wyrmweed

🏳️‍⚧️ women of the riff 🏳️‍⚧️

site not for minors, interact at your own risk || musician, metalhead, stoner, dragonkin, poet, student, the riff wizard, monsterfucker || i support gatekeeping (metal elitist)

born in 2001


i like subtly using theoretical music ideas in stoner doom metal. i think it makes the music a bit more interesting, as well as subverting typical expectations for a style of music which is usually pretty simple and just about the rock and roll vibe. prioritizing the rock and roll vibe prevents the ideas from being stated too clearly, which would otherwise sound out of place and music theory-ish.

motivic development, common tone chord changes, tritone substitutions,

and in this album i'm sitting on, chromatic mediants, octatonic scales, key modulations, odd time signatures, tempo/metric modulations, vocal counterpoint, hexatonic scales, and most importantly, the album starts and ends in D minor (sort of)

i think the bands that really stand out in stoner doom are the bands that use similar techniques, whether they think about them theoretically or intuitively (which i think really go hand in hand, but that's a question for a musicologist to study). i intend fully to let everything i learn in music theory to inform my composition. maybe someday i'll write a stoner doom sonata


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