The indigenous benefited from the freshwater lake, and call it "Pa'ashi". Politicians declared this land "public", and made the land available for private ownership to anyone who could drain it. Lake Tulare, as it is now named, became privately owned land. It made a return in 2023, and as we head into Summer, it appears that its levels will rise more. This post was inspired by this u-tub short.

EDIT: After posting this, I noticed the rules in the sidebar that indicate this is a "community for sharing music-related news..." I'll be happy to remove this post if it's a problem.

I'm not saying that YES' music is easy to play; I'm just saying that the entirety of their work is not built on the premise that every song has to be blazingly fast. Not only are they prog rockers; they are one of the primary ones to legitimize the genre.

TL;DR: IMO, you can be a progressive rock musician without making songs that require athletic virtuosity because tempo is just one of many parameters in a song that can be manipulated. If you have read this much, I suspect you may LOVE this album by Arena called "Pepper's Ghost".

Do you know of other prog bands making songs that are a clear alternative to the 200 bpm stuff? Some call it "Melodic Prog". If so, please share!

This song, Friend or Foe, imo is many things at once. The beginning may make you think this is Depeche Mode, and when the main lyric kicks in, it may sound like simple rock. However, as the song continues, Riverside does things I don't think I'd ever hear in a simple pop song. Can you appreciate aspects of this song?

I learned about this video from this AL.com article. Read that article to learn how this 81-year-old gets himself ready for a concert!

It seems Isaac Hayes and Barry White are remembered as masters of artistic sexy seduction. I don't know much about Barry White; it seems I should spend a week listening to his discography on the u-turb after which I just might post something here.

However, I have spent much more than a week listening to Isaac Hayes, and I gotta tell ya; this guy's musical head is HUGE! He knows how to dramaticize events, change chords in ways you may not have expected, and bring things all together like Serge Gainsbourg. It's a sound I like to fill the room with; my computer goes right into my stereo.

If you're new to Isaac Hayes, in addition to the song linked in the title, I recommend giving volume and attention to the hit that launched his big-time days, his cover of Burt Bacharach's Walk On By. He has done a lot of covers like Wes Montgomery, but Hayes' covers imo are remarkably noteworthy on account of how he dramati

This guy has a rather lengthy discography. Seems he grew up in Texas, and started recording in the 50s. He became known for his bass voice and storytelling. He recorded songs for like 15 years before he recorded this with Nancy Sinatra. I already know that "One Velvet Morning" is trippy; Hazlewood keeps talking about "when he's straight", which suggests gay stuff, but these are 1968 (or thereabouts) lyrics; so, Hazlewood imo is probably referring to moments of sobriety. He eventually even named his daughter "Phaedra". I'm hoping this song will motivate some of you to get into his other songs. As far as song composition is concerned, check out the liberty he enjoys in changing tempos and/or time signatures.

The title links to a concert by Piknik (Пикник) in 2023. I'm curious to read the ideas you may have about their songs. I am intrigued by Piknik's music because, just like in every culture, these rock songs seem to come from the classical and/or folk traditions. I am not posting this for political reasons. It should be common knowledge that being Russian is not evidence of support/or non-support for Russia's government. Anyway, here is Piknik's official YouTube channel. You might want to explore the discography there.

Russia has a lot to offer musically both presently and historically. If you're into very melodic progressive (and often beautiful, imo) rock, I bet you'll love Inna Pivars and her "Histriones". If you prefer pop ear candy (and you have a stereo or earphones that does justice to the sound), I bet you'll love SBP4's Злой, which appears

After 2 or 3 days, I have to login again. I've googled, but have not found any Lemmy setting that would allow me to remain logged in longer than this. I suspect people are going back to Reddit simply because they're always logged in there - month after month. I suspect there is a setting the instance admin can change. I'm hoping that Lemmy.studio's owner can answer this question... or anybody. Thanks.

I know there's a lot of distribution services to choose from, but if you spend a few days or a week googling and/or searching u-tube for the best one, I suspect you'll conclude that Distrokid (DK) is the most popular distributor for mid-to-nobody-level artists like me.

I didn't start with DK. I went with CDBaby for my first album because the pay-once-and-you're-done model really appealed to me. Just google "CDBaby", and you'll see in the first result that they are advertising "No recurring fees" because they know musicians don't want to have to continue paying distributors for distribution that has already occurred.

So, I logged into CDBaby in order to start entering all the data that would support album #2. However, things weren't the same as they were with album #1. CDBaby, like every successful company wanting to increase earnings, had added to its offerings as well as its conditions. I get it; you're doing well, and you want to do

If you're in this sublemmy, imo you have already disqualified yourself as mainstream. The mainstream has a casual relationship with music; it's basically like my relationship with a napkin; I use it, but don't care to know too much how it came to be. I know that napkin production is a complicated affair from tree to final product, but I have no motivation to learn how things happen in that world. There are probably people who dream of making the ultimate 21st century napkin, and I bet they have some wild ideas, but that's a discussion I'm not really interested in joining. IMO, this is how the mainstream deals with music; for the most part, they seem ready to discard songs they liked once they no longer provide the buzz they once provided. Once the novelty is gone, the artist and the song s/he made is forgotten.

I suppose you already realize that as far as my analogy goes, you and I are napkin engineers in the eyes of the mainstream. You're here because you have felt the magic that hap

The temptation to think about songs academically can be a real impediment in my opinion (imo), a real obstacle to making great songs. Isn't knowledge essential? Aren't we all about the business of creating songs that appeal because they have something other songs don't? Isn't it true that we want the credit of making something truly original? If you're subscribed to this sublemmy, it seems reasonable to conclude that you're here to learn ways to add this novelty to your own songs like me.

Thus, we start down the path that imo eventually leads to Dream Theater (DT). I know some people love DT; so, I must choose my words carefully. Let's just say DT doesn't connect with me. I hear 10 million notes in a short period of time, and I am compelled to honor and respect the accomplishment that it represents.... but it does NOTHING for me. Simply put, I just don't feel it.

Now, there is a group called "Arena" that has a DT-sounding album called "[Pepper's Ghost](https://youtube.com/playlist?

We're all at different stages of this. Some of us have recording studios, and others don't know how a guitar goes into a laptop. Many are in the middle, trying to figure out how to make mixes wider, reverbs deeper, and how to use compression to raise the LUFS without clipping. Rappers will seek sophisticated sounds while roots rockers will want the cleanest sounds they can get from the best mics. We all have different objectives. Hopefully this Lemmy community will help everybody, regardless the chosen path.

Hello, My Favorite Song of the Day is Loquat's Shaky Like The Flu. It's main progression is G, EbMAJ7, Bb, D7. I have been trying to understand this from the perspective of the Circle of Fourths and Fifths. After the initial G, I'd expect a C or a D, but they go to a EbMAJ7, which I think sounds lovely especially because of how the bassist emphasizes it; however, I don't understand theoretically why these chords work. Are all of these chords in a particular key? Perhaps someone strong in music theory can offer insight. Thanks.