Final Boss is a band.
Final Boss is a name used to describe a music partnership between two people. The band was formed in 2001 in Pittsburgh, PA, where the majority of the ideas were formed and recordings took place. We hope to succesfully promote a fresh approach to music. Here are some of the things we do (and plan to do) differently:
Still to come...
In most stories there is a conflict, and it's interesting to think that there could be one ultimate source of conflict in every instance. We don't know who or what is the Final Boss yet, but we're trying to find out. These sites can tell you something about Final Bosses:
A number of reasons:
Firstly, we like videogames (we even like videogame music). Final Bosses have been a key story and gameplay element in games for a long time. It's a fun/exciting idea - the ultimate enemy. And it's even more fun taking that concept out of context, and apply it to a bigger picture.
It's also a multi-dimensional word combination that draws a strong response from me. There's a potential mystery to it; who or what is the final boss in my life? What is the most important source of conflict in my day to day experiences? Is it an exterior or interior conflict? Is it an overt or concealed force? Can it even be considered to be a single force?
I'd like to explore the concept of a concealed Final Boss further - and maybe use that as a basis for a design concept. I have vague images of small obstacles leading to larger ones - "the tip of the iceberg" idea. I have an image of an expansive profile of a water mass - a small fishing boat at the top and blue water slowly turning black towards the bottom, where an enormous beast rests, hidden.
That's just an example, to give you an idea.
We're two permanent members. We both primarily play guitar but we've used the piano, keyboards, bass, and drums when we can get our hands on them. We're not afraid to diversify - we use what he have, basically...
We also intend on collaborating with other musicians (as we've inadvertently done in the past) - this often yields exciting results.
We're a recording band - we focus on capturing the essence of our emotions on recordings. We've got hundreds of recordings in various places.
We don't ascribe to the styles or behaviors of musical scenes.
You can fit us under the labels of underground/alternative/rock/pop. I hesitate to use the word indie, which often implies an overt attempt at quirkiness. We are quirky and weird...but it's not gimmicky...we don't force it.
Our music ranges from gentle to suffocating, morose to hyperactive, consonant to dissonant, propulsive to pulse-less, etc. We cover all the bases because we enjoy hearing them all.
The target audience is everyone. I want old ladies in supermarkets to hear our music and like it. I want the pre-teen, with headphones seemingly implanted on his ears, escaping his mother's control by constantly listening to music, to like it. Given the constraints created by the way music tends to propagate in society, these scenarios are unlikely. Our actual current audience is a relatively diverse mixture of people who can appreciate music that is unique. Some of our listeners are into post-rock, others into various alternative music, while others are into modern indie formats ranging from mainstream to more obscure types.
Our influence comes mostly from more individualistic and idiosyncratic bands of the past. That's not to say that we're devoid of stylistic similarities to other bands.
So - My Bloody Valentine, New Order, Stone Roses, Smashing Pumpkins, Sonic Youth - are bands who's music has influenced both members. From there the list is long and the range of styles is broad.
There aren't many bands that we admire in a full sense - bands are difficult entities to sustain. Sonic Youth is a rare example of a band with creative forces in each group member, and somehow, they've managed to last AND still be relevant. I admire them more than most bands.
We tend to stay away from the overtly political and religious subjects. However, I'll say that I am one who believes and understands how the personal is political. It's all the same to us, and we deal with it all - the basis of most songs are strong emotional states, but the exploration of the states usually reveal underlying social concepts (by social, I mean relating to human interaction, not class).
There are many - generally, we point out problems and (sometimes) offer solutions or encouragements. We understand the importance of whining AND doing something about it.
The essay answering this question will be posted in the documentation section soon (I'm not kidding). For now, I'll say
These were probably two of the most important initial motivations. But we've been doing this for a while now, and motivations have transformed.