sony Walkman from some birthday money, and a few random tapes, mostly stuff like Eminem and Stereophonics, then later on The Offspring and Travis(Americana is still one of my favourite punk albums, I am quite happy to say).Later on , hitting twelve, I had bought a discman(awkward, bulky fuckers, remember them?), and had moved on to the righteous(cough) Nu-Metal sounds of such musical luminaries as Limp Bizkit, Linkin Park and em, Staind.
However by the time I was halfway through my first year of 'BIG' school , I was hungry for something more, something darker, leaner.We had just gotten cable in my house for the first time ever, and through illicit late night viewings of Zane Lowe and MTV2 , I had come across first the seven string, hip hop tinged dissonance of some band called Korn , but also something possibly heavier.One night, watching an hour long 'rock' show that I used to drift in and out of between reading fantasy novels an fapping my brains out( sorry, but I was an adolescent boy), something caught my eye on the TV.It was a music video ,featuring five skater looking dudes , standing out in the middle of the ocean, and roaring the words 'SHOVE IT'!!! to a great white shark in a cage, the shark looking somewhat terrified, and not happy .It was weird, stirring stuff, the rotund singer alternating between a bellicose howl and a heartfelt croon, while the guitars sounded, to my naive ears anyways, like the heaviest thing that had ever been committed to tape.The band was Deftones, and the song 'My Own Summer'.I was hooked.
So a few weeks later, again with some of my leftover christmas money, procured from various aunties and friendly neighbours, I persuaded my poor, long suffering mum to bring me to a strange place called HMV, on Dublin's Henry Street.I ran to the metal section as soon as I came through the door, and scouted around.I had money enough for two albums, and so the first I picked up was Korn's magnum opus(well , for them) 'Life Is Peachy', and after a little bit more hunting around , spied but one Deftones CD, 'White Pony', which unfortunately did not contain the song I had been looking for, but I decided to take the plunge, being a fearless little bastard.Bringing the CD's to the counter( and then to my mum when the tosser behind the counter refused me the sale owing to the 'Explicit Lyrics' content sticker on both CD's), and then later home, I was racked with excitement , finally some proper heavy metal !
'Life Is Peachy' went on first, and proved well, fun, and as heavy as expected, even if certain parts did creep me out (Davis saying he was going to kill his mother being one, ADIDAS being another), while others bored the pants off me(Korn today simply bore me).But when I put on the other CD, it was a whole different kettle of fish.From the first , stinging riff of 'Feticeira', Stephen Carpenter's wall of sound guitars raping my innocent ears, I was transfixed.'Digital Bath' followed, and it was safe to say that while I had heard heavy music that was poppy, angry, frustrated, etc, but I realised at that moment that I had never before heard heavy music that was this beautiful.'Elite' was next , and brought the aggression, though in a sardonic, knowing way, while 'RX Queen' was again soothing and even romantic, a concept I hadn't really grasped yet , but at least could now at least try and figure out.
The rest of the album was, and is, just as stunning, and I defy anyone who listens to 'Passenger', the duet between 'Tones' vocalist Chino Moreno and Tool frontman Maynard James Keenan, to not feel bowed by the sincerity of emotion , not to mention sheer passion , of the two singers.This was music to keep you company on shit days, and celebrate good ones with you, emotion, but not the base, senseless anger of the Nu-Metal bands, or the anachronistic sentiments of pop.This was complex, yearning, searching stuff, not meant for mass consumption, but offered up and open to anyone willing to try and understand it, and listen to it.
Today I 'm sitting here typing this a much happier, a little thinner , a fair bit older, but still , I'd like to think at heart I'm the same gawky kid, with the messed up spiky hair who geeks out a little bit too much about music.I still wet myself with anticipation at new releases, sing too loud at gigs, and crave new sounds, and songs, to feed my addiction.But here was where it began, with 'White Pony', and even listening to it now, it never fails to stir up something a bit melancholic, a bit romantic, and a bit crazy in me. This is the album that changed my life.
Stephen O ' Connor, For Born Again Nihilist
Have you had an album that changed your life?Tell us!Just email us on a short paragraph or two detailing what album and why it changed your life to bornagainnihilist@gmail(dot)com, and we'll put it up!You don't even have to send us in your name, just share that first thrill of hearing something great.
Paul Gillett, one of our Facebook readers, gave us the story of that magic moment when you discover a beautiful new thing in music, something to which I think we can all relate. This is Asteroid's self titled debut. Cheers Paul!
When I first heard Asteroid's self titled Debut album, I had all but given up hope on rock and roll. I was listening to a lot of Pearl Jam who I have been of fan of since the 90's but, I felt like I was missing something. Someone on the PJ forums suggested a blog site calledhttp://stonerobixxx.blogspot.com. I found out there was a whole genre of music that I didn't even know existed. Bands like Kyuss, Colour Haze, Fatos Jeston and, Lost Natas and CLUTCH to name a few. I had heard of clutch before but, only the few songs that ever get radio play. I instantly fell in love with this new Fuzzed out "desert" sound. A few songs on this album stood out immediately such as The Great Unknown, Little Fly and, the epic Dr. Smoke. there were a few tracks that That only clicked after a few listens like 13th witching hour and water. Hearing this album also gave me a peek in to several Swedish bands like Dozer, Graveyard and Blowback. Yes, I can safely say that this album may have its faults but, It changed my life forever and, I am loving it.
The stoner, sludge and doom fans groups on Facebook have been very good to Nihilist for a long time now, if you want to check them out and join up then here are links to a few below. You get the best links to obscure stuff as well as news of new releases, free legal downloads and a lot of friendly banter too! Or check out Paul's own blog here: http://listenlearnlook.blogspot.com/
Great choice by James Thorn of Ohio's Threefold law here, a true stoner classic.Enjoy!
“Blues for the Red Sun” changed me forever.I remember standing in the Jazz aisle of Camelot Music before we opened when the first riff of “Thumb” oozed from the speakers.In 1992 I was old enough to know what I was tired of hearing (grunge and hair metal) but young enough to keep my mind open about soulful, heavy music.Although the record was steeped in Sabbath and punk angst (Reeder said he thought Kyuss was more punk than metal), it was unique.Josh was funky and yet heavy, not an easy combination to pull off.But it was more than Josh’s riffs, Nick’s unholy bass tone, Brant’s fine chops, and John’s wailing.I could feel the desert wind on my face all the way from western Pennsylvania.Listening through headphones put me right in front of the boys and their infamous generator parties.
No question that the allure of Kyuss was that they were NOT mainstream and would never get radio airplay or MTV rotation (with a few exceptions like KNAC and Headbangers Ball).I wanted a band that belonged to me and not the skinny, whiny, bitches that swooned over Axl Rose.I loved Guns N’ Roses, but so did everyone else.In December of 1992, when I stood inside the “crowd” of 20 people that showed up at City Limits in Penn Hills to see Kyuss open for Danzig, I knew these were my people.They got it too.For the record, most of those 20 people left after Kyuss finished, choosing not to hang with the meatheads there to mosh in front of Glen.
I can cite that moment as the inspiration for everything I’ve done as an artist since.I don’t want to be Kyuss or sound like them.I want my music to connect with people like “Blues for the Red Sun” did with me.I can’t listen to one track or even several tracks off that record.I have to listen to the whole damn thing, from “Thumb” to the four second closer of “Yeah” even if I have to sit in the car for 20 minutes after pulling into the driveway to do it.That’s what music should do to you.When fans come up to me after a show and tell me that they dig Threefold Law, and that they wish we could play for two more hours, I know I’m on the right track because that’s how I feel about Kyuss.
I’m still awestruck by the fact that it only sold around 40,000 units given the Kyuss legacy.Then again, I never gave a fuck about Billboard or retail sales when it came to my music.
J. Thorn, Threefold Law, Cleveland, OH
Check out James's band , Threefold Law @ http://www.threefoldlaw.com/.Keep em coming folks!bornagainnihilist@gmail.com
I don't often talk about my past but I feel this little piece warrants it, brings the choice of album into context and explains exactly how my musical taste and the way I listen to it has evolved..... I grew up in a large Georgian house in West London situated next to a printworks staffed with villains and a motorbike shop ran by the head of the local Hells Angels chapter who was obsessed with Led Zep IV. My father, who I have not seen nor heard from in over 19 years ran an electronics business from the old workshop downstairs. He used to design and build bespoke amplification and giant speaker cabinets for the local reggae scene, no doubt contributing to my love of massive amps....... He had a passion for valve powered hifi and in particular Leak, a local builder of handwired stereos and radios which is what brought the vinyl collection I grew up listening to life with exquisite dynamics. The sound of anything through the Leak monoblocks would delight, but the album that really sang to me was ZZ Top - Fandango. A tour de force in all shades of blues rock from the aching lament to his jeans, Blue Jean Blues to the heavy duty riff rock blueprint Nasty dogs and funky kings, this album overflows with soul. Side A is a live recording that postively sizzles with Rev Gibbons tone, and the criminally overlooked rhythm section of Dusty Hill on bass and the masterful drumming of Frank Beard. Side B is a collection of studio recordings that contain some of the most heartfelt and potent guitar you will ever hear. Hearing this through the sometimes unreliable Leak power amp section really brought it to life. There is something about valve amplification that adds a little voodoo to the music, not that this album needs it, it just serves to reinforce the magic. I was hooked the moment I heard it. This is organic music from the heart. It isn't overtly technical but it has balls. In abundance. Music you hear and feel, something the mainstream has long since lost. The only good thing about living next to a main road squeezed between a printworks and all those motorbikes was the volume levels I could listen to it at, which is the way all good music should be heard. Perhaps why the power amps were unreliable was the use they were given. I still hanker after the same setup to this day, they run about £1000 a pair if you can find them......... The sounds of Led Zep and Motorhead constantly emanating from the bike shop, ZZ Top, Pink Floyd, Dire Straits from the Leak and Alan Freeman's Radio 1 rock show on my bedroom radio all contributed to my musical education, something I feel very fortunate to have had around me. Probably one of the only things the old man ever gave me that was worth anything. Something I am continuing with my own daughter now. She will know what a cassette is, what a record is, how it should sound and what a magical and profoundly powerful force music is. And I take Fandango as the turning point that really woke my ears up.
Edward Gane
P.S You can check out more of Edward's work and writings at http://www.beyondthewallofsleep.net/ .Keep em coming folks!
Stephen , bornagainnihilist@gmail.com
In 2008, around the time I hit 20, I was inspired to check out some Peter Gabriel material after really digging on his track Down To Earth on the WALL-E soundtrack (it’s a beautiful film, shut up!). All I really knew about Gabriel at that point was that he had sung for Genesis and had that messed up video for Sledgehammer. Based on that, I wouldn’t have put the music as suited to my tastes, but low and behold, I was wrong.
On first impression, the album had that ‘old dog trying new tricks’ feel to it. I thankfully stuck with it, with certain elements catching my attention and resonating with me. I learned the power Gabriel had over conveying so much over so few words.
2009 was the year I left Ireland, my family, my friends, my partner, to finish my education in Wales. Two of the leading tracks on the album, Growing Up and Sky Blue, analyse travelling and changes, uncertainty and the burden. Growing Up takes a more tongue in cheek approach (“Growing up/Looking for a place to live”), while Sky Blue is a flat out testament for the weariness of travel and a constant repetition. I don’t pretend to think I have the short end of the stick, but being away from what was my life for 20 years and never fully settling in to this new country as I knew I’d be moving on all too soon, the declaration of the woes of being chained to these responsibilities and the want to just be free from it was overwhelming.
It was also the year I had a loved one edge close to the end while I was so far away and helpless to do anything. Listening to Gabriel’s album, I was able to internalise it all more fruitfully. The album is melancholy, exploring lost love and separation by death. The reflections I saw in this music, the uncertainty and fear, drew me in. The forth track on the album, No Way Out, tells of a lover dying at a funfair, and watching them slip away. The desperation in that moment resonates in ways all too telling. The album’s final track, told as if leaving an airplane, feels like the conclusion to this, the distanced of city lights going out (like nerves inside the brain), an indicator of sadness, but this is only on the surface. As a whole, the album is not dwelling on death, but using it as a contrast for life.
Signal To Noise is an epic that repeats the lines “Bury the signal/wipe out the noise”, in a world full of distractions, of talking and no action, sometimes you must be prepared to hit reset. Sometimes you must be prepared to separate from your own beliefs and think again. I make films and associate with artistic crowds. There are so many fantastic and wonderful people, but there are also so many who will lead you off the track for their own benefit. Sometimes, under the constant natter of bullshit, you have to be prepared to make a decision and find a laurel to stand by. Gabriel’s music made me know that this sour side was not the rule, but the exception. There will always be the up side, you just have to find it.
The album takes a ‘name it to claim it’ approach. By calling out these demons, they can be dealt with. A peace can be made with the spectre of death and the shadow of change. I can be aware of my own thoughts on the mortality of those around me, and I can be as worried about things changing around me, but I must know I am in control of it all. Bad things happen, but it is my choice how I am affected by it.
An album will never change who you are as a person, but it can help you round yourself to be something more cohesive. My brain is not a tidy place, but this album came at a time with a message that was all too appealing to me. It did not make me want to fight the system or hate everyone. It made me remember that in the end, it is all up to me what happens. I am accountable for myself, and I have the strength to see my fears and imperfections and challenge them.
The albums opening track, Darkness, provided me with a line I have held near and dear since the very first time I heard it: “I have my fears, but they do not have me”.
Rich W,Wicklow, Ireland
P.S Rich also writes an awesome blog, entitled 'This Horror Is Your Face' , you can check it out here http://www.richmwaters.blogspot.com/ , and keep those albums coming in, just mail us on bornagainnihilist@gmail.com.Happy Reading!-Ste
Starting today , Born Again Nihilist is asking our readers to tell us about an album that changed their lives.The idea came from numerous conversations with friends about what albums had been important to them growing up , or had been significant at some time in their lives.Our first email came from Zach G in Ohio, who describes how Baroness' 'Red Album' was an important album for him.enjoy, and remember , if you want to contribute, just mail us on bornagainnihilist@gmail.com!The style of music doesn't matter , just that it had an impact on you.
Yo,
I got into bands like Kyuss and Sleep when I was in high school and those were pretty formative things for me. But it seemed like most of the bands I was trying to get into were really just copying elements of Kyuss and Sleep's style, and I was getting really tired of what seemed to be just another cookie-cutter scene. I was in a band that was heavily influenced by Kyuss, and it just seemed like we were stuck in neutral with our songwriting. We wanted to stop sounding like every 3rd or 4th band that got the 'stoner rock' or 'stoner metal' tag slapped on them (even though we weren't really upset about it-for the band drugs and music always seemed to work out pretty well together).
The album that really changed a lot for me in how I thought about heavy music was Baroness-Red Album. I remember walking into a record store in Columbus Ohio when I was 20 years old and seeing a flyer for their upcoming show on the wall-they were playing with Teeth of the Hydra, one of my favorite local bands, so I made a mental note to go to the show. While I was in the store, I saw that they had copies of their (then) new album so I decided on impulse to pick one up. The cover art really drew me in, and it was the first time I think since I picked up Sleep's Holy Mountain that I got really excited to hear a record before I even played it.
I wasn't an especially cool guy who was up on the latest bands (I'm still not)-just too busy with work and school, and I'm sure there are a lot of people who had heard of Baroness long before they got big. But for me, the Red Album blew my mind. It took heavy music in a direction that I didn't expect, and somehow transforming traditional appallachian roots music into these flowing, majestic, and powerfully heavy songs. But I remember playing that record about a dozen times or more before going to see them live a few days later and left the show with my jaw on the floor. After that experience I really started to change the way I wrote music and played songs. I even wrote a poem inspired by the last song on the album "Grad" and sent it to the guys. They probably thought I was some weirdo but a few days later I got an email back saying they really liked the poem. I think that record definitely pushed me and the guys I played with to be more progressive and spontaneous with our music.
