Tag Archives: Punk

My Life in Music: Datastacks 0.2

Datastacks2

About sixteen months ago, I opened this series of blogs with an uncomfortably-geeky look at my music collection and extraction of a whole bunch of statistics on a whole bunch of inconsequential data.

It’s been long enough now that it’s time for an update, so let’s begin with a brief breakdown of what my music collection currently consists of:

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Unsurprisingly, standard long-play albums make up the vast majority of my collection (93.7%); not a shock. Of the remaining 6.3%, though, two-thirds are EPs or collections of B-sides and rarities, while the remaining third consists of ‘Greatest Hits’ collections or live-recorded albums. In many ways, and in this age of digital interfaces and the ability to release small collections of new material online or through mechanisms like Bandcamp, it’s arguable that the humble EP is going extinct; though the meteoric rise of vinyl in the last few years might be its saving grace.

Still, I’m minorly proud of my collection of 576 long-play albums, so let’s investigate what’s changed in my collection since my last blog. The most interesting findings lie in the genre breakdown of my CD collection since March of last year:

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In general, the proportions remain fairly the same: my most favourite genres grow whilst the lesser ones continue to trickle on. There’s been a slow expansion in both my flavour for “Steampunk” (mainly due to finally acquiring the entire Steam Powered Giraffe back-catalogue as well as the smashing new record by The Men That Will Not Be Blamed For Nothing last year) and, more recently, black metal coming with growing respect for the genre. Equally, I’ve seen my interests decline in the likes of thrash metal, power metal and metalcore but become no less intense; it seems that my taste continue to evolve rather than undergo full-scale revolution.

Plotting these growths on a logarithmic scale (comparing the new additions to my collection with the genre counts as of 19/03/2015), one can see the fourfold increase in “Steampunk” records on my shelf but also observe the fairly consistent growth in genres across the board. I’ve always been aware that my musical taste is eccentrically-broad (who else can boast a music collection that features both Cradle of Filth and Ke$ha; Fleetwood Mac and Mr. Bungle?), but it’s reassuring that the trend continues.

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The notable gains on the swing-o-meter come under the category labelled “Indie”, and there’s a fine reason why: “Indie”, at least in this little project, has come to classify anything that can’t – for particular reasons – be described as full-on “Rock”, but is something lighter; more atmospheric; or ‘different’. In the last couple of years, I’ve absorbed more and more interest in the genre of post-rock (c.f. Godspeed You! Black Emperor, Sigur Ros, 65daysofstatic, God is an Astronaut et al.) and fuelled by a rampant voyage of discovery at festivals like ArcTanGent.

On this second iteration of Datastacks, it’s high time to devolve the “Indie” category a little further and delve into the numbers. Whilst ‘indie’ might, these days, have only grazing reference to the truly “independent” music scene, it’s come to mean catchment to a lot more than simply one musical style; much in the way that “rock” encompasses a thousand sub-genres. So, let’s have a look to see what that means in terms of my collection:

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Unsurprisingly, my ever-expanding collection of post-rock makes up most of the category; particularly emphasised with a raft of spectacular albums released in 2015 and 2016 by the likes of Explosions in the Sky (The Wilderness), Three Trapped Tigers (Silent Earthling), God is an Astronaut (Helios/Erebus) and Godspeed You! Black Emperor (Asunder, Sweet and Other Distress).

Of the remains, post-punk (in this study, meaning the likes of Killing Joke, Hüsker Dü and The Cure) hoovers up what isn’t what I’d call the more ‘traditional’ indie fayre (Death Cab for Cutie, Chairlift, KT Tunstall, Snow Patrol), whilst the couple of entries tentatively labelled “swing” are delivered by the mighty Dresden Dolls.

So, there you go. Naturally, I’ll retroactively modify the genre split for the next Datastacks, so I can properly track how my tastes are evolving. I’d apologise for being such a massive maths/music nerd, but we both know that I’m by no means ashamed at all. So, nyer.

Anyway, let’s take a look at how the geographical split has divvied up in the last sixteen months:

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No spectacular changes, but there’s some interesting mini-growths: Canada and Sweden showing particular, short spurts for no pre-arranged reason; and new entries coming from Luxembourg and Ireland thanks to my interests in post-/math-rock stalwarts Mutiny on the Bounty and And So I Watch You From Afar. I’d expected Norway to be surging ahead, given the sheer amount of Norwegian black metal I’ve been getting down my ears in the last few months, but maybe the charts haven’t fully caught up with things quite yet. Hopefully the withdrawal of the UK from the European Union won’t affect (too much) the trickle of European rock/metal into the United Kingdom; even if it will negatively influence my access to cheap metal records from the continent. *grumble grumble*

That being said, it’s minorly interesting that the advances of homegrown artists in my collection almost matches the progress of US bands; again, through no particular alignment but reflecting, perhaps, efforts to fill back-catalogue gaps in my collection for the likes of Bowie, Muse, [spunge], Cradle of Filth and Funeral For A Friend. Not surprisingly, the NATO countries still dominate my collection, as evidenced by PIE CHARTS: clearly, were NATO to deploy heavy metal-based warfighters towards invasion of the rest of the world, then it’s likely that they would annihilate the opposition.

[FYI, the non-NATO countries reflected here are Finland, Japan, Australia, Ireland and Sweden, who I’m sure would all put up a good fight.]

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Upon moving flat, I recently took the opportunity to bolster my music shelving with a few more bookcases and fully alphabeticised my collection by artist name; something I’d been meaning to do for a long time but had never gotten around to. Anyway, beyond the satisfaction of filing everything neatly onto the shelves, the exercise also highlighted some interesting facts about the alphabet.

For clarity, bands are sorted by name (any “The” bands, e.g. The Birthday Massacare, are sorted by the next word in their time) and solo artists are sorted by surname. Let’s take a look:

Datastacks-2_Initial

Clearly, I own a buttload of ‘A’ artists, which owes a lot to AFI but also to the likes of Alkaline Trio, Alice in Chains, Amen, American Hi-Fi, Akercocke, Avenged Sevenfold, Audioslave, Alestorm, yada yada yada. I do wonder whether bands are inherently more likely to choose monickers which are closer to the head of the alphabet for the sakes of prominence in record stores; something that’s far more a study in sociology than I’ll attempt to address here.

Curiously, I haven’t bought a single record by any artist beginning with ‘J’ in the last sixteen months; and only a single album each to the ‘E’ and ‘Q’ categories. In the positive side, though, there’s finally a tally in the ‘Z’ column thanks to the wonderful new self-titled album by Zoax, so let’s continue to watch the progress with interest.

And on that bombshell, I’ll leave things until the next time. Boo-yah.

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[Zinar7]

 

 

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My Life in Music: Datastacks 0.1

Datastacks1

You may not know it, but we’re currently living in exciting times.

The major news media may be ignoring all discussion of such world-changing events, but monumental waves of excitement are currently rippling away from my general area.

I’ve been re-organising my music collection. Oh yeah.

Datastacks-1

A few years ago, a catalogued all of my favourite albums from all of the years that I’ve been alive. You can find them here:

Part 1: From Out of Nowhere (1985-1991)
Part 2: Where Boys Fear to Tread (1992-1998)
Part 3: Dancing Through Sunday (1999-2005)
Part 4: Set Fire to the Hive (2006-2012)

But yes, while re-organising all of my various musics, I’ve taken the opportunity whilst doing so to properly catalogue everything I have and to generate some tedious statistics about all of it. For example: as of 19th March, I own 466 full albums and EPs (after having a bit of a prune of those records I’m not likely to listen to again). Furthermore, 4.07% of those albums/EPs are AFI albums or EPs. That’s quite interesting, right?

So yeah, because I’m a nerdy engineer and I like looking at pages and pages of data, I’ve made a spreadsheet listing every CD; the year it was released, the country that the band is from and what genre it inhabits. You may say that that’s a colossal waste of time, but I say “nyer” :P. Thus, on that immature little note, let’s probe into the stats and see what we can uncover.

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Interestingly, my music collection seems to be predominantly ‘punk’. There’s a significant chunk of it already taking up my shelf-space it seems; especially when you add the ska-punk total to the mix as well. I was well aware that punk is one of my primary musical outlets, but I’m not sure I would’ve predicted that it occupy quite such a large proportion of it. [Of course, this fact is perhaps a little skewed by the fact that I’ve divided ‘metal’ up into more sub-genres than I have done for punk – the whole range of punk stuff from Green Day to Turbonegro to Amen to Sum 41 is all under one umbrella whilst I’ve split metal more into its established sub-genres]. Broadly, AFI would probably come under ‘punk’ as well if I didn’t separate them into their own genre, so there’s that to add up, too.

On that note, here’s a little chart of how many records I own from the top ten bands in my collection:

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AFI obviously take up a significant proportion of my collection, and I own literally every LP and EP they’ve ever put out on compact disc (and, in most cases, own multiple copies of them to reflect different versions or covers or international editions); even the super-rare stuff like The Days of the Phoenix EP, which only ever had 500 copies. [For further AFI geekery, I own both a legit copy of it as well as a fake/bootleg version].

But yeah, it’s satisfying that my collection is (broadly) even across the many sub-genres of rock ‘n’ roll: to establish this, let’s have a look at the pie chart because PIE CHARTS.

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For clarity, “Popular Rock” encompasses stuff like Foo Fighters, Queens of the Stone Age; pure pop (Ke$ha, Bowie, Prince) is lumped in with “Dance/Electronic”; all types of rap/metal crossovers and stuff like RHCP and RATM all slip into “Nu-Metal”; and heavy metal stuff like Iron Maiden, AC/DC and Black Sabbath were immersed in with “Thrash/etc.”.

I’m a little sad that my “Steampunk” section still rounds down to 0% of my collection. Granted, it currently consists of just The Men That Will Not Be Blamed For Nothing Cannot Be Killed by Conventional Weapons and Professor Elemental’s The Giddy Limit, but I’m working on it: hopefully I’ll import the whole Steam Powered Giraffe back catalogue sooner rather than later, and TMTWNBBFN will soon have album #3 under their belts. Boom.

Okay, so where are my albums from? Let’s have a look.

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No big surprise; most of my music hails from across the pond. The US dominates so much of rock ‘n’ roll music that you can tell how much of an influence it wreaks upon my own listening. It’s still good to see that around a quarter of my music comes from our own shores; although mildly strange that nothing hails from the Republic of Ireland. Naturally, there’s a strong Scandinavian contingent given my predilection for power metal and Finnish folk-metal. Canada has a strong showing, but it’s worth noting that most of those are Rush albums (15 in total). Furthermore, all of my records from Italy are associated with Rhapsody or Rhapsody of Fire (or Luca Turilli’s Rhapsody). Aw yeah.

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Proportionally, of course the US absorbs more than half of my shelf-space. Interestingly, though, the entirety of the rest of my collection comes either from Europe, Australia or Japan. Before the 2015 cull, I did at least have a few things from Brazil (mainly Sepultura), but it’s curious to know that there are vast swathes and surface areas of the globe (the whole of Africa!) that have never even come close to seeing a position on my CD shelf.

Another question that my CD re-shuffling was aiming to answer was: “When Was My Collection Released?”. Naturally, I expected that a sizable chunk of my collection would have come from around 2001-2005, where my main musical addictions were formed (and I’ll talk about these in a little more depth in my next blog). While this is certainly not untrue, I was a little surprised to find that the most prolific years were actually 2012 and 2013 (with 28 and 27 albums from them, respectably); probably arising because, at the time, I was deep in the wrangles of trying to finish my PhD and research stuff and hence likely to want to hear nice, new and noisy things in my ears to take away some of the pain.

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I also anticipated that 1994 would be a bumper year, given that some of my very, very favourite albums were released in (or around) that year: [1993 // In Utero, Siamese Dream; 1994 // Punk in Drublic, Superunknown, Smash, Weezer (The Blue Album), Stranger than Fiction, Dookie, Welcome to Sky Valley, Burn My Eyes, The Downward Spiral; 1995 // Mellon Collie…, Foo Fighters, King for a Day/Fool for a Lifetime]. But yeah, whilst the hit rate of what albums were released in 1994ish and those which are cemented as some of my favourites is incredibly high, it turns out that I don’t own as much from that period as I thought I did. Huh.

I know I probably seem a little like a bit of a dinosaur for continuing to rely on (and thrive upon) little shiny, plastic discs containing lovely things destined for my ears. But yeah, I have 466 CDs in my collection. That’s pretty cool.

Please don’t burgle me.

[Zinar7]

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