i am a masochist so it's ok.
at the simple thing though, there's nothing wrong with simplicity man. i'm big on working with contrast though, so i might be able to offer something useful to that extent.
one of the things that i noticed about buckethead's work is that he likes to contrast very simple ideas or lead them into very expressive parts. it has a "wtf where did that come from factor," but i think the guy also genuinely enjoys simple flowing melodies. a good example of that is
http://www.youtube.com/watch?v=8akmP...ure=plpp_video (didn't embed on purpose, it's a live version of whitewash if you're unfamilar with it). aside from the 3 major tone changes he uses in the song, the melody is a slow moving mix of syncopation and hitting the beat in the first few repetitions, but it's mostly syncopated. after that though, it more or less explodes into a short bit of complexity, but it's the contrast that sets all that apart. because of the simplicity, when it's time for the higher intensity sections, it has a much more explosive feel to it from the contrast. that said though, the song is more simple than it is complex. if the rest of the song is set up around it, the difficult part of the solo only has to last for 5-15 seconds to hit a listener pretty hard, and writing in 64th notes for 15 seconds isn't THAT hard as long as you've got the patience to hammer out the phrasing until you're proud of it. after the solo in that song, he goes right back to the simple melody and i'm pretty sure that's intentional rather than spontaneous.
other than that i get my complexity fixes from animals as leaders & tool, but i'm in a pretty heavy learning period for prog that i should be adept in by the end of the next year or 2. working with 3, 5, and 7 meter progressions and complex progressions (ex, instead of playing 4/4, 4/4, 3/4 or 3/4, 3/4, 5/8, thinking in 7/4, 7/4, 7/8, 4/4, 4/4, 4/4, 4/4, 13/8 -). it's a mindfuck, but i want to go more complex than that too but my brain is feeble
