ITT: Musical fetishes
>drumsticks clank together
>triplets on the ride cymbals set apart from the other instrumentals
>Song on album flows perfectly to the next
>Abbey Road Medley
>Happiest Days Of Our Lives -> Another Brick In The Wall, Pt. 2
The album is comprised of a short number of long tracks.
>solo comes in
>they use a digitech whammy or octave fuzz
>song ends abruptly during the loudest part of the song
>when the sticks hit together right before the start of a fill
>Two or more different guitar arpeggios played at the same time
Dusty Weather by Stove. Not exactly a lullaby but the explosion is def there. Same with Good Morning Captain -Slint, I'll See You Barlow, and Aubade (Morning Love Song) - TBLA. I guess these could be called periodic songs tbf.
>Well executed high-pitched male vocal part
>reccing people shitty crescendocore
>when a song combines all of these
>samples himself sharting
>stretches samples times 100000
>ethereal drone, auditory recreation of entering the kingdom of god
>everything has a panning, phaser type sound
As a trombonist any complicated brass parts make me feel warm and fuzzy. It's shame they hardly use the things anymore. I want popular music to be jazz again.
>guitar solo plays with the bass keeping the original melody of the song and is still audible in the mix
the 808 cowbell sound.
I like it when I hear singers responding to each other - like in 1:25
>funky bass - like Paul Simonon style
>a good harmony
>guys: baritone singers
>girls: soprano using head voice (none of that raspy chest voice shit, ugh)
>using items in a musical way
>"amen break" in a non-drum n bass song
>People on /mu/ don't know the difference between 16th notes and triplets
Apparently so. It's embarrassing.
>And these people call themselves music fans
>Entire band/group of people start screaming the chorus
Listening to a new album, nodding off after the last song and being woke up by the hidden track.
>last track sums up the whole album
>bass matches guitar octave for riff then undercuts the lower octave on the next one
>Callback to first song's hook at middle/end of album, this time more frantic/emotional/heavy/what have you
>literally any 4 against 3 groove
>drum groove changes, rest remains the same
>Outro that just revisits themes already laid out it the album or track
No 13. Baby and I Want You (She's So Heavy) are perfect examples, as is Shine On You Crazy Diamond Part 2 and the Brain Damage/Eclipse ending sequence in Dark Side of the Moon
>the huge ending segment of the final track on the album lasts a really long time every now and then adding in something a little bit more and has a proper ending when it finally does finish instead of just fading
This is pure sex for me
>digital voice 'break'
>sudden change of style right after
>in the end build up then BAM basic tune again
When the song has a Quite almost intermission like part in the middle then returns to its full heavy sound
>the vocalist uses effects
>80s moog synths
>stereo chorus on guitar
>lyrics about old movies
>metal guitarists with actually innovative and unique tones
>unexpectedly hilarious songs by otherwise "zomg so serious" bands
>the guitarist switches pickups abruptly while repeating a riff
>and subtly melting away
>two vocalists, one male one female
>non hip-hop group/band with turntables
>avant garde synths
>wet bass & guitar licks
>grindcore with cleans
>noise segments in songs/albums that aren't in the noise genre
>Those chords that follow
>Singer harmonizes with his own voice in studio recording (ex: Panda Bear)
When an album isn't bluntly a concept album, but weaves a lot of connecting threads between the songs.
Overblowing, growling, overtones, screeching on saxophones and other reed instruments.
I only recently started listening to Colin Stetson and I've been kicking myself for not checking him out earlier.
Check out this comp, it's got that sort of thing between tracks