Comments by "GuyWhoLikesTheSnarkies14" (@guywholikesthesnarkies1435) on "Rick Beato" channel.

"Running Out Of Time" is the highlight for me.
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People should get Rick to discover more Japanese bands, given its rock band scene is very much alive and thriving under domestic major labels. Take example band like Ling tosite sigure, who are part of Sony Music Associated Record and yet, still self-produced and engineered much of their own body of works even today while developing a unique style of post-hardcore sound that's distinct to its Western peers (despite supposedly being a part of the third-wave PHC).
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@djinnxx7050 King Gizzard and the Lizard Wizard, Tropical Fuck Storm, Slift, Psychedelic Porn Crumpets, Osees (definitely not new, but still carry the same fresh spirit), Ty Segall, Idles, Fontaines D.C., Squid (band), Black Midi, Otoboke Beaver, just to name few. I suggest to watch their lives first, some of these bands experiments with multitude of genres and styles and therefore, a certain band's performances may be drastically different from one to another in the most unique way possible.
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Mentioning Japanese artists/bands is almost like cheating lol. So many good stuffs for everyone there, even when you're just looking for the mainstream ones. Anyway I'd like to add this one fantastic all-female experimental/psych band called OOIOO (basically read "ohayo", Japanese for "good morning"). They're truly unique band, constantly changing their sound and style on each album releases and are not afraid to experiment and breaking away from the common trend. But unlike many other experimental artist/bands, their music, at least imo, never come off as pretentious and boring. It just sounds so hypnotic and fresh and very enjoyable, it's a pretty good balance between idiosyncratic experimentation and catchiness as I would put it.
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He's a part of the Bluegrass musical tradition, so it's no surprise there. Look up Stuart Duncan, man can compose and perform wonderfully on either banjo or fiddle! Also, contemporary Bluegrass individual performers or groups such as Sierra Hull, Punch Brothers and Nickel Creek are still continuing the tradition while also adapting their sound and playing into modern context.
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BC,NR are definitely most similar to Slint and Arcade Fire in terms of sound and style, their debut album has been considered as spiritual successor/tribute to Slint's 90s classic Spiderland and you should try it if you haven't👍. In all fairness, I think they transcended their formative influences a bit further with their instrumental sophistication and fusion tendency incl. incorporation of their heritage klezmer music. Other equally interesting band I'd also recommend is Squid. Both bands are part of what they call it "post-brexit new wave" and all those bands in the scene have been pulling out tons of interesting stuffs worth check out!😆
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Okay, why nobody in his community ever thought of getting Rick to listen to Willow Smith?? Also, the fact that he just brought possibly one of the more polarizing songs by St. Vincent instead of anything from he last two albums just seem to rub me in the wrong way😬
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It sounds like it's emulating the aesthetic of old phonograph record of like jazz singer in 20/30s or something. The song has very specific production context and imo, could've been judged differently too.
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@Linkmitch Personally I really don't buy this industry practice in music production as commonly seen with so many pop artists today. I come with strong assumption that they tend to reduce the primary artist's creative significance in his own work (hence, the perceived lazy and privileged stereotype from people against any pop artist) and then, it's very often that so many songwriters and producers working on a song/album feels like a stretch and only to take away the pure, direct artistic expression from the song and this is esp. evident with almost if not every JB songs you could find, to the point where one of his song with like the most songwriter and producer count in an album sounds and feels like an unfinished demo which is getting additional rework and released without the main artist's involvement and approval.
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@DruNature No, Sherlock. Filmmaking is a completely different process than music production and drawing parallel between those things is just stupid. Your argument still can't justify an artist's creative significance from having a lot of songwriters and producers on their song, not when the final song sounds like it could've been done single-handedly by just one songwriter-producer.
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Second this! Also, the guitarist/vocalist name is Moeka btw.
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 @TheSirenSeeker I'll make sure to hit them up sometimes!
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@KINGH4L0 Yeah. Like, there's something about it feels so fresh and genuine. It's sorta tribute to the 2000s PPR, but somehow still manages to pull out the "new" sound to the table unlike other tracks in the video (imo).
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@Linkmitch It's true but I just can't see the notion of collaborative efforts to be true with like any JB song (esp. recent ones). Phoebe Bridgers, FKJ Twigs, Fionna Apple, Kendrick Lamar, Gorillaz, etc. these are artists I would acknowledge their music as real collaborative efforts.
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Maybe it's just me but I think the inclusion of Zappa's "Keep It Greasy" feels a bit off-putting since that one just stands out the most from the rest of the list, which is relatively easy to the ear. Should've added more equally daring complex songs to balance the list imo.
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Idk if the original song also has the same rhythm but Snarky Puppy's arrangement of "Shapons Vindaloo" by Vasen got some really fun odd time rhythm in it.
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My idea is to get him to make a review/breakdown content of a Japanese song titled "nano" by a pretty obscure indie post-rock/electronica band Spangle Call Lilli Line, alongside its remix version done by the more mainstream musician Toru Kitajima a.k.a TK as a contrast. The remix version, dubbed "TK Kaleidoscope remix", transformed the mellow, down tempo arrangement and instrumentation of the original song into a sleeker, lusher and more atmospheric modern progressive pop one. It's gonna be very interesting to see his detailed thoughts about both versions of the song, how he feels about the song and what his thoughts are about Japanese music and what makes it so.
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Japanese rock scene in general has always been pretty exciting to follow unlike their Western counterpart. It's almost like the only country where the genre is still widely recognized even in the mainstream and that going commercial shouldn't take away your creativity and integrity from your music. I assume you know of this critically-acclaimed, oscar-winning kid animated movie from few years ago (one that's not Disney)? So it had a localized version in Japan which came with an exclusive theme song not found elsewhere and typically people would expect some commercial-friendly pop song just like the original soundtrack right? Nope, it's literally this intense, alternative/prog song not unlike that of bands like The Mars Volta and you might wonder how they could get away with that. This is not always the case but like, that's just an example of how well accepted rock is to the mainstream in Japan.
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