Too bad SLAYER made a fatal mistake with Dave Lombardo!!!! Every great SLAYER album has Lombardo behind the kit. I like Paul but it’s not even close!!!
It’s sad to think there could have been a complete gig video of Paul Bostoph playing this set…that would have been incredible to watch! He’s Absolutely on Fire here…as they all are, sound’s on point: humongous and clear…Kerry’s still got most of his locks…incredible gig ❤ I read in modern drummer magazine about 1994/5 that Paul was asked to join them permanently on the flight over to play these European gigs in the summer of 1992…you can see why here…🤘❤️
The Almighty, Wasp, Slayer, Thunder, Skid Row, Iron Maiden what a line up. The thing to take from this is the atmosphere here and many others will never be recreated no matter who is playing and i never even went. It wasnt just the music it was it was the whole experience before and after setting foot on the hallowed ground of donington no mobiles or internet just people living in an incredible moment in time. Love these old Monsters of rock videos but so depressing knowing you never took part in it.
**British Donington TV Host gives SLAYER and their music a very complimentary review at the end of the set... (46:00) .... Tom: "Thank-You Very Much! I'm sure we'll be seeing you again, real soon, Good-Bye!....". TV Host comments: "...Absolutely mind numbing music! You know, some people are still fooled into thinking it's just wild noise thrown out of an amplifier but, to achieve that sound, musicians need to be as precise as a fighter pilot and as fit as an athlete. THAT, plus talent makes SLAYER a major force in today's "Rock/Thrash" music scene! They're a really great American Band, appearing for the first time... at The Monsters Of Rock!".... 🤘😅🎙️🔊
@e.risner1904 I just noticed your mention of the speech at the end. I sure caught that too. As a matter of fact, I liked it so much that I typed the whole thing out in another comment a moment ago... 🤘😎👍
This is mint, 11/10 forsure -- doubt any fan made creation can top this as far as quality and craft. I do gotta ask though, why did you slim down a track like Dawn Chorus to something just over 1 minute long? :(
Glad you like it cheers. Whilst there's certainly some back-tracking and remixing going on in this presentation, that particular track does feature for it's full length.
I was there, at the front. That Russian flag was actually my cousin's friend. He just came back from there. He's English. Kind of odd really. I had to sleep in the woods the night before because they lost the car in the car park. Fuck, what a gig!
Classic story to accompany a fucking classic show. I was near the front helping to build and topple the stack in the mosh pit. Bottles of piss bouncing of the back of my head and dodging all the lethal freebee frisbee records that were flying around like ordnance. My neck wouldn't put up with that shit anymore heheh.
Slept in the woods absolutely superb this is what i mean with my comment about it being not just music but an experience that can never be repeated. I was only young at the time but massively into metal but didnt know any older people into metal to go with anyway but man did i want to. I was delivering newspapers at the time when donington was going on delivering kerrang to various houses with the compulsory read front to back beforehand :) looking longingly at the monsters of rock ticket ads in there like a kid looking at the argos catalogue at christmas.
IJ have to ask, at 18:40, you didn't remake that sample did you? If so, how? In the name? Like the amount of autotune/vocoding and resonant filtering involved I would just give up
I'm a sound design nerd and always spend ages making sounds to make interesting textures and stuff but recreating this much of the synths and samples in the way you appeared to have done here would have taken me 5 years of excruciating work, i have no idea how you managed. Okay, I could make things sound fairly similar, at least on the base-level, but reverse engineering effects and processing and degradation and tape damage and whatnot would have been just like impossible. Reverse engineering in music production is painstakingly hard. What did you use mostly? The hardest thing I'd have found would be reverse engineering the reverbs/phasers/distortion/wow and flutter/degredation/complex delays. How do you even find time to do that without making money? I have tons of free time.. I'd never find the time to do this. I've managed to remake a bit of Everything you do is a balloon and bocuma and kaini industries and the colour of fire and also echus but sometimes only one little loop and they are easy songs to pick.
Thanks for the question and enthusiasm. This was a lockdown project and it's hard to say how long it took. Couple of months of suitably obsessive meddling I suppose. It was pretty much all done using Adobe Audition and it's not insignificant filter sets. I can't really give you the procedural detail you'd like as I can't remember which filters amounted to which effects, as it was all trial and error and then multiple layers added to each other whilst tweaking the percentages as I listened. What I basically did with the whole project generally was isolate high/low/mid frequencies and degrade them or reduce them to what kind of shrill/mellow/rounded/degraded textures I was searching for. The portion you pointed out was extracted and reduced to certain a range of charcteristics I was focussed on at the time and then simply adjusted to slightly lower pitch and then degraded with the FFT filter or the guitar amp noise emulator or the scientific filter or whichever I was playing around with and then feathered it back in along side the original track on a seperate layer. So it was resampling sure, but it didn't entail quite so much rebuilding as you might imagine as none of this was analog based or required re-recording. It was all very convenient software on a laptop with no patch cables or pedal boards or devices. Most of the creativity comes with how much of the new textures and timbres you choose to add back into the mix and where and how much. It's all volume spline nodes fading in and out of multilayered tracks basically. A nightmare at the end when you have to wrangle the consistency of the overall output volume/amplification. Sorry I can't remember any more detailed specifics as I just rolled with bursts of fevered activity. As you do. Lockdown reminded me of being a pot head when I used to be able to immerse myself in one task and one task only and use that level of focus to over acheive.
@@24secondsperframe68 ''to wrangle the consistency of the overall output volume/amplification.'' ''It's all volume spline nodes fading in and out of multilayered tracks basically.'' ''and degrade them or reduce them to what kind of shrill/mellow/rounded/degraded textures I was searching for.'' not sure exactly what you meant in these 3 bits. btw, do you have some kind of way of contact so I can send you a few of my remakes?
I'd certainly consider it. There are some sections that would definitely benefit. It wouldn't be for a good while though. I'm not currently set up for video encoding - Just travelling light on the laptop currently. Keep an eye out though I might get round to that one.
I would really like a compilation/list of the sources of the samples you used for this! It's really cool and I think most of the additions work well and add to the album in interesting ways, and the re-master is also pretty damn good.
Sorry, but I didn't document the process at the time. It was just a creative process grabbing this and that from searches to fill a need as I was going along during the edit. It would take far too long to track all those down. Apologies. If I run across anything I'll post here as a reply later maybe.
No. Title Length 1. "Ready Lets Go" 0:59 2. "Music Is Math" 5:22 3. "Beware the Friendly Stranger" 0:38 4. "Gyroscope" 3:35 5. "Dandelion" 1:15 6. "Sunshine Recorder" 6:13 7. "In the Annexe" 1:22 8. "Julie and Candy" 5:30 9. "The Smallest Weird Number" 1:17 10. "1969" 4:20 11. "Energy Warning" 0:35 12. "The Beach at Redpoint" 4:19 13. "Opening the Mouth" 1:12 14. "Alpha and Omega" 7:03 15. "I Saw Drones" 0:27 16. "The Devil Is in the Details" 3:53 17. "A Is to B as B Is to C" 1:41 18. "Over the Horizon Radar" 1:09 19. "Dawn Chorus" 3:56 20. "Diving Station" 1:27 21. "You Could Feel the Sky" 5:14 22. "Corsair" 2:52 23. "Magic Window" 1:47 Total length: 66:06 Japanese edition bonus track No. Title Length 24. "From One Source All Things Depend" 2:10
1:12 Hell Awaits 6:20 The Antichrist 9:22 South of Heaven 13:46 Silent Scream 17:35 Dead Skin Mask 22:28 Seasons in the Abyss 29:06 War Ensemble 34:45 Mandatory Suicide 38:45 Raining Blood Medley (44:44) Angel of Death
*TRACKLIST* Intended for mobile users, as well as those who are confused by the altered names. The track names as they appear on the original _Geogaddi_ record are written in parentheses. ------ 0:00:00 | 01 Momentum (Ready Lets Go) 0:01:55 - 02 Non-pactful (Music is Math) 0:07:35 - 03 Autodial (Beware the Friendly Stranger) 0:08:33 - 04 Gyrascape (Gyroscope) 0:11:47 - 05 Dandy Dispatch (Dandelion) 0:13:22 - 06 Ocular Striation (Sunshine Recorder) 0:21:09 - 07 Punk Club (Energy Warning) 0:21:45 - 08 Idyll (In the Annexe) 0:23:42 - 09 GPMG (Julie and Candy) 0:29:14 - 10 Vigilance (The Smallest Weird Number) 0:30:27 - 11 Usurped (1969) 0:34:49 - 12 Bypass (The Beach at Redpoint) 0:39:55 - 13 In Voluntary Mode (Opening the Mouth) 0:40:07 - 14 Thin Veil (Alpha and Omega) 0:46:45 - 15 Occupied (I Saw Drones) 0:47:40 - 16 Obscura (The Devil Is In The Details) 0:52:08 - 17 Psyclops (A Is To B As B Is To C) 0:53:44 - 18 Congregate (Over the Horizon Radar) 0:57:58 - 19 Invertenebrae (Dawn Chorus) 0:58:53 - 20 Final Solution (Diving Station) 1:00:43 - 21 Hear My Number (You Could Feel The Sky) 1:05:45 - 22 Before I Wake (From One Source All Things Depend) 1:06:13 - 23 Nobody's Coming (Corsair) 1:09:00 - 24 Magic Window
Rembrandt, Prodigal Son. Check it out. Same as last scene. In Rembrandt the hands of the father, on the son's shoulder, are different: one masculine, one more feminine. The main character spends the first 40 minutes of the movie "in the house of the father". He burns his old life before leaving. On the space station he, and his "wife" who had died by suicide, watch a clip of his mother. He than dreams of his mother cleansing blood from his right arm...
What a great comment. Hope you don't mind a copy/paste from another reply I made to a previous comment but it does cover my reasons for doing it. Suffice it to say I scoured the web for all video/audio archives I could find relating to the Waco siege. "I wanted to see if being a little more explicit with the darkness inspired by the themes in Geogaddi would be of benefit or if the more implicit inferences of the original would prove to be more haunting. Also, the Branch Davidians reputations and the way the massacre played out is far from resolved in mainstream society - Not that mainstream society tends to listen to BoC but I digress. Koresh wasn't so simple a character as people like to believe, and likewise his community. But then none of them need to be vindicated in any way to shine a light on the calculated barbarism of the authorities involved at the time. I considered leaving in more contextual vagueness with the samples chosen, but it would have been foolish to pretend this whole effort didn't carry my own bias. So I just tried to slip things in creatively and vibe with the tonality and timbre of the original music - Which as we can all agree is a legendary piece of work."
Well that was an experience. Geogaddi was always kind of my favorite album with the darker vibes. You've really given it new life, a supercharged Geogaddi experience. Thank you for this, truly phenomenal work
@@24secondsperframe68 Y'know once I was listening to the original album on the north sea coming home and very fucking clear stars did stuff. Few years later your remixes kinda 'got it" Rediscovered!
This is very solid. There's a brooding conviction throughout - as an artistic package - visually and audibly. That said, I can't help feeling that this should also be paired with an early Darren Aronofsky sequence ;).
the Track list is : 0:00 Nineteen 0:48 Thirty Six 5:35 Eight 11:15 Six Gun Sucher Punch 16:54 Fifty Four 22:05 Fifteen / (Waltz Of The) Playboy Pallbearers) 25:55 Twenty Eight 31:15 Fifty Three 35:50 Ma Petite Mort / Eleven 40:36 Twenty
That one was a virtual instrument setup using many overlayed tracks, mixed down to stems and recompiled on the timeline. It was on an old computer that I would struggle to come close to setting up ever again. The sequencing scrolls, loops and virtual moog settings that I tweaked manually would be impossible to recreate unless I had simply never touched the machine since, let alone lost various hardrives and back ups and local VST preferences. I loaded the project up on the same machine about 10 years later and it was like HAL dying all over again. Just digital gibberish akin to the audible pixelated tearing of the soul as the matrix flushes you out. I rather like how it's now just archived with a line drawn under it. Glad you enjoy it man.
Having listened to the 5 collections so far, it's satisfying to see them in a different light to the relative piecemeal from before. I can appreciate the arcs of evolution and style, as well as picking out the influences. It's all carefully and beautifully crafted dude and you should be proud. Very nicely done.
I didn't. I had to do a lot of patch-work rebuilding and re-syncing to remove or replace certain samples and sequences and also a fair amount of frequency isolation to loop extra beats and audio textures. And I like to stress that we remember the vast majority of what sounds good here is that BoC's ingenuity is 95 percent or more intact. But I will admit, it's gratifying to be asked.
@@24secondsperframe68 That is an excellent answer! Thank you. It turns out that picking Geogaddi apart like you've described provides great insight into how the brothers cultivate their sound. It's also helped me get better with sound design and sampling in general.
