Agarttha
The Last of Lucy
Performed By
The Last of Lucy
Album UPC
191924457060
CD Baby Track ID
TR0004488516
Label
None
Released
2017-10-24
BPM
115
Rated
0
ISRC
ushm91765153
Year
2017
Spotify Plays
493
Writers
Writer
Gad Alexis Gidon
Songwriter ID
66359
Pub Co
CD Baby Publishing
Composer
Gad Alexis Gidon
ClearanceFacebook Sync License,Traditional Sync,YouTube Sync ServiceOne Stop
Publisher Admin
CD Baby Publishing
Rights Controlled
Master and Publishing
Rights
One-Stop: Master + 100% Publishing
Original/Cover/Public Domain
original
Country
United States - California - LA
Lyrics Language
English
Description
COMMENTS
Take a little mathcore, a little grindcore, and a lot of tech-death, and the result will be something that sounds like Huntington Beach, CA’s The Last Of Lucy. The five-piece band will release their debut full-length album Ashvattha on November 17, 2017, and they offer a song called “Agarttha” as an exclusive preview for It Djents readers.
As if The Last Of Lucy’s name was not unconventional enough, their approach to tech-death is sufficiently bewildering and aleatory to justify their stylistic self-identification as mathcore. One could count at least eight riffs in the first 30 seconds of “Agarttha” and still possibly come up short. That segment uses a basic tech-death common-time riff that gets interrupted every few measures by something else – an arpeggio, another riff, a blast beat section – in a (sometimes) different time signature that lasts only one measure. A most suitable concept to show how The Last Of Lucy can use the simplest riffs to hold a groove while still
Take a little mathcore, a little grindcore, and a lot of tech-death, and the result will be something that sounds like Huntington Beach, CA’s The Last Of Lucy. The five-piece band will release their debut full-length album Ashvattha on November 17, 2017, and they offer a song called “Agarttha” as an exclusive preview for It Djents readers.
As if The Last Of Lucy’s name was not unconventional enough, their approach to tech-death is sufficiently bewildering and aleatory to justify their stylistic self-identification as mathcore. One could count at least eight riffs in the first 30 seconds of “Agarttha” and still possibly come up short. That segment uses a basic tech-death common-time riff that gets interrupted every few measures by something else – an arpeggio, another riff, a blast beat section – in a (sometimes) different time signature that lasts only one measure. A most suitable concept to show how The Last Of Lucy can use the simplest riffs to hold a groove while still
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