Lord

Anderson, do you understand what I mean? The sound of Barlow's drums, that raw-sounding snare (taken without a rim) and those rolls on the toms that modern drummers don't even know exist.

I also check "progarchives," it's there that I discovered the existence of many bands I didn't know before.

For Pretazzo: I’m not praising the quite good performances of Roger Taylor (I know he’s not a god), I’m just saying to listen carefully to the sound of the drums (Attention, the sound, not the drummer): these are things that you can’t really hear anymore. Anyway, I'll throw in the name Barriemore Barlow, the second drummer of Jethro Tull who was described by John Henry Bonham as the best drummer on the globe. I’ll also add the legendary Bill Bruford (Yes, King Crimson) who outshines all the drummers you mentioned earlier.

The highest example of drumming for me can be found in songs like The Knife (Genesis), Bohemian Rhapsody (Queen), and Man Erg (VDGG). I love the snare hit in the center, without the rim; the toms should be large and tuned in a certain way—listen to Live Killers (Queen) to realize it. Nowadays, no one has attempted a sound like this anymore. Today, toms are rarely used (and when they are, they're used poorly, see Portnoy), and the snare is played with the drum's rim itself, making all drummers monotonous and boring. Not to mention the excess of technique...

So if you’re quoting all these good people, why are their albums all the same, all with the same sheen that makes them conform to the trend of the time: A Dream Theater album, from a sound perspective, is the same as any Tool album—same horrendous drums, same stomachache voice, same farting guitars... Once upon a time, each band had its own sound; for example, Queen had Roger Taylor pounding away like a gorilla, Genesis had Phil Collins brushing the skins like a dragonfly, you get what I mean?

Kraftwerk kind of suck, the first album is okay, but by the second one in '72, they were already using the drum machine. Tangerine Dream is much more interesting; there was a time when I only listened to Alpha Centauri because I wanted music that made me reflect and meditate.

You're partially right, but the approach to music today is different. For example: three guys form a band: one says "I play the drums," another says "I play the bass," and the last one says "I play the drums"; all three take six months of lessons (each for their own instrument) and in the end, they start playing gigs. Maybe the guitarist knows the chord progression of C and G, the drummer can do the typical 4/4, and he already has serious problems with the 3/4 (a simple waltz)... You see, Shark, today music is played without spirit; it's all just technique. But who says that after 4 bars in such-and-such song, the drummer has to break on the toms? There used to be no such schematization; a song would sound different every time, and above all, drummers would really groove, ahh, if they grooved, not like Mike Portnoy and various sideshow phenomena.

I too am 19, but inside I was born in 1949.

Please, I don't care.

I know Italian progressive rock quite well, even though there's a band called "Perigeo" that I know nothing about and have nothing of. I also think I have a good understanding of English progressive rock, but I can't say the same for Spanish, French, and German prog (of the latter, I only know Kraftwerk, Tangerine Dream, Lucifer's Friend, Faust, and a few others). Besides Progressive, I appreciate Hard Rock (Led Zeppelin, Uriah Heep, Queen, ...) and everything that comes from the 60s and 70s. By the way, do you know Lucifer's Friend? They are a very unique German band, mixing hard rock and progressive. I recommend the albums "Lucifer's Friend," "Where Groupies Killed the Blues," and "Banquet."