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2010
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October
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- I'm tired of keeping things to myself
- Art Piece #2 - Texture in Detail
- "You look down, but far from out"
- "The world's not big enough for the both of us"
- Art Piece #1 - Self Portrait in Texture
- Vegas!
- "When the day begins to break like the tears that ...
- Turning 21
- "Paper cut my heart in half and discard the evidence"
- "It's all down hill from here"
- It will all turn out well in the end
- "Send me justice and I'll have Paris in flames"
- "The scare that triggers your fear"
- "The jury that stands the verdict"
- Fun with HTML
- "When you're down on the floor bleeding, bastard"
- "So they put your confidence down"
- Creating Butterbeer
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October
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Saturday, October 30, 2010
I'm tired of keeping things to myself
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I hate feeling so sick, hurt and upset inside, but I bottle it up from everyone hoping it'll go away.
I hate that I somehow convinced myself years ago that no one actually gives a damn about anyone's problems.
I hate that the greatest happiness I've felt in months is far away. And now it's gone. I always expected it would happen to either of us, but it still sucks.
I hate pretending things are okay.
I hate telling people I'm fine because I don't want to kill the mood.
I hate that I always want to help those close to me who need to talk, but I'm afraid to do the same. WHAT THE FUCK IS WRONG WITH ME?!
I hate being the "nerd" of the family. No one enjoys what I like quite on the same level, and I feel like a social outcast.
I hate that my family can't stand my dad and feels it necessary to insult him behind his back.
I hate that I grew up with a bi-polar, mood-swinging, clinically depressed man as my father.
I hate that I seem to be the only one who excuses my dad's inexcusable behavior.
I hate that I'm an idealist.
I hate that I was supposedly a happier, more confident person when I was a kid. I miss the old me.
I hate that my oldest brothers, who spent most of their lives not being close and finally got the chance, have now been torn apart and are more distant than ever.
I hate that my twin brother started smoking in order to deal with his inner demons. I'm sorry to all you smokers out there, but that's just how I feel.
I hate that my mom is no longer the woman she once was and has mental breakdowns once a week.
I hate that my family is dysfunctional in the first place.
I hate that I'm starting to cry while writing this.
I hate my life.
Thursday, October 28, 2010
Art Piece #2 - Texture in Detail
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After finishing up the first set of song reviews last night, I remembered a drawing I worked on a few years ago that was based on The Second Stage Turbine Blade album cover.
Texture in Detail. 12" x 9". Pencil and Pen. 2007.
Simply put, it's a drawing of a blown up section of the front cover of the album. For reference, it is the section outlined in black in the following picture:
I completed this drawing in my freshman year 2D Design class, where the objective was to find any surface that had some form of texture on it and draw it out. Though it's not apparent on this given image, the cover of the album does in fact have texture -- the black lines on the wings of the dragonfly protrude from the surface. After finding which bit of texture we wanted to draw, we had to choose a small section of said surface from which we would do the assignment.
The first sketches of the dragonfly wing was done in pencil, as was all of the shading. It took roughly an hour to replicate the design just right for my personal liking. Once the pencil work was finished, I went back in with pen and ink to add some of the darker lines of the wing and other dark spots.
Wednesday, October 27, 2010
"You look down, but far from out"
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The songs throughout all of SSTB were mostly electric; distorted guitars, screeching riffs, and loud, aggressive percussion. The one instance where this formula would be broken would be in a song that wasn't even listed on the official track listing for the album -- the hidden "IRO-Bot," which listeners would discover if they let "God Send Conspirator" continue playing a couple or so minutes after its last note (on the 2005 special edition re-release, this song would be found at the end of a demo bonus rendition of "Everything Evil").
When I say the electric formula found in all other songs off the album was broken, I mean to say that this song is performed completely with acoustic instruments. In fact, not a single moment of the song features drums or even bass. Instead, it's a total acoustic guitar performance all the way through. This type of acoustic playing would foreshadow the style Coheed and Cambria would showcase in their later work; a style that uses elements of both electric hard rock and softer acoustic ballads. I've heard two versions of this song; the album version and the live version that was played at Neverender. The live version features electric instruments and the inclusion of drums and bass into the mix. Truth be told, I can't decide which version I prefer more. It's a bit of a welcome change to hear the soft tune playing on the album after the post-hardcore musicianship of the first ten tracks. At the same time, it's absolutely mind-blowing hearing the chorus being belted out so loudly by the full band live.
Vocally, Claudio's singing is multi-layered in the song. Take a listen to the album version of the song, preferably with headphones, and you'll likely notice two tones to Claudio's voice -- one coming through the left, and the other protruding from the right. This layering of the vocals helps to establish the overall eerie atmosphere of the track. Though I'm not sure what the song's place in the story is, if it really has any, there's something beautifully subtle and yet creepy about how Claudio sings "IRO-Bot will never die."
Part of me thinks this song isn't directly involved with the plot of the story. Instead, it feels more like something that would be played in the ending credits if this were a feature film. Given the deaths of Coheed and Cambria, Jesse's struggle for survival, and Claudio's self-imposed exile, I think this fits well from that perspective. First, let me explain briefly what the term "IRO-Bot" means and how it came about.
Years before the events of the album, Wilhelm Ryan made his first attempt at seizing power. Countless lives were lost in a brutal conflict known as the Mage Wars. A scientist by the name of Leonard Hohenberger, determined to strike back against Ryan, created three powerful beings -- IRO-Bots, short for Interceptive Recon Operative Bots -- named Coheed, Cambria, and Inferno (who would later adopt the name Jesse). Artificially created humans, these three possessed superhuman powers and abilities that enabled them to be more than a match for Ryan's armies. That is, until Ryan seemingly disappeared and Coheed and Cambria's memories were wiped by Jesse in order to lead normal lives. Thus, setting up the stage for The Second Stage Turbine Blade years later.
In knowing what the term means and how it applies to the story and to its characters, the repeated chorus line of "IRO-Bot will never die" now means a great deal. Though Coheed and Cambria have been killed, the IRO-Bot line lives on, not just in Jesse -- who remains the last of the original three IRO-Bots -- but through their son, Claudio, who will very much play an important role in the destiny of Heaven's Fence.
With that, I end the song reviews for The Second Stage Turbine Blade. I've been having a lot of fun with this project so far, and I'm looking forward to starting on the next album soon.
Tuesday, October 26, 2010
"The world's not big enough for the both of us"
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In the conclusion to The Second Stage Turbine Blade, Coheed and Cambria deliver what is my favorite of their closing songs off any record, not including the hidden "IRO-Bot" track at the very end, but that's in the next review. If, in reading the title of this post, you thought some sort of fight was about to begin, you'd be correct. While I don't think the music of "God Send Conspirator"captures the intensity of such a moment like that, the lyrics do. By this point in the story, the characters Coheed and Cambria have been killed in their quest to defeat Wilhelm Ryan. Their son Claudio remains the sole survivor of his family and has left behind his home planet, hoping to someday extract his vengeance on Ryan and his tyranny. In the meanwhile, a new threat arises to combat Ryan -- Coheed's brother and fellow IRO-Bot, Jesse, and a mysterious Mage named Mariah.
Perhaps due to the production on the album, parts of "God Send Conspirator" are difficult to make out, or at least were for me the first few times I heard the song. Travis's lead on this song is one of my personal favorites, and also one of his best. This guitar work meshes very well with Claudio's own chugging rhythms and Mic's never-ending groovy bass. In addition, Josh adds a fast-paced and even somewhat aggressive bit of drumming to the mix. All in all, the song works well as a closer; a short but sweet, to the point bit of narrative that leaves the listener satisfied once the record is over. Again, this might be due to the low production quality (at least, low in comparison to their later records), but I feel that when this song is played live, it serves even BETTER as a closer. Below is a clip of the song played a couple years ago during the band’s Neverender concert series:
One of the best lines of the song is the repetition of "Your dreams can’t last forever!". Taken out of the story context, this line speaks a lot to me. How many of us have wanted our dreams to last forever indeed? It's a simple line that has its place in the story to be sure, but it also has a lot to do with the real world -- which just demonstrates, once again, how the story relates to reality. My absolute favorite part of the song (album version only) is how the last stretch of it fades out, only to jump back in at the very end with a rendition of the instrumental theme that started off the whole album. It's a very moving motif. As it is, many fans think this theme represents a sort of passage of time in The Amory Wars Saga, something I believe myself.
Next time, I tackle the hidden, final track on this record and wrap up SSTB. Stay tuned!
Monday, October 25, 2010
Art Piece #1 - Self Portrait in Texture
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I'm not sure if I'll get to a song review today since this is my second post of the day thus far. Instead, I wanted to do something a little different.
I've mentioned how I'd post some artwork here and there, and I decided today's the day to kick that off. Without further ado, I present my first art piece.
I've mentioned how I'd post some artwork here and there, and I decided today's the day to kick that off. Without further ado, I present my first art piece.
Self Portrait in Texture. 11" x 8 1/2". Pencil. 2007.
It really is a self-portrait in texture. Each object is part of who I am and what I like. Though I wear contacts now, I did wear glasses at the time of making this and had been wearing them for about twelve years. The pencils represent my love for drawing and for art. The dream catcher on the far left is indicative of the small but still important Native American blood that runs through my veins. The likely hard to see concert ticket is a reflection of not just my liking for Coheed and Cambria, but for music and concerts in general. Further emphasizing my tie to music are the scattered guitar picks. And as always, there is some representation of Harry Potter and Star Wars seen in the drawing -- the HP symbol and the plastic lightsaber at the very top, respectively.
The point of this project was to demonstrate rendering skill, and the ability to draw objects so they look as realistic as possible. The other objective was to use six materials to draw and show how lighting affects these objects. These materials were: 1.) wood; 2.) leather; 3.) metal; 4.) cloth; 5.) plastic; and 6.) glass. You could see for yourself which objects are which material.
I was fairly happy with the result. Upon reflection I realized it needed more contrast; much of it is too similar in terms of lighting. Still, I'm pleased.
Vegas!
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I got back from my weekend trip to Las Vegas last night. It was just a brother thing; four of us, including my twin brother, left for the weekend on a five hour trip to Vegas in celebration of our twenty-first birthday. The unfortunate part was that one of our brethren wasn't able to make it, for reasons I shall not disclose.
Overall, it was one of the best weekends I had in a long time. There was something immensely satisfying about being able to walk through the casinos all by myself without a parent or older friend/family member having to escort me around. It was nice to be able to buy my own jack and coke for the first time in my life -- and it was quite delicious too. There were so many options open to me now in this town; a place that, in all of my previous visits, was largely closed to me save for the hotel room, the pool, and the occasional arcade here and there.
The best part, however, wasn't really that I finally had access to most if not all of the things Vegas has to offer for those of age. Quite honestly, it was being able to get out and do things with my brothers. A part of me feels ashamed that I've never said this to their faces, but it truly was the best part. Of late, I've had little to no time to really spend time with my family -- in part due to time constraints thanks to work, school, or other plans and in part due to... issues currently plaguing us. So, it was truly amazing to be hanging out.
We stayed at the Riviera, which is further down the northern end of the strip. It wasn't the best spot when considering most of the best places are down the other way, but it was hardly a complaint since the room was fairly inexpensive. I had no problems walking anyway, as it gave us ample opportunity to do some sight-seeing and explore some of the fancier hotels (Planet Hollywood, by the way, is amazing inside!). It was also better to walk during the day anyway, since the streets were so cluster-fucked with traffic.
I wouldn't trade this weekend for anything else. I think I needed it. Not to celebrate my birthday, but just because I needed to get out for a couple days. It certainly helped. However, I'm also glad to be back home.
Overall, it was one of the best weekends I had in a long time. There was something immensely satisfying about being able to walk through the casinos all by myself without a parent or older friend/family member having to escort me around. It was nice to be able to buy my own jack and coke for the first time in my life -- and it was quite delicious too. There were so many options open to me now in this town; a place that, in all of my previous visits, was largely closed to me save for the hotel room, the pool, and the occasional arcade here and there.
The best part, however, wasn't really that I finally had access to most if not all of the things Vegas has to offer for those of age. Quite honestly, it was being able to get out and do things with my brothers. A part of me feels ashamed that I've never said this to their faces, but it truly was the best part. Of late, I've had little to no time to really spend time with my family -- in part due to time constraints thanks to work, school, or other plans and in part due to... issues currently plaguing us. So, it was truly amazing to be hanging out.
We stayed at the Riviera, which is further down the northern end of the strip. It wasn't the best spot when considering most of the best places are down the other way, but it was hardly a complaint since the room was fairly inexpensive. I had no problems walking anyway, as it gave us ample opportunity to do some sight-seeing and explore some of the fancier hotels (Planet Hollywood, by the way, is amazing inside!). It was also better to walk during the day anyway, since the streets were so cluster-fucked with traffic.
I wouldn't trade this weekend for anything else. I think I needed it. Not to celebrate my birthday, but just because I needed to get out for a couple days. It certainly helped. However, I'm also glad to be back home.
Thursday, October 21, 2010
"When the day begins to break like the tears that run across your cheek"
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Well, this was certainly much longer than I anticipated to make an update. On the bright side, my laptop is finally back! Actually, it has been since Monday, and as of this morning I've got all my programs and updates put back on. It's officially back to the way it used to be. And now that I'm back, it's time for another review.
The next song on this album is "Neverender." Like "Hearshot Kid Disaster" it's without a doubt on the coolest Coheed song titles ever. In fact, it was used as the title for a series of concerts the band performed a couple years ago, but I'll get into that some time later. The first thing I remember noting about this song when I first listened to it was the combination of rhythm and lead. This style has been prevalent in the earlier songs, true, however it was the first time I think I really noticed how common they are in Coheed's music.
Of note is also Mic's bass line. When I had first started listening to Coheed and Cambria, my music library was rather small. Most of the bands I listened to at the time consisted of bass players that generally just played as rhythm to the guitar, often playing the same notes *coughcoughNirvanacoughcough*. This isn't to say such is bad, but I admit that Mic's style of bass is a little refreshing. There are times where his bass grooves match the guitar to keep rhythm, but many times they also have their own notes to play while still keeping in time to the beat.
"Neverender" also consists some of the strongest bit of drumming from Josh Eppard yet. The first sound one will hear on the tune is a snare drum, followed up with some quick hi-hat and snare work. Like the bass guitar, the drums aren't just keeping the beat of the music; they are their own instruments and Josh shows it. What I've really appreciated about this record and this song in particular is how clear I can hear each and every instrument. It's pretty safe to say that I'm not missing anything.
Sadly, however, all of this strong musicianship doesn't seem to do it for me. Though a good song, something about "Neverender" just prevented it from really sticking with me in the same vein as "Junesong Provision", or the penultimate song off the record -- "God Send Conspirator" -- really do.
After "Junesong," it's clear this song is somewhat softer. Claudio's singing adds to this effect with lower vocals, some of which sound like a whisper at certain moments. With that said, the song revolves around Coheed and Cambria's son Claudio, who has fled his home world. By this point, Coheed and Cambria are dead (by exactly what means I still don't really know and won't until I get the comics). Unaware of their fates, Claudio writes them a note just before leaving. In contemplating the tragic events that have befallen his family he considers suicide before eventually falling asleep, vowing to someday take revenge.
The next song on this album is "Neverender." Like "Hearshot Kid Disaster" it's without a doubt on the coolest Coheed song titles ever. In fact, it was used as the title for a series of concerts the band performed a couple years ago, but I'll get into that some time later. The first thing I remember noting about this song when I first listened to it was the combination of rhythm and lead. This style has been prevalent in the earlier songs, true, however it was the first time I think I really noticed how common they are in Coheed's music.
Of note is also Mic's bass line. When I had first started listening to Coheed and Cambria, my music library was rather small. Most of the bands I listened to at the time consisted of bass players that generally just played as rhythm to the guitar, often playing the same notes *coughcoughNirvanacoughcough*. This isn't to say such is bad, but I admit that Mic's style of bass is a little refreshing. There are times where his bass grooves match the guitar to keep rhythm, but many times they also have their own notes to play while still keeping in time to the beat.
"Neverender" also consists some of the strongest bit of drumming from Josh Eppard yet. The first sound one will hear on the tune is a snare drum, followed up with some quick hi-hat and snare work. Like the bass guitar, the drums aren't just keeping the beat of the music; they are their own instruments and Josh shows it. What I've really appreciated about this record and this song in particular is how clear I can hear each and every instrument. It's pretty safe to say that I'm not missing anything.
Sadly, however, all of this strong musicianship doesn't seem to do it for me. Though a good song, something about "Neverender" just prevented it from really sticking with me in the same vein as "Junesong Provision", or the penultimate song off the record -- "God Send Conspirator" -- really do.
After "Junesong," it's clear this song is somewhat softer. Claudio's singing adds to this effect with lower vocals, some of which sound like a whisper at certain moments. With that said, the song revolves around Coheed and Cambria's son Claudio, who has fled his home world. By this point, Coheed and Cambria are dead (by exactly what means I still don't really know and won't until I get the comics). Unaware of their fates, Claudio writes them a note just before leaving. In contemplating the tragic events that have befallen his family he considers suicide before eventually falling asleep, vowing to someday take revenge.
Friday, October 15, 2010
Turning 21
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My birthday is this Sunday -- October 17. I'll be 21. Party time, right? Time to get wasted? Nah, probably not, though I'll probably have some drinks.
I'm going to be spending most of the day working which automatically sucks, but then I spend the evening with my family and the later part of the night probably hanging out with friends. Though this has pretty much been the formula for my birthday every year since high school, it doesn't bother me. I still enjoy myself and I get to have some fun.
However, the one thing I've come to hate, more than anything, about my birthday is trying to figure out what I want. The simple answer is that for the past few years I've never really wanted nor needed anything. Anytime a CD or movie comes out I usually buy it myself since it seems like none of this stuff comes out around my birthday and I'd rather not wait to get my hands on it. I've tended to purchase my own things since getting a job and having a paycheck, so by the time my birthday rolls around I'm pretty much set.
I also hate answering with "nothing really" or "just get me a gift card" when anyone -- family or friends -- ask me what I'd like for my birthday, or even Christmas. The answer is really just that. I don't even need anything. Call it cheesy or corny if you'd like, but of late I've realized that all I really care to have on my birthday is just fun with my friends and family.
I'm going to be spending most of the day working which automatically sucks, but then I spend the evening with my family and the later part of the night probably hanging out with friends. Though this has pretty much been the formula for my birthday every year since high school, it doesn't bother me. I still enjoy myself and I get to have some fun.
However, the one thing I've come to hate, more than anything, about my birthday is trying to figure out what I want. The simple answer is that for the past few years I've never really wanted nor needed anything. Anytime a CD or movie comes out I usually buy it myself since it seems like none of this stuff comes out around my birthday and I'd rather not wait to get my hands on it. I've tended to purchase my own things since getting a job and having a paycheck, so by the time my birthday rolls around I'm pretty much set.
I also hate answering with "nothing really" or "just get me a gift card" when anyone -- family or friends -- ask me what I'd like for my birthday, or even Christmas. The answer is really just that. I don't even need anything. Call it cheesy or corny if you'd like, but of late I've realized that all I really care to have on my birthday is just fun with my friends and family.
Thursday, October 14, 2010
"Paper cut my heart in half and discard the evidence"
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I've said before that Coheed was known for changing up styles and having unusual song structure. Thus far, I don't think this sort of musicianship is more noticeable than in the eighth song off SSTB: "Junesong Provision." The song seems to start off with the traditional verse, but once it's over it's apparent there's no chorus. Instead, it jumps straight into the second verse. Once that's over the rest of the song passes in a haze of bridges, varying so much it's almost a reflection of the turmoil present in the story.
It's also a reflection of the post-hardcore influence on the album. The entire song seems aggressive and loud from beginning to end, even in that last outro:
It's also a reflection of the post-hardcore influence on the album. The entire song seems aggressive and loud from beginning to end, even in that last outro:
"Wait for me, alright? I'm still a boy down there when you want to promise me that."
Aside from the aggressiveness of the music, the lyrics are also chilling. Story-wise, Coheed and Cambria have managed to escape the Red Army, but their ship is doomed to crash. In the meantime, the song focuses on their last remaining child, Claudio, who decides to evade whatever evil is targeting him and his family and leave behind his girlfriend, Newo Ikkin (whom he refers to as "Junesong") for her own safety. The song is basically his thoughts as he says a mental goodbye to her.
For a long time, "Junesong Provision" was my favorite off the album. So many times my favorite has shifted from one song to the next and it's just another reason why I love Coheed and Cambria so much. Some times I feel more in touch with one song and other times I'm into something different. On that note, even though this song is clearly revolved around the concept it's hard for me not to take it and apply it to my own life. I can't say I've been in a position where I've ditched my friends and family in some selfless effort to save them, but it makes me think about that situation nonetheless.
The song was also my favorite for a while because it was so much different from the usual song structure I've listened to most of my life. It almost sounds like several songs in one, and as such is an early example of the sort of music Coheed would produce in later records.
An acoustic version of this song was recorded long before the album even hit the shelves and it was placed on the 2005 remastered edition as a bonus track. Today, I present an old clip of Claudio playing this song. You can tell it's old because his hair is MUCH shorter:
I'd like to take this moment and just briefly say that this video is an example of why I appreciate Claudio as a singer and as a guitar player. Yes, his voice is quite high and may annoy some people, but being able to play that riff -- a combination of both rhythm and lead -- while singing so clearly is a remarkable feat. Enjoy the video, and stay tuned for the next review.
Wednesday, October 13, 2010
"It's all down hill from here"
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Indeed, it most certainly is all down hill. When we last left off with "Hearshot Kid Disaster," Coheed and Cambria had been captured by the Red Army and the Monstar virus within Coheed had been growing. It only gets worse from here.
In "33" the story is shifted onto a man named Patrick McCormick, whom I haven't really mentioned yet. Simply, he is Josephine's boyfriend. Or, was her boyfriend and would-have-been fiancee were it not for cruel, twisted fate. After taking Josephine home following her brutal rape, Patrick is the unfortunate witness to her murder by her own parents, naturally traumatizing the poor youth. Even worse, to tie up all the loose ends of these murders and to cover their hands in it, Wilhelm Ryan and his right hand man Mayo Deftinwolf send a minion known as an Onstantine Priest to "deal" with Patrick -- and all of this is going on even as the situation with Coheed and Cambria reaches its peak.
The funniest thing about this song is that it wasn't even written for the concept. No, like "Delirium Trigger" it has a place outside the concept. In fact, the song was originally written about NBA star Patrick Ewing, whose jersey number for most of his career was 33 while playing for the New York Knicks.
Like "Delirium Trigger" the song was also worked into the story. Personally, I always think this is a bit odd, because I'm still not sure what the number 33 actually has to do with the story. Some of the lines seem to reference a basketball game while others seem more in keeping with the story at hand, which is the weirdest part of all. Still, at least Claudio saved himself a world of trouble by creating a character named Patrick, especially since the song has a line that specifically says "Patrick, short flip and outside boundary lines." Good save, Mr. Sanchez, good save -- and I mean that in a good way.
Musically, I always thought this song was some long lost single that for some reason was forgotten about and tossed onto the record at the last minute, and there just wasn't enough of a following to really warrant the song to be a single. Which sucks, because I think it should have been one. Listen to it if you get the chance and you might see what I mean. Stylistically, it's apparent that the song is rooted from Coheed's early days as Shabutie -- there are some differences -- which just goes to show the band's ability to change up sounds over the years. It's also further indicative of their ability to make something violent and dangerous sound upbeat thanks to the rhythm of the music. Then again, as it was originally about a basketball superstar, perhaps this isn't so surprising. Still, it's part of what makes Coheed and Cambria such a great band, in my opinion; the awesome storytelling and how it syncs with the music behind it.
This song has been in my "Running Playlist" for a while. That is to say, I listen to it when I go running. It works for that situation; it's quick, feels like events are moving fast, and there's plenty of action going on. Perfect for any adrenaline-inducing moment.
In "33" the story is shifted onto a man named Patrick McCormick, whom I haven't really mentioned yet. Simply, he is Josephine's boyfriend. Or, was her boyfriend and would-have-been fiancee were it not for cruel, twisted fate. After taking Josephine home following her brutal rape, Patrick is the unfortunate witness to her murder by her own parents, naturally traumatizing the poor youth. Even worse, to tie up all the loose ends of these murders and to cover their hands in it, Wilhelm Ryan and his right hand man Mayo Deftinwolf send a minion known as an Onstantine Priest to "deal" with Patrick -- and all of this is going on even as the situation with Coheed and Cambria reaches its peak.
The funniest thing about this song is that it wasn't even written for the concept. No, like "Delirium Trigger" it has a place outside the concept. In fact, the song was originally written about NBA star Patrick Ewing, whose jersey number for most of his career was 33 while playing for the New York Knicks.
Like "Delirium Trigger" the song was also worked into the story. Personally, I always think this is a bit odd, because I'm still not sure what the number 33 actually has to do with the story. Some of the lines seem to reference a basketball game while others seem more in keeping with the story at hand, which is the weirdest part of all. Still, at least Claudio saved himself a world of trouble by creating a character named Patrick, especially since the song has a line that specifically says "Patrick, short flip and outside boundary lines." Good save, Mr. Sanchez, good save -- and I mean that in a good way.
Musically, I always thought this song was some long lost single that for some reason was forgotten about and tossed onto the record at the last minute, and there just wasn't enough of a following to really warrant the song to be a single. Which sucks, because I think it should have been one. Listen to it if you get the chance and you might see what I mean. Stylistically, it's apparent that the song is rooted from Coheed's early days as Shabutie -- there are some differences -- which just goes to show the band's ability to change up sounds over the years. It's also further indicative of their ability to make something violent and dangerous sound upbeat thanks to the rhythm of the music. Then again, as it was originally about a basketball superstar, perhaps this isn't so surprising. Still, it's part of what makes Coheed and Cambria such a great band, in my opinion; the awesome storytelling and how it syncs with the music behind it.
This song has been in my "Running Playlist" for a while. That is to say, I listen to it when I go running. It works for that situation; it's quick, feels like events are moving fast, and there's plenty of action going on. Perfect for any adrenaline-inducing moment.
Tuesday, October 12, 2010
It will all turn out well in the end
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I had a huge chunk of text written out for this post, spilling my heart out about so many things to the point the text had reached 3 pages on Microsoft Word. Then, I remembered an important quote and I realized I didn't need anything else.
"It will all turn out well in the end"
There are many variations of this idea, but it's something I attribute to a good friend of mine whom I remember saying this very often back in high school. It's something I'm determined to live by.
I know all too well how hard it is to think of something positive when life seems to keep kicking you square in the face after you've already been beaten. Yet, there's always the chance, if each of us is willing to find it. I'm not saying we should ignore our pains and sufferings. On the contrary, they are part of how we grow; more importantly, it's how we deal with these things that determines our growth.
Several people I love are not their best right now, and I'm sure plenty of people out there aren't at this moment. I hang on to the idea that all of it will turn out well in the end not for some idealistic desire for eternal happiness, but simply because I know. I know because I know these people will overcome and look for it. That's how we achieve this wellness -- by pursuing it in the face of despair.
However cheesy you may find this, I ask something to anyone who might read this: Think of whatever makes you happy, whatever cheers you up even when you're down and out and try to hang on to that to get you through whatever it is that's holding you down. It helps me, and maybe it does for you. In fact, if anyone feels like sharing, please post a comment below as well.
Take care, all of you.
Monday, October 11, 2010
"Send me justice and I'll have Paris in flames"
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I may need to start doing a couple of these a day, because at this rate I won't be done until next year -- but then again, it would mean keeping me busy if I only posted one a day. Anyway, it's time to move on with this song review series. Next on our list is "Hearshot Kid Disaster" -- quite possibly one of the coolest song titles ever. Not only when I hear this title do I feel that shit has hit the fan, I also feel like headbanging every time I hear this track.
In the sixth song off SSTB, our heroes Coheed and Cambria (the characters) are now on a quest to dismantle the Red Army, the villain Wilhelm Ryan's personal iron fist. They realized they've been lied to, the memories of their former lives have returned, and it's now time to take the fight to Ryan himself and end the threat to Heaven's Fence once and for all. Unfortunately, their quest is marred by capture. The two are confined and held hostage, and something even worse is about to unfold. Coheed has been feeling the effects of the Monstar, a terrible virus that, when triggered, would spell certain doom for Heaven's Fence and mark the eradication all life.
And like some other songs off this record, it's amazing how Coheed and Cambria (the band) can take something as violent as this and make it sound upbeat and catchy. I know I've been repeating that a lot in these reviews, but it's true. The opening chug of the guitar and the subsequent noisy lead in the first 30 seconds of the song offer a slight contrast to the softer sounding "Delirium Trigger." The lyrics reflect this in a way:
"Wound open and squeezing my heart against this pain inflicts
and in passion I bleed for it"
I've never heard the song live before, save for what can be found on YouTube. It's quite spectacular, and the opening lead is even more noticeable live. It's safe to say that even though the song sounds upbeat, it was meant to be chaotic, reflecting the violence and madness that's depicted in this part of the story. The simplest answer that can be said about this song is that shit is getting real and all is going to hell, a perfect segue into the next song: "33."
In the sixth song off SSTB, our heroes Coheed and Cambria (the characters) are now on a quest to dismantle the Red Army, the villain Wilhelm Ryan's personal iron fist. They realized they've been lied to, the memories of their former lives have returned, and it's now time to take the fight to Ryan himself and end the threat to Heaven's Fence once and for all. Unfortunately, their quest is marred by capture. The two are confined and held hostage, and something even worse is about to unfold. Coheed has been feeling the effects of the Monstar, a terrible virus that, when triggered, would spell certain doom for Heaven's Fence and mark the eradication all life.
And like some other songs off this record, it's amazing how Coheed and Cambria (the band) can take something as violent as this and make it sound upbeat and catchy. I know I've been repeating that a lot in these reviews, but it's true. The opening chug of the guitar and the subsequent noisy lead in the first 30 seconds of the song offer a slight contrast to the softer sounding "Delirium Trigger." The lyrics reflect this in a way:
"Wound open and squeezing my heart against this pain inflicts
and in passion I bleed for it"
I've never heard the song live before, save for what can be found on YouTube. It's quite spectacular, and the opening lead is even more noticeable live. It's safe to say that even though the song sounds upbeat, it was meant to be chaotic, reflecting the violence and madness that's depicted in this part of the story. The simplest answer that can be said about this song is that shit is getting real and all is going to hell, a perfect segue into the next song: "33."
Saturday, October 9, 2010
"The scare that triggers your fear"
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Back with another review tonight! I apologize out front that I'm not able to get a review going at least once a day like I had hoped, but unfortunately with my laptop still having issues this is proving difficult. The only reason I'm able to be here now is because I'm using my brother's computer. So, kudos to him. Anyway, enough of my rambling.
Remember when I said there wasn't a single Coheed and Cambria song I didn't like? Well, I meant that. I also said that in spite of liking every song, there are some I don't like as much as others and would probably willingly skip over. I meant that as well. Thus, the moment has come for me to review what is one of my least favorite Coheed songs.
I realize this could get me a lot of shit and would irk many, as "Delirium Trigger" is very much a fan favorite and some would say it's one of the best songs of Coheed's career. I will point out that the only time this song doesn't do it for me is when I'm listening to the album version of it. I'm sorry, it just doesn't. I suppose the problem is that I loved the first three tracks so much and thought that were so upbeat that the intro to this song kills me a bit. Forgive me. HOWEVER, I again stress that I still like the song, and sing along to it when I'm in the mood for listening. That being said, this sing kicks a lot of ass when played live. I've been to three Coheed shows so far and the first time I heard it live -- not including watching videos of the song -- was at my most recent show. The simple answer is that it blew me away. It sounds epic, heavy, and so much better live.
Putting aside the music of the song, I will admit that the lyrics are some of the most unusual thus far in the album, and that's unusual in a good way. First, they're just plain awesome:
Aside from just sounding badass, there's also the imagery behind the lyrics. Lines such as "Static on the intercom, can someone save us?" and "Parasitic cyst, I can't stand to watch/It's coming up and out of your chest" clearly invoke science fiction imagery, and thus is keeping with the concept behind the story. It should be noted that "Delirium Trigger" was first written by Claudio Sanchez when the band was called Shabutie (which is uttered by Claudio in the opening to "Devil in Jersey City"). At that time, the concept of Coheed and Cambria was actually a side project of Claudio's, and if my knowledge serves me correctly, the song had little to do with the story elements of The Amory Wars. However, it was re-worked into the concept.
The song has good and bad moments for me. I don't feel I could explain it well enough; I suppose it's just one of those moments where it just doesn't seem to work. Nevertheless, the song remains a favorite among many. I feel comforted knowing that even if it doesn't satisfy me it satisfies the majority, and that's what matters. Though it's no where close to my favorites, I would eagerly look forward to hearing this song again at a concert.
Remember when I said there wasn't a single Coheed and Cambria song I didn't like? Well, I meant that. I also said that in spite of liking every song, there are some I don't like as much as others and would probably willingly skip over. I meant that as well. Thus, the moment has come for me to review what is one of my least favorite Coheed songs.
I realize this could get me a lot of shit and would irk many, as "Delirium Trigger" is very much a fan favorite and some would say it's one of the best songs of Coheed's career. I will point out that the only time this song doesn't do it for me is when I'm listening to the album version of it. I'm sorry, it just doesn't. I suppose the problem is that I loved the first three tracks so much and thought that were so upbeat that the intro to this song kills me a bit. Forgive me. HOWEVER, I again stress that I still like the song, and sing along to it when I'm in the mood for listening. That being said, this sing kicks a lot of ass when played live. I've been to three Coheed shows so far and the first time I heard it live -- not including watching videos of the song -- was at my most recent show. The simple answer is that it blew me away. It sounds epic, heavy, and so much better live.
Putting aside the music of the song, I will admit that the lyrics are some of the most unusual thus far in the album, and that's unusual in a good way. First, they're just plain awesome:
"Systems malfunction, blast it this damn machine/Over and out captain"
"You made a good friend to me but while you were outnumbered
and torn you made us do things"
and torn you made us do things"
"Come know me as god!"
Aside from just sounding badass, there's also the imagery behind the lyrics. Lines such as "Static on the intercom, can someone save us?" and "Parasitic cyst, I can't stand to watch/It's coming up and out of your chest" clearly invoke science fiction imagery, and thus is keeping with the concept behind the story. It should be noted that "Delirium Trigger" was first written by Claudio Sanchez when the band was called Shabutie (which is uttered by Claudio in the opening to "Devil in Jersey City"). At that time, the concept of Coheed and Cambria was actually a side project of Claudio's, and if my knowledge serves me correctly, the song had little to do with the story elements of The Amory Wars. However, it was re-worked into the concept.
The song has good and bad moments for me. I don't feel I could explain it well enough; I suppose it's just one of those moments where it just doesn't seem to work. Nevertheless, the song remains a favorite among many. I feel comforted knowing that even if it doesn't satisfy me it satisfies the majority, and that's what matters. Though it's no where close to my favorites, I would eagerly look forward to hearing this song again at a concert.
Thursday, October 7, 2010
"The jury that stands the verdict"
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Imagine screaming that line alongside hundreds or perhaps thousands of similarly screaming fans. Or, maybe belting out the last lines of that unforgettable outro:
"Would you run? Would you run? Would you run down past the fence?
FBI!
And she screamed 'Claudio, dear Claudio, I wish god dammit! We'll make it if you believe!'"
For those unfamiliar with the story, note that Claudio is also the name of a character, one who plays a very large role in events to come. It's not really a self-insert by Claudio Sanchez, they just share similar names.
Interested? Then it's time for another Coheed and Cambria song review! Tonight's special is "Everything Evil." Every Coheed fan probably knows this song; one of the best things about it is that it's instantly recognizable every time it's played live thanks to the opening drum beat played by Josh Eppard. Quite honestly, if there's one song I can immediately recognize in only the first second, it's this one. That is how unique "Everything Evil" is.
My first experience with this song was before I even had the album in my hands. I heard it at my first ever Coheed concert. It was at the Glass House in Pomona, CA, on August 12, 2006 (the very same, in fact, where the video in my last post was shot). At that time, I knew -- truly knew -- only about three songs on the set list, one being "Devil in Jersey City", and the other two off of a different album altogether. I did remember hearing a song that had an epic minute of chanting going on, where everyone was screaming "And she screamed Claudio!". It was so amazing I had to find out what song it was, and my friend provided me with the answer.
Which is actually how I came to first hear SSTB in its entirety. I'll explain this more later, but the rest is history as they say. I was still trying to get used to Claudio's voice; it was the music that hooked me and not so much the vocals, until I learned to appreciate them. Four years later, "Everything Evil" has become a top favorite amongst not just Coheed and Cambria songs, but of my entire music library.
One of the other best things about this song is how well accepted it is by the fan base that, in recent years, the gang had a really nice medley going on with this song, "Devil in Jersey City" and Iron Maiden's "The Trooper," which they covered. Together, these three created a fantastic medley that the band played for some months after the release of their fourth album. As of 2009, it doesn't appear to have been played much, but hopefully this medley will make an appearance again soon. I'd certainly enjoy it.
The next review will cover yet another huge fan favorite: "Delirium Trigger". Stay tuned!
Fun with HTML
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As you might notice, I did a bit of re-design this morning. Just below the header are a few more page links, including a contact page, a button page, and I moved the links section there as well. I feel it looks nicer that way than just a stand alone "Home" button, and it frees up the side bars a bit.
I feel happy knowing I did this all through actual html. Granted, it wasn't that hard, but I feel good that I did all the coding myself. I had a bit of practice with html and web design some years back but nothing too advanced. I'm hoping to improve these skills instead of relying on template designers.
That's about it for now. Expect another review today! Also, since I started following more blogs it's about time for me to pass along that award I was given a couple weeks back. I will get to all of this and more in the next few days.
I feel happy knowing I did this all through actual html. Granted, it wasn't that hard, but I feel good that I did all the coding myself. I had a bit of practice with html and web design some years back but nothing too advanced. I'm hoping to improve these skills instead of relying on template designers.
That's about it for now. Expect another review today! Also, since I started following more blogs it's about time for me to pass along that award I was given a couple weeks back. I will get to all of this and more in the next few days.
Wednesday, October 6, 2010
"When you're down on the floor bleeding, bastard"
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When I first heard the opening seconds of "Devil in Jersey City" -- the third track off SSTB (short for Second Stage Turbine Blade) -- I had to stop listening. I admit it, I had to. The singing was just so high-pitched it caught me off guard. I shuddered thinking how much the rest of the album would be like this. I should point out that my first experience with this album and with this song was via the band's MySpace page where, at the time, this was the only song off the album they had up. Thus, I had not heard "Time Consumer," "Delirium Trigger" or any of the others, and so I could not really make a well-informed opinion of the song in relation to the rest of the album just yet.
After not listening to the song for a little while I realized that, in spite of the vocals, the opening riff hooked me even in those brief fifteen or so seconds that I listened. That chug of the rhythm guitar being handed out by Claudio Sanchez, the upbeat lead by Travis Stever, the groove of Mic Todd on bass, and Josh Eppard's quick bass and snare work all made me want to go back and listen, and really give the song a better chance. I had listened to and grown to love their third album, which was the first Coheed record I ever experienced, and I wanted to be able to appreciate the rest of their music.
The long story short is that by the end of the song I got over the vocals. They still bothered me a bit (call me shallow if you want, but it took me a while to like Claudio's singing), but I had a new found appreciation for the music. Quickly, it became the top favorite and most played song in my then small Coheed library. Though I wouldn't say Coheed's third album never had poppy hits, this was a far different style of pop and it appealed to me. In fact, I noticed there was even a slightly different style altogether with the song in comparison to their later work. Not to say that bands don't change, but this was different. Keep note of this, as this change becomes a big part of their career.
I love this song and it has a special place in my heart. It's upbeat and catchy from the beginning chord to the last note and that last bit at the end ("When you run, they'll follow you") gives me pleasant chills every time.
It's also funny for me to call this upbeat considering the story element of the song -- namely, the rape of a character named Josephine by a gang called the Jersey City Devils (see what Claudio did there with clever song title naming?) and the subsequent murder of the same character by her own father! I wish I were kidding, but that's the story. There is a self-justified reason for him committing such an act on his own daughter, although it turns out this was all an elaborate lie by the bad guys to achieve domination. Good stuff, huh? Overall, I believe it showcases the band's sense of humor, albeit twisted; that is, the ability to turn something serious and traumatic and make it sound positive through a style of music.
And I end this with review with a brief shot of the band playing this song in 2006 at the Glass House in Pomona, CA:
After not listening to the song for a little while I realized that, in spite of the vocals, the opening riff hooked me even in those brief fifteen or so seconds that I listened. That chug of the rhythm guitar being handed out by Claudio Sanchez, the upbeat lead by Travis Stever, the groove of Mic Todd on bass, and Josh Eppard's quick bass and snare work all made me want to go back and listen, and really give the song a better chance. I had listened to and grown to love their third album, which was the first Coheed record I ever experienced, and I wanted to be able to appreciate the rest of their music.
The long story short is that by the end of the song I got over the vocals. They still bothered me a bit (call me shallow if you want, but it took me a while to like Claudio's singing), but I had a new found appreciation for the music. Quickly, it became the top favorite and most played song in my then small Coheed library. Though I wouldn't say Coheed's third album never had poppy hits, this was a far different style of pop and it appealed to me. In fact, I noticed there was even a slightly different style altogether with the song in comparison to their later work. Not to say that bands don't change, but this was different. Keep note of this, as this change becomes a big part of their career.
I love this song and it has a special place in my heart. It's upbeat and catchy from the beginning chord to the last note and that last bit at the end ("When you run, they'll follow you") gives me pleasant chills every time.
It's also funny for me to call this upbeat considering the story element of the song -- namely, the rape of a character named Josephine by a gang called the Jersey City Devils (see what Claudio did there with clever song title naming?) and the subsequent murder of the same character by her own father! I wish I were kidding, but that's the story. There is a self-justified reason for him committing such an act on his own daughter, although it turns out this was all an elaborate lie by the bad guys to achieve domination. Good stuff, huh? Overall, I believe it showcases the band's sense of humor, albeit twisted; that is, the ability to turn something serious and traumatic and make it sound positive through a style of music.
And I end this with review with a brief shot of the band playing this song in 2006 at the Glass House in Pomona, CA:
Monday, October 4, 2010
"So they put your confidence down"
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I'm rather disappointed in myself. I had planned to start reviewing these songs much earlier than this but I had almost little to no drive in doing it. My laptop also picked a really bad time to no longer be able to charge and I had to send it out to the other side of the country to get it fixed. So it became difficult to even begin to work on any review.
Thankfully, my brother has been kind enough to let me use his laptop at times until my own gets back. I'm in a better mood than I have been in a while, and it's long overdue (for my personal satisfaction, anyway) for this thing to get underway. With that, I begin with the first two songs from Coheed and Cambria's The Second Stage Turbine Blade.
Since the first song is really short, I'm coupling it with the second song in this review. The first track is entitled "Second Stage Turbine Blade," a short instrumental that perfectly captures the essence of what Coheed and Cambria would become. The piano interlude is, at the same time, eerie and beautiful. Later albums will show that this tune is actually half of what would eventually be considered a sort of theme song to the story behind Coheed's music -- the story of The Amory Wars.
There's not much else that can be said for the opening title track except that it leads smoothly into the next song, "Time Consumer." This song is a fan favorite for good reasons. One, it's catchy from beginning to end. The opening riff of the song just seems to reflect a fantasy-like atmosphere, further enhancing the story qualities of the concept of the music while at the same time just being so upbeat that many fans including myself love to bob their heads around in time to the beat when listening to this track. Second, it works so well as an opener on live shows. Search for any live video of this song; the energy given off by both the band and the crowd is fantastic.
Lyric wise, the song is pretty complex. In fact, many songs off this record have some dynamic, somewhat unusual style of lyrics. However, that can probably be expected when a record has a science-fiction tone to it. It reeks of the story, with many lines directly alluding to characters and relevant themes. It's without a doubt part of the reason I enjoy Coheed so much. Many times, their songs are strictly related to the story and at other times the concept isn't as noticeable. This is one of those moments where the song is just pure story all the way through and the result is amazing.
Unfortunately, this is not the best I believe I can do. I know I could do better in writing a song review, but I'm still slightly having a case of writer's block and I really wanted to write this tonight. The most I can say is that this is just such a great track it's hard to find too many bad qualities about it. I suppose the only issue would be that Claudio's voice is certainly quite high-pitched and cracks at times -- factors which may lead some to be completely turned off by his voice. I can say with certainty, however, that he has much more control over his voice now than he ever did back in 2002. This is one of his best performances singing wise.
Overall, when one progresses through Coheed's music catalog in the order of album releases, this song showcases the band's talent as musicians even from an early start. The song structure is varied, the rhythms are there, the instruments can be heard clearly and thus show each member's skills. Great track, great opener.
Thankfully, my brother has been kind enough to let me use his laptop at times until my own gets back. I'm in a better mood than I have been in a while, and it's long overdue (for my personal satisfaction, anyway) for this thing to get underway. With that, I begin with the first two songs from Coheed and Cambria's The Second Stage Turbine Blade.
Since the first song is really short, I'm coupling it with the second song in this review. The first track is entitled "Second Stage Turbine Blade," a short instrumental that perfectly captures the essence of what Coheed and Cambria would become. The piano interlude is, at the same time, eerie and beautiful. Later albums will show that this tune is actually half of what would eventually be considered a sort of theme song to the story behind Coheed's music -- the story of The Amory Wars.
There's not much else that can be said for the opening title track except that it leads smoothly into the next song, "Time Consumer." This song is a fan favorite for good reasons. One, it's catchy from beginning to end. The opening riff of the song just seems to reflect a fantasy-like atmosphere, further enhancing the story qualities of the concept of the music while at the same time just being so upbeat that many fans including myself love to bob their heads around in time to the beat when listening to this track. Second, it works so well as an opener on live shows. Search for any live video of this song; the energy given off by both the band and the crowd is fantastic.
Lyric wise, the song is pretty complex. In fact, many songs off this record have some dynamic, somewhat unusual style of lyrics. However, that can probably be expected when a record has a science-fiction tone to it. It reeks of the story, with many lines directly alluding to characters and relevant themes. It's without a doubt part of the reason I enjoy Coheed so much. Many times, their songs are strictly related to the story and at other times the concept isn't as noticeable. This is one of those moments where the song is just pure story all the way through and the result is amazing.
Unfortunately, this is not the best I believe I can do. I know I could do better in writing a song review, but I'm still slightly having a case of writer's block and I really wanted to write this tonight. The most I can say is that this is just such a great track it's hard to find too many bad qualities about it. I suppose the only issue would be that Claudio's voice is certainly quite high-pitched and cracks at times -- factors which may lead some to be completely turned off by his voice. I can say with certainty, however, that he has much more control over his voice now than he ever did back in 2002. This is one of his best performances singing wise.
Overall, when one progresses through Coheed's music catalog in the order of album releases, this song showcases the band's talent as musicians even from an early start. The song structure is varied, the rhythms are there, the instruments can be heard clearly and thus show each member's skills. Great track, great opener.
"Maria, my star, Matthew, goodnight."
Friday, October 1, 2010
Creating Butterbeer
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Last night, I attempted -- and succeeded -- in making butterbeer. If you're not familiar with what that is, it's a made-up drink from Harry Potter. Or, at least it was made-up until the arrival of the Wizarding World of Harry Potter theme park in Orlando, Florida.
Since the opening of the park butterbeer has now been in stock! J.K. Rowling herself tasted different concoctions of this famous drink until she found it just right. Like so many good things, however, the exact recipe isn't known and may never be. To our good fortune, many have tried to imitate that taste and have been kind enough to post their own recipes on such places as Mugglenet.com, which is one of the most successful Harry Potter fan sites on the internet. Several recipes exist, one even including extract of rum to match the slightly alcoholic taste the books imply the drink has. Though each recipe has its own little spin, they generally follow the same format, which leads me to believe that I was fairly close in creating the drink that the many characters -- and fans -- of Harry Potter have come to know and love.
I mostly followed a recipe that was posted on Mugglenet, and rather than re-post it as if it were my own like an asshole would, here's a link to the recipe I used. The only difference is I took a couple liberties, which I'll explain later. As the note above the recipe says, the woman who came up with this recipe said her idea of butterbeer resembled a "whipped shortbread cookie." After creating the drink, I came to this very conclusion.
With that, onto the procedure! As pointed out in the recipe, several ingredients are needed:
Since the opening of the park butterbeer has now been in stock! J.K. Rowling herself tasted different concoctions of this famous drink until she found it just right. Like so many good things, however, the exact recipe isn't known and may never be. To our good fortune, many have tried to imitate that taste and have been kind enough to post their own recipes on such places as Mugglenet.com, which is one of the most successful Harry Potter fan sites on the internet. Several recipes exist, one even including extract of rum to match the slightly alcoholic taste the books imply the drink has. Though each recipe has its own little spin, they generally follow the same format, which leads me to believe that I was fairly close in creating the drink that the many characters -- and fans -- of Harry Potter have come to know and love.
I mostly followed a recipe that was posted on Mugglenet, and rather than re-post it as if it were my own like an asshole would, here's a link to the recipe I used. The only difference is I took a couple liberties, which I'll explain later. As the note above the recipe says, the woman who came up with this recipe said her idea of butterbeer resembled a "whipped shortbread cookie." After creating the drink, I came to this very conclusion.
With that, onto the procedure! As pointed out in the recipe, several ingredients are needed:
1 cup of brown sugar
2 tablespoons of water
2 tablespoons of butter
1/2 teaspoons of cider vinegar
1 cup of heavy cream (divided into 1/2 cups)*
1/2 teaspoon of vanilla extract
1/8 teaspoon of pumpkin pie spice
Four 12-ounce bottles of cream soda
* Whipped cream works, but making your own is much more fun.
Also needed is an extra 2 tablespoons of brown sugar for the whipped topping.
The first procedure was to mix the sugar extract, as I call it, since the predominant ingredient is sugar. After adding the brown sugar and water, the step was to mix it and let it boil until it was 240 degrees.
Note that that's actually a little more boiling than I needed, but that's essentially what it looks like. After reaching 240 degrees, the next step is adding the butter, cider vinegar and 1/2 cup of the heavy cream, and setting aside for cooling.
Once cooled, the vanilla extract is added as well as the pumpkin spice. Remember I said something about taking a couple liberties with the recipe? This was the first one. The recipe calls for a dash of pumpkin spice -- I did more, because pumpkin spice is AWESOME! Trust me, just that little bit extra was worth it. Instead of 1/8 of a teaspoon, I added 1/4. I also added a little extra vanilla for flavor.
The result:
I know it doesn't look too different from the above picture, so sue me! *Ahem* Well, that's how it looks after all the ingredients are stirred. After mixed, set it in the fridge and let it cool.
Meanwhile, I made the whipped topping. This was done with the remaining 1/2 cup of heavy cream and the two extra tablespoons of brown sugar. These were mixed with an electric mixer. Unfortunately, I didn't take a picture of it because I was lame, but trust me when I say the result was something like whipped cream with a brown coloring, and it was delicious!
Finally, the sugar extract has cooled down.
Using four tall glasses the extract was divided among 1/4 cups for each. After, I pretty much used one bottle of cream soda per glass. Before dumping all of the bottle inside, though, I used about 1/4 cup of soda and mixed it with the extract, to give it the butterscotch looking color it shows it pictures. The remaining soda was then poured.
Finally, a scoop or two of the whipped topping was added. This was where the second liberty came in: more pumpkin spice. Because, it really is that awesome. I sprinkled some more spice onto the topping.
Here is the final result:
And the result was amazingly delicious!
This was a really fun experience, and well worth it (except for the clean-up). This is a really nice treat to have every once in a while. I warn you though, the sugar content in this thing is ridiculous! Don't overdo it!
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