Monday, August 23, 2010

Systems vs. Common sense

Old people often talk about the good old days. This, is often boring to young people. I, as a young person, however, had sort of an epiphany of what the oldies, or at the least the credible ones, are being needled by in this awesome era where clearly everything is more convenient and better (right?).

Let me outline a context here. I am an Indian citizen, and though I grew up in a metropolitan city (Kolkata), I am still a contributor , participant and victim of the plague of “chalta hai” (let it slide) and “ho jayega be… kisi tarah” (It’ll work itself out). I probably started to understand this affliction when I was introduced to the other side, i.e. the “systematic” ways of the West.

The example that got me thinking and writing is thus. I am in the security line at Montreal airport, with my passport, boarding pass and a jacket in my right hand. I had a backpack, and a carry on in the left hand. Sticking out of the back of the carry on was a three feet long poster tube containing my poster for a conference I had just attended. Hanging in front of the carry on off its handle was my pitiful looking Blackberry suit cover, with a not so pitiful Blackberry suit inside.

At the carousel, I passed through the scanner devoid of my shoes, belt, and the customary amount of dignity and composure that I lose every time I fiddle in a line full of people to take out my belt and shoes, while trying to manage two trays with my laptop and other stuff respectively, and the two bags, with all those people doing much the same or more. Some of my seniors from IIT who “oriented” me to Kharagpur however, will agree that I am able to pull off the de-robing part pretty well. Nevertheless, after I passed through the scanner, I was stopped by a security guard. Here’s how the conversation went:

Guard: Le est sghkshemmcmem

Me: I don’t understand French (My apologies to anyone who knows French for the liberty I took with the previous dialogue by the guard)

Guard: Where will you put this?

Me: I’ll be sticking that in the back of the carry on in its standing position

Guard: Oh so that bag’s yours too…

Guard looks grim; and in his brain the wheels turn , or the monkeys slip on their own banana peels, or something to the effect.

Guard: You can’t take so many bags.

Me: I have only two bags, the tube I can stick in the back. I talked to the airline about this, and actually came into Canada on the same airline in this very way.

Guard: No sir, you cannot take so many bags. Look, you have one (points to backpack), two (tube), three (Blackberry suit) and four (carry on). You have to go back and check two of them in.

Me: What? But.. . this is just two… I asked the airline…. came in this way from the US.

Guard: You can’t do that here. If you can fit these in the bag or carry on you can take them.

Me: Ok, let me try that.

After that I sat down , and started working on my luggage. I stuffed the suit and the tube into my backpack, with the tube sticking out of one corner. The guard kept a watch on me from a distance, getting more and more displeased as I succeeded in stuffing the two in.

After I was done, he called another guard over.

Guard 1: Hey, is that ok?

Guard 2: Hmm…. …. No sir, you can’t do that. That tube has to go in. You cannot take it like that. You will have to check one of your three “bags” in.

Me: … Hunh?... but I don’t understand. This is all in the bag.

Guard 2: No sir, the law is the law, you cannot take more than two bags through here.

At this point I had the epiphany. These guys did not understand this situation because they have been trained to ignore common sense, and do what is “safe” and well within the boundaries of the system that is the “law” that the second guard was talking about.

Of course, all this was my sub-conscious. Consciously, I was thinking furiously about what to do about the situation.

Me: Alright, throw away the tube.

Guard 2: … what? You don’t have to throw it, you can check it.

Me: Naw, this is just a poster, and Im done with it. Wait, …actually,… can I take the rolled paper and throw away the container.

Guard 2: No no … hahah.. no, you can’t do that, unless you fold it and put it in.

Me: Then please throw it away.

The guards look at each other and shrug. Eventually guard 1 took the tube and stowed it into a nearby trash can, where it stood…. sticking out of the corner, true to its infallible nature.

So here’s the question….

Do we compromise common sense in the name of being systematic?

And the next question…

How can an organization actually imbue common sense into its systems? Is that even possible?

And of course the obvious next question…

Scooby doo, where are you?

Monday, May 24, 2010

Porcupine Tree - The Tabernacle - 27th April, 2010

Listen to the Dark Side of the Moon, go there, lose all sense of the 4 beat rhythm which the rest of the world plays, make best friends with the Wizard of sound (Rudess).... and then rape some 1500 souls, live, in Atlanta in a single night of progressive-melodic-psyechedlic-hardcore indulgence.

Perhaps then, you would know how a porcupine tree is grown.

This was an evening double the worth that we were charged to witness it. They were simply amazing. Every chord struck (sometimes barely struck so as to give you only a notion that maybe it was struck, but had changed itself into a 4th major add 11th while giving the impression that it was the drums that made that half-sound) and every riff and bass line that was played was fantastic. Some were better than that.

The setlist for the show was:

Setlist:

  1. Occam’s Razor
  2. The Blind House
  3. Great Expectations
  4. Kneel and Disconnect
  5. Drawing the Line
  6. The Incident
  7. Your Unpleasant Family
  8. The Yellow Windows of the Evening Train
  9. Time Flies
  10. Degree Zero of Liberty
  11. Octane Twisted
  12. The Séance
  13. Circle of Manias
  14. I Drive the Hearse

Intermission

  1. The Start of Something Beautiful
  2. Russia on Ice
  3. Anesthetize (Part 2: “The Pills I’m Taking”)
  4. Lazarus
  5. Way Out of Here
  6. Normal
  7. Bonnie the Cat

Encore

  1. The Sound of Muzak
  2. Trains
PTree has captured my imagination and interest beyond reclaim. The riffs were basic and attention focusing, while the bassist (Colin Edwin) bounced about lightly, playing some crazy lines mapping almost every note across all the strings on his bass, and the drummer (Gavin Harrison) played as if he were suckling his thumb and not performing inhuman and exquisitely precise and classy rolls separated by time signatures alternating across a wide range of prime numbers.

The one disappointment was the tone of the piano in Lazarus. It sounded like a lousy electric piano tone rather than the softly hammered one in the original. That really killed the song. However, everything else was outstanding. The guy on the keys, Richard Barbieri, was not a guy on keys... he was a god working a collage of instruments , a mac, and probably a couple of racks.

P.S: The last time I had some much fun counting is........ when we used to get candy for doing it right in kindergarten.

Join me the next time I go,

Mukul (a high and dazed one)


Thursday, November 19, 2009

Best Synth solos in Dreamtheater's songs

One of the greatest debates that I have been fighting internally for the past 3-4 years is :

Which is better?
Sleeping for 10 hours straight, or in a 6 + 3 + 1 format?
Still haven't found an answer to that.

The other greatest debate has been on the topic of discussion,

For the first half of last half decade or so, I was the ignorant amateurish pianist/keyboardist caught in the headlights of Jordan Rudess's incredibly, head-messing-ly, insanely fast and freakish solos. After listening to DT for a few more years, I am proud to say that I have stepped out of those headlights. I am back to my comfortable designation of an amateur keyboardist. After a lot of deliberation, I have come to sort of a conclusive ranking of the best solos on the synth in DT songs.

No. 5 - Endless Sacrifice
Articulation is the key word in this solo. This solo is not near the fastest which Rudess has played. In contrast to the insane speeds that Petrucci blazes in the song (4 billion beats per sec. ), the synth solos, take their time in developing the awesomeness that Rudess wants to inflict upon the listener. The seconds seem very weighted and slow in the synth solo. There are very few random sketches across 4 octaves which are so common in his solos. He spends more effort on the pitch wheel in this song than common. The build up within the solo is awesome, backed by a teeth crunching riff which just jacks up your hormones to insane levels.

The best part - 6:47 - 6:54

No. 4 - Octavarium
Epic and beauty are the key words for this solo. The solo goes on and on, and you don't even realize its been over a minute and a half of continuous blend of heavenly moog that he glides and roller skates through. Of course, that would would have to be the curviest and most impossible skating route in the world (like a Klein bottle version). I think he was on absynthe and 16 hours of yoga straight when he came up with this solo.

The best part - 12:47 - 12:57

No. 3 - Shattered Fortress
Power, thrash, goosebumpy, slick, transformative and a ton of other words come to mind when I listen to this solo. There are two reasons for that. One, because it is so #@$@%@%@^$%^ long, and the other because, it never gets boring once during that assualt. It isn't the consistently paced Octavarium solo that this reminds you of. It reminds you of a dark wizard with control of your brain cells, and all your nerve endings. A dark, evil, extremely talented wizard who will destroy you with elusive but real pleasure. The song has three perfectly structured climaxes which take you unaware, and leave you feeling like you jumped off a cliff, or just cleared the earth at 11.2 km/s, or launched urself against the moon's low gravity. Note that the build up to the solo is perhaps the best build up I've heard off DT. This is a lucid display of how well the band works together, and how the other intruments are so important in the solos. During the solo as well, the climax moments would be nothing without the accompanying change in the awesome riff changes that Petrucci engineers backed up with alternating, pitch changing thrashes by Portnoy on (as far as I am concerned) unclassified brass, bronze and nickel plates. Absolutely brilliant stuff!!!

The best part's' - 5:24 - 5:34; 6:05 - 6:20; 6:40 - 6:50

No. 2 - Burning my Soul
Spearing, thrash, testosteronic, and simply the most kickass synth solo in DT's songs. Imagine riding the fastest bike in the world in a desert, with a wake of sand about 20 feet high behind you, and you being able to switch between the driver's seat and observing yourself from an isometric point of view. If you can, this solo will be playing in your head. The solo starts with a tirade of repeating notes, which combined with the riff blow my mind away. The riff plays an important part in this solo. It is basic. Just like hunger. It is so basic, so thrasy, and yet so clean, that you cannot believe that no one else thought of that riff before this song. The sound of this solo is also a little different from the common synth solo sound that Rudess normally seems to use. That's because it's been played by Derek Shernian. With just the one album to his credit (with DT i.e.) (they do not count Change of Seasons as an album) I'd say he's definitely made his mark. His lead sound has more of an enclosed within a studio or a supressed sound. This makes the solo all the more dark, under-doggish and makes you feel like the king of an underground race in which everyone drives a superbike. I wish I can come up with one of these within a few of my lives.

Best part - The whole solo

And No. 1 - Take the Time
Perfection. That is the only word for this solo. I'd have to run experiments on human hearing, perception and the effect of music on people throughout history to be able to engineer a mastered solo like this one. Kevin Moore stole the show even before Rudess showed up in the band. When you listen to this solo, you realize why Rudess is so freakingly good at what he does. He had to be, to be able to replace that!.... Take the time is a perfect example of how solos can be turned into stories. The song is in my view one of the ordinary-ish songs of DT. However, e solo transcends all normal-ity and mediocrity. It is preceded in the song by one of the freakish and fluidic (an adjective I use to describe faster than you can count, changing time signature sequences in DT songs) instrumental sections which we recognize and love. (Listen to Metropolis Part 1 - for best fluidic part ever; also Dance of Eternity - for a composite collection of several fluids gathered together in a cave and grooving with a man-bear-pig) Then from 4:50 - 5:18 the band makes you stumble through a surprising turn of notes and beats, which is akin to stumbling down stairs with out-of-beat pauses at some steps. Suddenly, you rush down the stairs, and within a couple of seconds you are in this wide open space, where everything is light speed, and Kevin Moore is in the center making his keyboard cry. The solo is consistent, inspiring, uplifting, beautiful, kick-ass, climactic, never ending, and a thrill ride on a roller coaster with all the surprises you wanted in your life but never got. It is simply awesome.

Best part - Almost a crime to pick only one section out, but this is TOO good: 5:30 - 5:42

Wednesday, October 7, 2009

U2 and Muse Live - 6th Oct., 2009

God has indeed been generous to me in this Fall break. Right after the Metallica show, it was time to pump up the reverb, mellow down the distortion, and crank up the awe and fascination with an amazing show by U2 and Muse.

U2, I have been listening to since my 8th grade. Their music is as awesome as it is popular, a rare combination in the day where, the more degenerate the music, the more popular it is. To top it off, U2 were started off by an amazing contemporary British band, Muse. (one of the recent worth listening to bands that I added to my lists in all the digital media players that I possess or have installed)

Specs: Venue - Georgia Dome (the largest arena in Atlanta by far...), with crowds easily exceeding 30k. A stage shaped like a spaceship with 4 spider legs, and a spike running through its body, with a huge 360 degrees screen. The whole thing was riddled with lights. Bono was all over the place, with rotating bridges running over the people in the inner circle (incl. me), Edge was using his processor to the fullest advantage (as usual)..... the crowd was a mottled mix of women, and a few lucky guys like me :)..... It was quite sensational...

But through it all, something was missing..... I didn't feel the intensity when I was clapping, or jumping or hooting etc. that I did during Metallica. Something stole the thunder away. It might be the maturity of hearing the same music for years on end, or simply that all the rock-esterone was exhausted during Metallica's show 2 days earlier.

Nevertheless, I was thorougly content with the show. They did a good solid number of the old ones, some of which I am very fond of.

Muse, did not disappoint either. In fact, some of their songs stuck with me, despite having never heard them before. They are worth following from now on.

The setlists:
MUSE
    1. Uprising
    2. Map of the Problematique
    3. Supermassive Black Hole
    4. Interlude
    5. Hysteria
    6. Undisclosed Desires
    7. Unnatural Selection
    8. Starlight
    9. Time Is Running Out
U2

Metallica Live - 4th Oct., 2009

Metallica was awesome! I still have a hard time believing how good a time I had at the show.
Some of the specs:
Venue: Philips Arena, Atlanta - A huge stadium (accommodates over 25k people). The lights were awesome. Excellent laser work as they move in complete harmony with the music. The crowd was crazy - a mosh pit going on at any given point in time.

But above all, the sound!... the sound was ecstatic. Everything was very very very loud, but very clear as well. I heard every note on the solo in Master of Puppets..... and that's saying something what with the crazy riff and the drums......
Hetfield was better than I had imagined, all doubts about his voice vanished when he nailed both Master and Sad But True. At one point in Master of Puppets, I felt like throwing myself onto the crowd in front.

It was a revelation in how shows ought to be done. I enjoyed the show more than I did for DT and Roger Waters...... which is saying something tantamount to, Suzuki Maruti 800 outraces a Ferrari..... but its true nevertheless.
Not having heard these songs for more than a couple of years now, I was not ready for the assualt that they launched on us in there. It was like they had hold of you by your collar, and where shouting in your face
"Listen #$@#$@%%$! Listen to us! We're $#^#%#$ Metallica!!!"

You can ignore this band on your Ipod list with the usual banter of "they're old school" or "the same stuff again" or "not a hard rock band anymore"...... but, on stage, they are in your face, and are so damn real and the music is so influential that all your misgivings are swept away, and for weeks, then onwards, you find yourself head banging on your way home from work to the entrance of a sandman.....

The setlist for the show was:
  1. That Was Just Your Life
  2. The End Of The Line
  3. Ride The Lightning
  4. No Remorse
  5. One
  6. Broken, Beat And Scarred
  7. Cyanide
  8. Sad But True
  9. Welcome Home (Sanitarium)
  10. All Nightmare Long
  11. The Day That Never Comes
  12. Master Of Puppets
  13. Blackened
  14. Nothing Else Matters
  15. Enter Sandman
  16. Last Caress (Misfits cover)
  17. Hit The Lights
  18. Seek & Destroy

Thursday, August 6, 2009

DreamTheater

On the 28th of July, months of waiting, weeks of disappointment in other aspects of my life and hours of driving to the venue culminated in one big burst of excitement which set the scales on balance again. I saw DT perform live in Atlanta at the Tabernacle.
To be frank, however, I was disappointed. It was a tour by 4 progressive bands and as such DT performed only a handful of numbers unlike the 4 hour extravaganzas that I was used to seeing on my computer. For the record these were,
  1. A Nightmare to Remember (Black Clouds and Silver Linings)
  2. Prophets of War (Systematic Chaos)
  3. Keyboard Solo
  4. Sacrificed Sons (Octavarium)
  5. A Rite of Passage (BC&SL)
  6. The Dance of Eternity (Scenes From A Memory :Metropolis Part II)
  7. One Last Time (SFAM)
  8. Solitary Shell (Six Degrees of Inner Turbulence)
  9. Take The Time (Images and Words)
  10. Count of Tuscany (BC&SL)

With three songs from the new album, and one song from the god forsaken "systematic chaos" album, it wasn't exactly what I had dreamed of(given that I have memorized and dissected every bar of music of a ton of other songs )

Nevertheless, the offset was balanced by Jordan Rudess's antics and the sheer intensity of watching them play from about 5 meteres away.

Some highlights of the show were:

  • Rudess plays a solo on the Haaken Fingerboard
  • Portnoy gets up atleast 6 times to thrash on the poor cymbal for the rare few seconds in their songs when he isnt playing like he is wrestling with an octopus while trying to play soccer and swim the olympics.
  • Petrucci's extended solo in Solitary Shell on the electric (no acoustic lead though)
  • Rudess plays the solo of Take the Time on the keytar
  • Rudess and Petrucci jam together (absolute synchro of course) on their respetive -tars facing each other in the front of the stage
  • Rudess plays two solos on the Iphone's app Bebot
  • LaBrie does not stick his tongue out and sing like he's falling off a cliff. In fact, he nails every song.

The strangest thing that I realised through the show however, was that, no matter how good they are and no matter how much I had looked forward to this for no matter how many years, there were still times during the show when I phased off. At such times, I wanted to hit myself. I felt guilty and helpless that I was not capturing enough feel and intensity in these few hours as I would have liked to or as I had imagined I would.

By the middle of the show, I wanted to go and sit somewhere in the back and listen to the music a little more calmly. The craze, the ranting, the madness was all self built and self induced. (Apart from the Iphone gimmick of course.... that kind of a thing just increases the blood flow in the body like magic)

Maybe all of art is in the eye of the beholder.

Wednesday, July 1, 2009

New wheels


I just bought a car. After cautious, thorough and well practised hunting (both online and offline), I ended up buying a car within 15 minutes of test driving it. Didn't even get it checked. Didn't even test drive it again. Just signed the papers.

An instinct made me go for it. Perhaps the dealer's offer to change the timing belt, a gasket, the gas for the AC and fix the alignment helped as well. In the end however, I felt like a hurried person with no control over what was happening.

When I play that day in my mind again, I am sure I could not have done anything differently. I don't think I would have passed the offer (he was selling the car at 1500 lesser than the KBB price and including all the aforementioned repairs and parts in the same price)

I was certain before I went to the dealer that I would NOT buy anything on the same day. Its like I went to check out the casino but ended up gambling anyway. I think this is some sort of sadism which enjoys reveling in completely illogical, though intuitive and highly risky acts.


But whose to say whether that's the opposite of maturity or not. A lot of people build careers on such decisions and live extremely succesful lives based on such decisions. When a sensation guides you to trust blindly, why is going ahead with it not considered the mature thing?

When applied to people, this kind of behavior is often lauded as spontaneity and is often practiced by the most popular of the lot. Why then, when applied to other things, is it considered a mark of immaturity or brashness? Perhaps maturity is simply to recognize these instincts and then justify them in a manner of half truth to the rest of the world, so that you can get your lucky deal and convince others of your careful and successful venture as well.

All said and done, I have the car; Have a look :
Basics: MAZDA 626 - 2002 Model - 120k miles - 4-cylinder sedan