History BLAM / Music

27th Jun '17 5:51:48 AM RedScharlach
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* Showbread's discography is spattered with a few of these, most notably on their first studio album ''No Sir, Nihlism Is Not Practical''. Moments such as the totally-unexpected Doo-Wop-inspired bridge on ''So Selfish It's Funny'' and the odd sound bite of air raid alarms and people shouting followed by vocalist Josh Dies saying, "Fire!" and what sounds like a muffled nuclear explosion at the end of ''And The Smokers And Children Shall Be Cast Down'' are certainly BLAMs. However, the biggest BLAM on the album is probably track 5, ''Sampsa Meets Kafka''. It starts with some echoey electronic warbling, then a throbbing bass starts up, followed a few seconds later by screeching techno and Josh Dies screaming the line, "Gregor starved to death, no one dies of loneliness'' twice, and the song ends with a bit more drippy techno and a couple seconds of static. Weird.

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* Showbread's discography is spattered with a few of these, most notably on their first studio album ''No Sir, Nihlism Is Not Practical''. Moments such as the totally-unexpected Doo-Wop-inspired bridge on ''So Selfish It's Funny'' and the odd sound bite of air raid alarms and people shouting followed by vocalist Josh Dies saying, "Fire!" and what sounds like a muffled nuclear explosion at the end of ''And The Smokers And Children Shall Be Cast Down'' are certainly BLAMs.[=BLAMs=]. However, the biggest BLAM on the album is probably track 5, ''Sampsa Meets Kafka''. It starts with some echoey electronic warbling, then a throbbing bass starts up, followed a few seconds later by screeching techno and Josh Dies screaming the line, "Gregor starved to death, no one dies of loneliness'' twice, and the song ends with a bit more drippy techno and a couple seconds of static. Weird.
27th Jun '17 5:50:14 AM RedScharlach
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* Hot Chip's music video for "[[http://www.youtube.com/watch?v=MaCZN2N6Q_I I Feel Better]]" contains two BLAMS for the price of one. It starts out like a generic BoyBand video and then...

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* Hot Chip's music video for "[[http://www.youtube.com/watch?v=MaCZN2N6Q_I I Feel Better]]" contains two BLAMS [=BLAMs=] for the price of one. It starts out like a generic BoyBand video and then...



* Late 1960s pop songs often contained BLAMS of jarring psychedelic effects in order to keep up with the prevailing trends of the time. Two that come to mind are "It's Wonderful" by the Rascals and "Susan" by the Buckinghams.

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* Late 1960s pop songs often contained BLAMS [=BLAMs=] of jarring psychedelic effects in order to keep up with the prevailing trends of the time. Two that come to mind are "It's Wonderful" by the Rascals and "Susan" by the Buckinghams.



* Two Blood, Sweat & Tears songs could be considered to have BLAMS. The Western section ("Yee-haw!") in "And When I Die" and the Latin section in "God Bless The Child" don't have much to do with the rest of their respective songs, although they do provide an excuse to feature the horn section.

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* Two Blood, Sweat & Tears songs could be considered to have BLAMS.[=BLAMs=]. The Western section ("Yee-haw!") in "And When I Die" and the Latin section in "God Bless The Child" don't have much to do with the rest of their respective songs, although they do provide an excuse to feature the horn section.



** Starship's infamous single "We Built This City" Music Video is loaded with BLAM, a few notable examples is when they are staring at the Lincon Memorial and then it suddently gets up, then the giant rolling dice.

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** The music video for Starship's infamous single "We Built This City" Music Video is loaded with BLAM, BLAM; a few notable examples is are when they are staring at the Lincon Lincoln Memorial and then it suddently suddenly gets up, then the giant rolling dice.



* The (now broken up) band Winter Solstice has one on their only album, "The Fall of Rome." Every song is djenty with a pig-squealing [[MetalScream type 3 metal scream]], except the title track. It's all harmonized acoustic guitar and piano. A very good standalone track, but very out of place. probablyone of the best examples in music.

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* The (now broken up) band Winter Solstice has one on their only album, "The Fall of Rome." Every song is djenty with a pig-squealing [[MetalScream type 3 metal scream]], except the title track. It's all harmonized acoustic guitar and piano. A very good standalone track, but very out of place. probablyone probably one of the best examples in music.



* At the end of her video for "Sk8er Boi" Music/AvrilLavigne decides to smash her guitar through a car winshield and a SWAT Team and Police helicopters surround her for no reason at all.

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* At the end of her video for "Sk8er Boi" Music/AvrilLavigne decides to smash her guitar through a car winshield windshield and a SWAT Team and Police helicopters surround her for no reason at all.



* Music/{{Tori Amos}} has many songs where the musical tone abruptly changes for a minute and then goes back to normal. Examples are "Pretty Good Year", a calm song with a random dramatic section including lyrics that seem irrelevant to the rest of the song, and "Professional Widow", which goes from messy and dramatic to clean piano and crisp high register vocals for a few bars in the middle. Lyrically Amos is known for being inpenetrable, so trying to point out all the lyrical BLAMs would be a waste of time.

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* Music/{{Tori Amos}} has many songs where the musical tone abruptly changes for a minute and then goes back to normal. Examples are "Pretty Good Year", a calm song with a random dramatic section including lyrics that seem irrelevant to the rest of the song, and "Professional Widow", which goes from messy and dramatic to clean piano and crisp high register vocals for a few bars in the middle. Lyrically Amos is known for being inpenetrable, so trying to point out all the lyrical BLAMs [=BLAMs=] would be a waste of time.



* Due to their avant-garde nature, the avant-garde black metal band Music/{{Sigh}} is prone to this, especially on their 2001 album ''Imaginary Sonicscape''. BLAMS include the ending of "Scarlet Dream" breaking into reggae near the end before a final chorus, "A Sunset Song" having a random disco moment in the middle of the song and the last 45 seconds of "Reqiuem - Nostalgia" being rather [[LastNoteNightmare strange and creepy sounds of children and babies laughing]], over and over again.

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* Due to their avant-garde nature, the avant-garde black metal band Music/{{Sigh}} is prone to this, especially on their 2001 album ''Imaginary Sonicscape''. BLAMS [=BLAMs=] include the ending of "Scarlet Dream" breaking into reggae near the end before a final chorus, "A Sunset Song" having a random disco moment in the middle of the song and the last 45 seconds of "Reqiuem "Requiem - Nostalgia" being rather [[LastNoteNightmare strange and creepy sounds of children and babies laughing]], over and over again.
15th Apr '17 6:22:25 PM nombretomado
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* SoundHorizon has a particularly egregious one in ''The Princess Sleeping In The Glass Coffin'', in which Idolfried Ehrenberg, who never appears again, has a conversation which has nothing to do with the plot.

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* SoundHorizon Music/SoundHorizon has a particularly egregious one in ''The Princess Sleeping In The Glass Coffin'', in which Idolfried Ehrenberg, who never appears again, has a conversation which has nothing to do with the plot.
16th Feb '17 9:35:30 PM SparksOfTheTempest
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* {{Music/Edguy}} is quite fond of this.
** At the end of the title track of ''Theater of Salvation'', the final track of the album, there's about two minutes of silence before an oddly upbeat song begins playing and Tobias Sammet begins screaming in gibberish.
** The track "Lucifer In Love" from ''Hellfire Club''. A little over thirty seconds of demonic sexual groaning (which, it turns out, is Tobias Sammet's voice distorted) set to beautiful piano music...before immediately cutting to the next track.
** The "progressive version" of "Space Police" from some versions of the album of the same name. At first it's exactly the same as the regular version, until the second verse begins and Tobi begins to sing in a bizarre over the top falsetto. Afterwards, the song resumes as normal without any further deviations.



* Oliver's "The Arrangement", from his 1969 debut album ''Good Morning Starshine''. It seems to come out of nowhere with a style that is noticeably different from the rest of the songs. In it, he assumes the role of an impish character with an Irish brogue, trying to make a deal with the listener for a sneezing remedy. At the end, he begins to whisper conspiratorially as the music fades away and then breaks into a fit of hysterical laughter.
* {{Music/Edguy}} is quite fond of this.
** At the end of the title track of ''Theater of Salvation'', the final track of the album, there's about two minutes of silence before an oddly upbeat song begins playing and Tobias Sammet begins screaming in gibberish.
** The track "Lucifer In Love" from ''Hellfire Club''. A little over thirty seconds of demonic sexual groaning (which, it turns out, is Tobias Sammet's voice distorted) set to beautiful piano music...before immediately cutting to the next track.
** The "progressive version" of "Space Police" from some versions of the album of the same name. At first it's exactly the same as the regular version, until the second verse begins and Tobi begins to sing in a bizarre over the top falsetto. Afterwards, the song resumes as normal without any further deviations.

to:

* Oliver's "The Arrangement", from his 1969 debut album ''Good Morning Starshine''. It seems to come out of nowhere with a style that is noticeably different from the rest of the songs. In it, he assumes the role of an impish character with an Irish brogue, trying to make a deal with the listener for a sneezing remedy. At the end, he begins to whisper conspiratorially as the music fades away and then breaks into a fit of hysterical laughter.
* {{Music/Edguy}} is quite fond of this.
** At the end of the title track of ''Theater of Salvation'', the final track of the album, there's about two minutes of silence before an oddly upbeat song begins playing and Tobias Sammet begins screaming in gibberish.
** The track "Lucifer In Love" from ''Hellfire Club''. A little over thirty seconds of demonic sexual groaning (which, it turns out, is Tobias Sammet's voice distorted) set to beautiful piano music...before immediately cutting to the next track.
** The "progressive version" of "Space Police" from some versions of the album of the same name. At first it's exactly the same as the regular version, until the second verse begins and Tobi begins to sing in a bizarre over the top falsetto. Afterwards, the song resumes as normal without any further deviations.
laughter.
16th Feb '17 9:34:15 PM SparksOfTheTempest
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* Oliver's "The Arrangement", from his 1969 debut album ''Good Morning Starshine''. It seems to come out of nowhere with a style that is noticeably different from the rest of the songs. In it, he assumes the role of an impish character with an Irish brogue, trying to make a deal with the listener for a sneezing remedy. At the end, he begins to whisper conspiratorially as the music fades away and then breaks into a fit of hysterical laughter.

to:

* Oliver's "The Arrangement", from his 1969 debut album ''Good Morning Starshine''. It seems to come out of nowhere with a style that is noticeably different from the rest of the songs. In it, he assumes the role of an impish character with an Irish brogue, trying to make a deal with the listener for a sneezing remedy. At the end, he begins to whisper conspiratorially as the music fades away and then breaks into a fit of hysterical laughter.laughter.
* {{Music/Edguy}} is quite fond of this.
** At the end of the title track of ''Theater of Salvation'', the final track of the album, there's about two minutes of silence before an oddly upbeat song begins playing and Tobias Sammet begins screaming in gibberish.
** The track "Lucifer In Love" from ''Hellfire Club''. A little over thirty seconds of demonic sexual groaning (which, it turns out, is Tobias Sammet's voice distorted) set to beautiful piano music...before immediately cutting to the next track.
** The "progressive version" of "Space Police" from some versions of the album of the same name. At first it's exactly the same as the regular version, until the second verse begins and Tobi begins to sing in a bizarre over the top falsetto. Afterwards, the song resumes as normal without any further deviations.
14th Jan '17 2:36:01 PM Scsigs
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* The band Music/5SecondsofSummer have a propensity for, whether their fanbase wants to admit it or not, ripping off the instrumentals of songs from other bands from years prior. One of the most jarring examples, though, ''has'' to be from their song "18," where at 1:54, they go from the Pop Rock/Power Pop feel they had going for the song to the instrumentation from Music/FooFighters' "Everlong." Seriously, it lasts almost 30 seconds and it never pops up again because the song goes back to how it was before, then ends 40 seconds later. [[https://www.youtube.com/watch?v=6T6o0iMfTbY Have a listen for yourself.]]

to:

* The band Music/5SecondsofSummer [[Music/FiveSecondsOfSummer 5 Seconds of Summer]] have a propensity for, whether their fanbase wants to admit it or not, ripping off the instrumentals of songs from other bands from years prior. One of the most jarring examples, though, ''has'' to be from their song "18," where at 1:54, they go from the Pop Rock/Power Pop feel they had going for the song to the instrumentation from Music/FooFighters' "Everlong." Seriously, it lasts almost 30 seconds and it never pops up again because the song goes back to how it was before, then ends 40 seconds later. [[https://www.youtube.com/watch?v=6T6o0iMfTbY Have a listen for yourself.]]
14th Jan '17 2:34:39 PM Scsigs
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* The band Music/5SecondsOfSummer have a propensity for, whether their fanbase wants to admit it or not, ripping off the instrumentals of songs from other bands from years prior. One of the most jarring examples, though, ''has'' to be from their song "18," where at 1:54, they go from the Pop Rock/Power Pop feel they had going for the song to the instrumentation from Music/FooFighters' "Everlong." Seriously, it lasts almost 30 seconds and it never pops up again because the song goes back to how it was before, then ends 40 seconds later. [[https://www.youtube.com/watch?v=6T6o0iMfTbY Have a listen for yourself.]]

to:

* The band Music/5SecondsOfSummer Music/5SecondsofSummer have a propensity for, whether their fanbase wants to admit it or not, ripping off the instrumentals of songs from other bands from years prior. One of the most jarring examples, though, ''has'' to be from their song "18," where at 1:54, they go from the Pop Rock/Power Pop feel they had going for the song to the instrumentation from Music/FooFighters' "Everlong." Seriously, it lasts almost 30 seconds and it never pops up again because the song goes back to how it was before, then ends 40 seconds later. [[https://www.youtube.com/watch?v=6T6o0iMfTbY Have a listen for yourself.]]
14th Jan '17 2:33:36 PM Scsigs
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Added DiffLines:

* The band Music/5SecondsOfSummer have a propensity for, whether their fanbase wants to admit it or not, ripping off the instrumentals of songs from other bands from years prior. One of the most jarring examples, though, ''has'' to be from their song "18," where at 1:54, they go from the Pop Rock/Power Pop feel they had going for the song to the instrumentation from Music/FooFighters' "Everlong." Seriously, it lasts almost 30 seconds and it never pops up again because the song goes back to how it was before, then ends 40 seconds later. [[https://www.youtube.com/watch?v=6T6o0iMfTbY Have a listen for yourself.]]
12th Jan '17 10:34:36 AM Morgenthaler
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* Halfway through the album ''Colors'' by BetweenTheBuriedAndMe comes the track "Ants of the Sky", an EpicRocking 13-minute track which twists, turns, and eventually builds up to... an utterly inexplicable bluegrass section. The very next track of the album features an ''accordion breakdown'', complete with vocalist Tommy Rogers growling in a French accent.

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* Halfway through the album ''Colors'' by BetweenTheBuriedAndMe Music/BetweenTheBuriedAndMe comes the track "Ants of the Sky", an EpicRocking 13-minute track which twists, turns, and eventually builds up to... an utterly inexplicable bluegrass section. The very next track of the album features an ''accordion breakdown'', complete with vocalist Tommy Rogers growling in a French accent.
7th Jan '17 6:12:36 PM nombretomado
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** Along similar lines, the {{Barenaked Ladies}} song "One Week" ends with repetition of the last line of the chorus: "it'll still be two days till we say we're sorry". But the very last repetition changes it to "Birchmount Stadium, home of the Robbie".

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** Along similar lines, the {{Barenaked Ladies}} Music/BarenakedLadies song "One Week" ends with repetition of the last line of the chorus: "it'll still be two days till we say we're sorry". But the very last repetition changes it to "Birchmount Stadium, home of the Robbie".
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