Super Hexagon

I cannot remember where I saw this game first. It may have been in a Youtube video somewhere, but I was interested by it and bought in on the Google Play store. I played it for a while, but I didn't think much of it. I found it difficult at the time and I put it on the shelf for a while. I recently picked it up on Steam after a friend gave me a key on a forum for the game. Upon playing it on the PC, I realized how good the game really is. On Android, I traditionally have the sound muted, so I didn't hear the retro/ spacy music Super Hexagon had to offer. Plus I didn't really like the controls on the Android. I felt that touch feature was inconsistent in the game.

These walls and neon colors add
to the difficulty of the game

Upon playing it on the PC, it felt like a completely different game. It is a very straight forward game where you are a triangle that is stuck in a hexagon with walls coming at you at each of the six sides of the hexagon. The game speeds up and gets faster as the player progresses through the patterns and colors. What makes the game so difficult is that the colors throw off the player. They are bright and neon like, which can cause the player to observe the colors more than the walls progressing at the player.

Another factor is the fact that game spins which makes the game harder to follow. An enticing factor for the game is the simplicity of it. There is no aiming a sniper scope in between two barrels to kill someone or slaying a bronze dragon with a bow. It's simplicity makes the user want to play more, to progress more and beat their old records. It is a super fun game and I recommend it to anyone who wants to kill a couple of minutes or a complete hour. It has a huge replay value and is very addictive. Although there are only six levels, they retain good replay value because the patterns of the walls always change and the colors add a cool dimension to it as well.It is overall a fantastic game and it is well worth the purchase. 

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Rocksmith Game Review

So for the past two weeks I have been immersed in a game called Rocksmith. It's one of Ubisoft's more ingenious creations where one plugs in a real electric guitar, or bass guitar, and play to songs. I was pretty skeptical about the whole thing. I at first thought that even if the game was a flop, I'd have a decent cable I could use with Guitar Rig 5 and other programs I have for my laptop. After a few latency adjustments, I got the game down to minimum latency and fixed the audio delay. What I find cool about this game at the get go was that you can play guitar and bass. The bass can either be standard four string bass guitar, or the guitar can emulate a bass and one can play the top four strings. In a world where fast electric guitar players get all of the attention, it was nice to see the bass guitar and bass player get some well-deserved attention. I tried out a few songs and I learned to adapt to the way the notes go down. It's concept is similar to that of Rockband and Guitar Hero's scrolling note screen. The main, and obvious difference, is that instead of the five button bar at the end of the screen, there is a fretboard that is numbered like a guitar fret board. The notes come down the frets and are colored with a corresponding string color. Although it is strongly similar to the familiar 'fret board' of guitar hero and Rockband, it helps the player adjust well and play Rocksmith with just a little familiarity of the user interface.  The variety of songs in Rocksmith is something that took me by surprise. I have owned Rockband 1, 2 and Guitar Hero 3 and none of them had such a distinct variety in music. I've listened to a lot of music from a lot of eras in music. They had Muse, Lenny Kravitz, Nirvana, Eric Clapton, Lyndard Skynard, Velvet Revolver, Black Keys, and David Bowie, to name a few. They're all very well known songs and the dynamic difficulty helps out a lot. 

As far as playing a song goes, the game is pretty generous. They start you out on a lower difficulty setting, where a song will have single notes and maintain the base rhythm of the song. As they player gets a phrase correct multiple times consecutively, the difficult slowly increases. The game adds more notes and if the song has it, chords. This Dynamic Difficulty setup is fantastic for guitar players of all types. It gives beginner guitar players time to learn their fretboard in between notes, and as they progress through the difficulties, learn how to play the songs.  If the user is having trouble with the song, they game also offers an in game Riff Repeater. Here the user can choose any song they own in Rocksmith and practice sections of their choosing in different modes. The Accelerator mode sets a speed for the section, and then makes sure the user can play it at that speed, then the speed increased until they reach 100%. The difficulty of the song and the speed can be adjusted as well through pausing the game. The Leveler plays the song at a 100% speed, but not difficulty. It leaves off at the highest difficulty the user can play, and then adds more notes until that too is at a 100%

The 'story' mode is not really a story mode. It's essentially setlists the game comes up with. There seems to be no real correlation between the songs that are chosen except that they are possibly on the same dynamic difficulty setting. Some of the artists are the same in a set list though. For example, the two Black Keys songs that Rocksmith offers could be in the same setlist. You can also 'level up' in Rocksmith by gaining respect. Respect is earned by playing songs in a setlist and getting a high score. Each venue will offer a setlist and a song limit. They traditionally give anywhere between 3-6 songs in a setlist, but they limit it off at 8 songs a setlist, so you can add more songs or remove them if you wish. This add/remove feature is one of my favorites in Rocksmith because it helps me avoid songs I don't necessarily want to play like Lynard Skynard's Free Bird, a song that 9 minutes long.  When you level up, you obtain more venues and more events. When you finish playing a setlist, you're given a guitar, which as far as I can tell, is just for show. Similar to Rockband and Guitar Hero, you can equip your character with a guitar that you have earned. Since Rocksmith is sponsored by Gibson Guitars and Epiphone guitars, the player wins their guitars in-game at the end of an event.

One of THE most coolest features Rocksmith has to offer is their AMP feature. This gives the user the option to use amplifiers and pedals they earn throughout the campaign and playing songs. When a player gets over 70,000 points on a song, they obtain the pedals and amplifiers used for the song they completed, which can be used in the AMP room. You can create custom presets and play around with the numerous amps and pedals offered to make a custom tone and play whatever you want to play. It's something to fool around with and it's something different that hasn't been really offered in the gaming industry. Another feature the game offers are their mini games which kill a little time. Although the games are a bit childish, they help with a few techniques such as harmonics, alternate picking, chords, and bending to name a few. They even have a cute little game called "Scale Runner" that makes the user play the note on the screen and run down the scale of their choice (with the key of their choice) in patterns. The features and songs the game offer is a fresh new experience and I'm glad Ubisoft released a game that requires one to play a real guitar. 

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A Degree in Heavy Metal

Today I read an article concerning New College in Nottingham, England and one of their academic programs. An article on "Ultimate Guitar.com" talked about the New College's latest degree, Heavy Metal. They say the degree will have its inception at the college this upcoming Fall school year. I delved a little into this topic, and I would like to provide what information I have found, as well as my thoughts on it.

As far as I know, this is pretty new for a college. I have never heard of a college having a degree for heavy metal, which to me, is a huge step in the genre as a whole as well as music. To obtain the degree it will take two years. The first year basically introduces heavy metal and all of its aspects. The classes go through the history of heavy metal, as well as their relations to religion and philosophy. The first year sound amazingly interesting to me. Regardless of whether it is analyzing the lyrics of a Black Sabbath song, or the background and meaning of a Metallica song, the first year sounds like a fantastic time. I feel that heavy metal was, and currently is, one of the most lyrically intense genres to date. They stray from extensively singing about love, or heart break or other topics that are popular in popular, rock n' roll, blues music etc. Instead, metal bands (I'm thinking old school 80's and 90's) chose to sing about religion or philosophy and other topics, which is what the course also covers. In the second year of the degree, the musicians write music together and are provided gigs to play and perform in. They tour Britain, a nation known for its music ever since the 60's, and basically play as many shows as they can.

I am having mixed feelings about this degree currently. Although I think it is a breakthrough in music and pushing boundaries, one can only wonder the credibility of this degree and how far it can take them. My position on music has always been use what you have, and get out there and do it. If you have a guitar or bass guitar, learn technique, rhythm, and most importantly, music theory. Music theory is the fiber that holds all the music together, and is the essential basis as to why music sounds like it does, and why some notes or chords sound good together and why others do not. It's as simple as that. If you are a drummer, practice drum rudiments, technique, learning how to utilize your kit of whatever size to its fullest potential. Singer? Practice how to harmonize and stay on pitch and try expanding your vocal range and try to project more. Whatever the instrument, one should practice it and practice and play with others and just get out there. Play crappy gigs at a club for five people, play your younger sister's sweet sixteen, play the benefit show for breast cancer. Get out there and take the opportunities that are just waiting to be taken. Save your lunch money to buy a better amplifier, or get a job to fund your band's demo along with the rest of the members. Make friends with other local bands to make playing shows all the more fun, hell book shows together if you want. Get out there.

I feel that a degree in heavy metal just prolongs that beautiful process. It does not matter if the degree is for heavy metal, folk music, country, rock n' roll, blues, jazz or whatever, I personally feel it restricts people. When I think of people going to college, I assume they are going to obtain a degree which will lead them to their career. How serious will a company or an employer take an applicant that has a heavy metal degree? Sadly, not very seriously. This is not to say the degree is useless, and one will never have a successful career in heavy metal, but it will not amaze other employers. I feel musicians should jam out, get together, work their asses off and get where they want to go through seizing opportunities and pushing themselves, just like anyone else would do for their dream job.

This is also not to say that nothing fruitful will come out of this venture. With all musicians, connections are important. They basically create the web of interaction that gets a musician on their feet and out there. In the video link provided at the bottom, Kurt mentions that he obtained a lot of connections through his time in Berklee, and how he still maintains contact with them to this day. Bands should run around selling their EP's and demos and get their name to record labels and get a manager. One can also put to test how much theory they know and utilize in creative manners with other musicians who are just as energetic and willing to make music. But if one is truly motivated to make it in the music business, they will find different chord progressions that make them stand out, different arpeggiations or different rhythms. They'll paint their musical canvases with deep intricate colors that paint a mellow picture or a somber scene or whatever they chose. These heavy metal musicians want to play some god damn heavy metal, and if that is what they truly want to do, they should get out there and do it. A two year course is not going to put them on the map, they won't start touring with huge heavy metal acts like Iron Maiden or Led Zeppelin, they'll tour with their 'classmates' and other heavy metal bands in Britain. Although they will make fantastic connections, they won't leave the college with a successful band and a career with a ten year contract and a four album record deal with hundreds of hours of studio time and sponsors. They'll end up with a piece of paper that says that obtained a two year degree in heavy metal. This degree is amazing, the breakthroughs in the education of heavy metal will be huge, but in the end, how much will it really help?

Link:http://www.youtube.com/watch?feature=player_embedded&v=QjN4K3KutV4 

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Innovation

I wish I knew what happened to innovation in music. What happened to pushing the envelope and completely revolutionizing music like what Miles Davis or Jimi Hendrix or Randy Rhoads did during their time as musicians? They tried to advance musically and do things that other musicians weren't doing. Miles was so influenced by Jimi and what he was doing in music, that in his live album "Live-Evil", Miles used an electric trumpet and a wah-wah pedal. That's a god damn Jazz musician getting out of his comfort zone of Bebop and Cool Jazz and Hard Bop and trying to do something different, something that no one else is doing at that moment in time. When I listened to that record, I thought he was playing a guitar and it sounded amazing. Hell Jimi is still regarded as one of the best guitarists of his time and of all time because of what he did with guitar. Being a left player and mixing rhythm guitar playing with lead guitar playing was just so different for his time. Hearing Purple Haze, or All Along the Watchtower or Hey Joe just shows his abilities as a musician and how creative and innovative he could be. These musicians did not conform to the concept of making their music simple, they made it different, they made it technical and soulful. The second Hendrix bends a note or Davis starts to play a melody you can hear everything one has ever wanted to hear in music. One can hear emotions and thoughts, practically conversation in the music.

I feel like musicians nowadays do not try to be different. They might change a few things here or there, but there is nothing revolutionary or amazing about them. I mean bands like Muse and Lostprophets push the envelope with the creativity and ingenuity. Muse's guitarist Bellamy uses a Khaoss pad on his guitar to get different sounds, and the band as a whole are super creative and innovative in their music. No two albums of theirs sounds alike. They are always doing something different, something new, they are the Miles Davis of the modern era in rock/ progressive music. I may not be biggest fan of Muse vocally, but they are fantastic instrumentally. Bands like these guys just don't seem to exist nearly as much as they did during the 60's and 70's and 80's and 90's. I feel that more musicians are trying to just get famous and not try anything new or different that can redefine them as bands. They stick to the same power chords and root notes and trite solos and try to make a living off of it. 

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Soul of Music

One of the things I cannot stand is when people play music without any feel at all. Music is an art, and art is passion. I remember hearing an interview with Paul Gilbert, guitarist for Racer X, Mr. Big, and his own solo work, saying that he didn't really feel anything when he places some of the music he has written. As a fellow musician, I cannot understand that. I cannot understand how someone can write something and not feel anything. Not the beauty of the arpeggios, the gut wrenching tug of notes and tones tied together in harmony creating a beautiful melody, the anger in heavy palm muted down strokes etc. This is not to attack Gilbert in any way, I merely used him as an example, but I have heard other local musicians say that they too do not feel anything when they play their music. This is not to say that one should just not listen to musicians that do not 'feel' their music, but to me personally it adds more flavor and zest to it all. They don't have to get into like Steve Vai, Joe Satriani or even Daron Malakian from System of a Down and make faces and whatnot, but at least show you care about the music you made and enjoy it. 

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Paramore- Album Review

This is my first album review, ever. I hope to have a better finalized format for reviews very soon.

Paramore has finally come back with a full album since Brand New Eyes in 2009. Their self titled album is the first album without the Farro brothers (Zac and Josh Farro were the guitarist/backing vocalist and drummer respectively for Paramore before they left the band). Let me preface my review by saying that I have been waiting for this album to come out for a while now, and I am sincerely excited to hear these songs. I didn't know what to expect with the album because of Paramore stated this album won't sound like Riot! and that is something I saw coming because all bands change and grow musically. As far as the review goes, I shall review each song individually, and then the album as a whole at the end.

1. Fast in my car-The drums on this track sound very loud and prominent. Lyrically, this song is a song for the fans, telling them that Paramore has changed and that they want a new sound, which is what this album is. "We've got our riot gear on, but we just want to have fun." It shows that they want to enjoy their music and make sure it doesn't become a monotonous process. (I recall reading an interview where Hailey said that the band for the previous three albums followed a formula of sorts, and they wanted to deviate from that and make the music writing process seem new and vibrant. I personally really like this track, especially as an opener. I'd give it a 7/10.

2. Now- This song was released as the first single of the album. I like the arrangement of the song. I will admit that when I heard this song the first time, I didn't like it. It didn't sound like the Paramore I adored during the Riot! album or the Brand New eyes era. I really liked the feel of this song as time went on. It is very clear that this is the single, based on the radio feel it gives off. It sounds like something that would come on the local rock station or something of the sort. Regardless, I give this song a 6/10. It has a nice feel to it, but at the same time it isn't my favorite track on the album. It sounds really over produced, but then again it's just a radio single, the rest of the album is what matters!  

3. Grow Up- This track sounds very 311-like. The rhythm section in this song really makes it sound ten times better. It has a decent groove to it, and the lyrics flow really well on the track. I give this track a 7/10. I really like the bridge in this song and it transitions into the next part of the song very nicely. There isn't much to say about this track, but that's not necessarily a bad thing.

4. Daydreaming- The beginning of this song reminds of something that would be on the Foo Fighter's most recent album, Wasting Light. The reason for this is that the drums get loud and everything sounds so heavy, but then they back off to develop suspense. The chorus has a very upbeat feel to it, and makes me want to move around. The bridge has an amazing build up, and the keys really add to it in a positive manner. The bass line in this song is really prominent and I like the sound of it. Lyrically the song is alright. 6.5/ 10

5. Interlude: Moving On- The first of three interludes. The mandolin gives this song a very Train- like feel to it. It feels weird to describe it this way, but I can kind of feel Hailey smiling as she sings this song. I like the chord pattern to this short interlude. It sounds so much more upbeat and cheery for some reason. 8/10

6. Ain't it fun- This is quite possibly one of my favorite tracks on the album. It has an insane groove to it and very Michael Jackson like. The way she places emphasis on the words is very reminiscent of the King of Pop himself. The chorus kicks in, and they sound like they sound like the good ol' Paramore I remember, but at the same time, they don't. Their style for this song is completely different and it makes them, and the track stand out. The choir in the bridge and outro is fantastic touch and it fit the song perfectly. The guitar solo fit perfectly under the choir in the outro without interfering or taking away from the choir. 9/10

7. Part II- The intro guitar part sounds a little bit muddled with the effects, but the bass makes up for it. I know I sound like a person who is only looking for the bass in these tracks, but it's because it's there. This album placed a lot more emphasis on the bass to keep the groove and feel of the song going. The chorus kicks in and the track sounds like something that should have came out of Riot! It sounds like the second half of "Let the Flames begin" from Riot! Hailey's vocals remind me of the lead vocalist of the band Fireflight, and that is definitely a good thing. The drum work in the bridge for Part II blew me away. It is so fast, yet so clean. Again, this is another one of the tracks that stands out. 9/10

8. Last Hope- This song is decently motivational, a song about let things happen, let the chips fall where they will kinda song. Nothing stands out about this song, but if a station played this song, I wouldn't switch it. 6/10

9. Still into you- This song sounds like something that would be on Brand New Eyes. The chorus is seriously catchy, and is currently stuck in my head. I like the fast strumming pattern that is in the background, it fills in the gaps for the bridge. This sounds really close to what Paramore was known for in terms of sounds and vocals. Hailey has strong vocals on this track.  7/10

10. Anklebiters- This track is purely driven by the bass and the bass drum. It pushes the song forward and make sure it stays on time. Lyrically, I really like this song. Hailey sings about being yourself and loving yourself, because you're all you've got in the world. Minus the keys, it sounds very punk rock like, especially for Paramore. The keys kind of grounded it, but at the same time added a new depth to the song, which really fit with the track as a whole. 8/10

11. Holiday (Interlude)- This interlude is just like the first interlude, mandolin with a bass track to back it up

12. Proof- In the chorus of the song, Hailey sounds a little bit country. Overall though, the track is very good musically and lyrically. The way the words are sung, the pattern essentially, is very different then other songs on this album, and other material that Paramore has released. I have listened to this track four times in a row so far, and it sounds a little bit better each time because I always hear something new. 6.5 / 10

13. Hate to see your heart break- Lyrically I really like this song. I like the message, and how Hailey gets it across and how she relates to people in similar situations. With that being said, I don't like the musical arrangement for this song, or how it was put together. I feel it would have been better as an acoustic song with piano and a soft drum beat in the back. Lyrically 8/10, musically 4/10

14. (One of those) Crazy Girls- I love the way the song is arranged. The soft, acoustic intro, followed by a brief pause, and then it just comes in with the full band. Lyrically the song is alright. Essentially talks about how she couldn't get over a guy she was with. I really like the way the song sounds though! It's just something about it, it's difficult to describe. 7/10

15. I'm not Angry anymore (Interlude)- My least favorite interlude. Strictly vocals and mandolin, which is never a bad thing. I just don't like it lyrically, in comparison to the other two interludes that is. /10

16. Be alone- A great rock track. The drums in the bridge are amazing and really shows off his ability as a drummer. I personally like the guitar riff a lot in this song for some reason, maybe cause it sounds a little bit like Coheed and Cambria. The keys in the last chorus really fill out the highs in the song. I really like this song! 8/10

17. Future- The Final track! Took a lot longer than I thought it would to get to the end of this record. I like the natural feel of this record, such as the beginning where York and Hailey are talking. The build up for this song seems really natural and well laid out. It builds up with a fade in around the halfway mark. After listening to the full song, I don't quite understand why the faded out, just to fade back in. Either way it sounds very full and just in your face. 6/10

Full album review:

17 tracks. 63 minutes and 58 seconds of music. I honestly would rate this album a 6/10. Paramore came back from a four year hiatus, and I knew they wouldn't be the same band that left. Things had to have changed, both musically, structurally and physically. This album personally wasn't for me, but that doesn't mean it isn't for everyone else. I'm not really used to experimental music where everything changes for every song. I also don't like the lyrical content for a lot of the songs, which discussed how they were getting back together after their hiatus and talking about how they were going to change. In my opinion, it's cool to sing about that for two or three songs, but come on. It's been roughly three to four years since their last album, the lyrical content couldn't have changed. Nothing song- worthy happened in the last four years?

Although this album has a few rock/ pop rock tracks, it has something for everyone. There's a funk-ish track, a blues track, acoustic track, pop rock tracks etc. Overall, the album had its ups as well as its downs, but practically every album has that. I can't say that I would go back to listen to this album in full again in the near future, but I do like certain tracks like "Fast in my car", "Part II" and "Ain't It Fun" . and "Hate to see your heart break". The reason I compared Paramore and their songs to numerous other bands is because they said they found their sound, that this is what Paramore will sound like, and what they think the sound of Paramore is. I compared them to the bands because it makes it easier for the reader to get a gist as too what the song can sound like, or be similar to if they know of the the band being referenced. Also compared because the album is very experimental and varies across numerous genres, so it is tough to pinpoint what their "sound" is. 

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Music's Image

Why does music have to have an image? Why do musicians have to look or act a certain way to get a record label? What is with the stereotypes that rock stars have to do drugs, and have lots of sex, or the stigma that all country artists wear cowboy hats and the whole cowboy, lone ranger shebang? This concept is one of the most annoying things I see when I see how record labels sign artists; by their "image."

Musicians should be judged based on their merits. How well they can play, not just as band, but as individuals. How well the drummer can play his beat, or how well the guitar or bass players play when a string snaps. They should be judged on how well they play it, and how much energy or a crowd they can draw. If a local band is drawing a huge crowd of people that want to watch them, why should it matter how they look? Why should it matter if they look like the belong in Led Zeppelin or Avenged Sevenfold? Last time I checked, people like good music, music that they are interested in or that they can relate to, looks should come second. I understand that if a musician looks good, a fan might be more drawn to the band, but that should not play a large factor if the person like the act or not.

I know bands that look like they do not belong in the "scene" they claim they are part of, but they sound amazing and sure as hell belong in that "scene". Those bands, those groups of people writing music in someone's basement or in a big recording space, those are really people. We were always told as kids to not judge a book by its cover, why should we do so when it comes to bands and signing then. I thought it was the content of the book that mattered, not the pretty looking digitally remastered cover that was done with Photoshop. I remember hearing how record labels signed bands, and maybe they still do it this way... I recall hearing how record labels would send out a representative into a club where they had local bands playing. They would dress how they chose, whether it be casual or professional. Then they would watch the full set, all the bands and groups that performed. If they liked what they see, they might go to another show or two of the bands of interests, and then if they still like what they hear, they will give them card as an offer and from there it is up to band. Why can they not do things like that anymore, listen to the music, feel the energy, hear the crowd signing these local songs as loud as they can.

Music is something that should be limited to how one looks. I look like a guy that listens to post hardcore or "emo" music (kind of), but I fucking love Rage Against the Machine, System of a Down, 311, Paramore, Foo Fighters etc with every fiber in my body and would kill to see any of these bands live. It just seems really stupid and illogical to judge a band by their looks, and not by what they are creating and making. Labels should be more focused on the sound of the music, and how both the artist and the label could benefit from such a partnership, and not how the lead singer's hair looks, or how "brutal" the band looks. Image shouldn't be a credential for a band, and damn the person who first thought it should. 

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Being a real musician

Probably ever since my sophomore year in high school, music judging shows have irritated me and made me sick. Shows like American Idol and the Voice and all the other (Insert country here) Idols/ Talents have made me cringe because they reject all the singers who have amazing talent and true vocal control and keep the ones that "might improve or might not". Why does some pompous Brit or some talentless singer have the right so judge what's considered good music and what sounds good? Post Hardcore sounds good to me, but it makes a few of my friends cover their ears in pain. My friend listens to Revocation, and although they are fantastic musicians, they aren't my cup of tea. That doesn't mean that they shouldn't make music, that just means I personally, in my own opinion, don't. The worst part is when people think they don't have enough talent to get on these T.V. Shows and get a record signing. They think that getting on these shows is the only way that they can get a label to recognize them. I recall a few months back seeing a quote from Bruce Dickinson that captivated this idea perfectly.

"I don't understand these kids auditioning for X-Factor claiming they 'Just wanna make music'. Cut the crap. Let me introduce you to the kid teaching himself how to play guitar...... the busker in the train station..... the guys and girls recording their own demos and playing the small venues..... the unpublished songwriter with countless books full of lyrics.... the people who just want to be heard, who want to express themselves, their creativity and their artistic worth. They are the ones who just want to make music! They are the real artists!
Anybody auditions for X Factor it's because they want to be famous! Period! Otherwise they'd already be out there 'Making Music'."

Bruce Dickinson, Frontman of Iron Maiden

           

Recently David Grohl had an interview where he too shared similar ideals as I do, as well as Dickinson. And it makes so much sense. People like different genres, styles, tones. They want what they will like, and they know what they want to hear. Not everyone wants to hear shitty pop music like One Direction or Justin Bieber or whoever who get 6 writers to help them write a song that has a chorus of one repeated phrase and shallow verse and a terrible bridge. People want to hear music that will touch them, that they can relate to, mosh to, dance to, sing to without caring who will hear them. I can confidently say that I can belt out half of the "Wasting Light" album by the Foo Fighters without caring who would hear me at my college. I just walk around singing "Rope" or "Arlandria" as best as I can in a talking voice, but that's another tale.

Musicians should write their own music, on their own, or with a band. They should put their blood, sweat and tears into their work and make it as real as they can. Never compromising or worrying about if their songs will get on the radio. In his keynote speech for the 2013 SXSW, David Grohl mentioned that musicians and artists should try to find their own voice. Finding the inner you, and putting a rhythm, a beat, a melody and harmony to it. Finding the right words to fit the mood, letting one's emotions and feelings take over themselves so that they can properly express how, or what they feel. That's finding your own voice, at least that's what it is to me. Musician's should book their own gigs and make it as far as their van or car or truck can take them. A local band in my area, Picture Perfect, play shows practically every weekend, and through their hard work and determination, they got two or three EP's out. They even partially toured the whole East Coast on many occasions. At the time, their youngest member was a sophomore in high school... Being in a band, getting signed, pumping out albums, it's a job. Therefore, the effort should be put into it. For me personally, it's something to do on the side until I get it fully up and running. I want to learn how to play drums so I can record a full band experience by myself. Who knows, if I can hone my voice, I might even do vocals. But no matter what I come up with, I know that I will have made it, not someone else. I wouldn't have paid someone $100 bucks to write a verse for me, because at that very moment, when I hand over the money, I know I will become another dispensable cog in the machine. 

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