There are two other articles recently featuring X Japan and Yoshiki is one of the most incredible drummers I've ever heard. Phil Collins plays for Brand X and check out his moves. The man can seriously play.
John Goodsall plays guitar and he later recorded with Paul Delph in L.A. who was easily capable of intricate work such as with Brand X but Delph's focus was a more approachable style of play.
Prior to recording with Goodsall, Delph played with The Screaming Skulls, a way the hell out fusion prog jazz band, in Cincinnati. The bass player and the drummer from that band joined up with me and also with a keyboard guy to form The Freezebirds. Of course you couldn't have forgotten The Freezebirds already. It's only been, oh, thirty years or so. That was grand, tho.
So that was enough rock history, let's get on with it.
If your taste is to more familiarity, the way to really get behind this to really start diggin' it is try not to anticipate too much. The more you can listen to the Now of it, the more you will get the fullness of that and whatever follows, even if it's an abrupt change, won't be as unnerving. It is supposed to unnerve you a little bit but that's to emphasize the overall structure and there's much more structure than it seems. If you focus too much on what the structure might be rather than letting them unfold it in front of you then it can get confusing.
John Goodsall plays guitar and he later recorded with Paul Delph in L.A. who was easily capable of intricate work such as with Brand X but Delph's focus was a more approachable style of play.
Prior to recording with Goodsall, Delph played with The Screaming Skulls, a way the hell out fusion prog jazz band, in Cincinnati. The bass player and the drummer from that band joined up with me and also with a keyboard guy to form The Freezebirds. Of course you couldn't have forgotten The Freezebirds already. It's only been, oh, thirty years or so. That was grand, tho.
So that was enough rock history, let's get on with it.
If your taste is to more familiarity, the way to really get behind this to really start diggin' it is try not to anticipate too much. The more you can listen to the Now of it, the more you will get the fullness of that and whatever follows, even if it's an abrupt change, won't be as unnerving. It is supposed to unnerve you a little bit but that's to emphasize the overall structure and there's much more structure than it seems. If you focus too much on what the structure might be rather than letting them unfold it in front of you then it can get confusing.
I've mentioned staccato multiple times previously and this is a prime example of it. When the music is severely disjointed, it creates a deliberate effect. It seems chaotic if you try to force a structure upon it. The thing this music needs the most is your time. If you feel you don't have enough of it and you're busy or, say, you're in traffic then this wouldn't be the music.
For all those words, really all it needs is some patience to let the music unfold rather than trying to rush a structure to it.
So, yah, I love the band and have since right around when they first appeared.
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