swears
preppy-kei
this rumor turns up once every 5 years
Every three years actually: http://www.mr-agreeable.net/stubbs/default.asp?nc=5044&id=105
this rumor turns up once every 5 years
The first time I heard Isn't Anything I thought that finally rock/pop music had found an equivalent to emotion - not as in "I feel good/bad/whatever", but an analogue for the way emotion isn't just a subjective attribute of the ego but an embodied hormonal/nervous/circulatory/epidermal interaction that reacts with the psyche and other psyches and bodies in mysterious ways. Fuzz-tone like an unbearable nerve-burning caress, rock dynamics like an unexpected surge of blood or pulmonary constriction. And no, I hadn't read Deleuze & Guattari, Lyotard, Reynolds etc. at the time; I found my brother's cassette copy around '88/'89 and had only read about MBV as derivative sub-Mary Chain copyists hitherto!
The last sacred cow gets filleted by Dissensus wrecking cru!
i don't think i've seen a bad word said about talking heads here; maybe I'm just not looking hard enough.what's next? Can???? (it's all stoned psychedelic nonsense anyway... like making love to a freight train or something. actually....)
Well, give us some examples of how you'd have improved on UlyssesI do think Joyce could've edited himself better at times
I think excesses and gaps in formal aesthetic coherence are often necessary for formal experimentation.their excesses and "flaws" or gaps in formal aesthetic coherence/.
This from an avowed hip hop lover - and Clipse are full of melodic and harmonic substance?! But you're surely not talking about Feed Me..., You Made Me... and Isn't Anything, with all their breakdowns, hardcore riffola, Keith Moon drum flurries, stop-start-gear change dynamics? Admittedly Loveless is a lot less rock-dynamic than them, but love or hate it, I think the aesthetic development is obvious.The thing about MBV's "dynamics"--well, their dynamics don't do all that much for me. I don't feel much of anything when I hear them, because I think they're almost too textural with no musical (by this i mean harmonic or melodic) substance behind them.
I never mentioned a purer plane of abstraction, quite the opposite actually; I spoke about their materiality, grain, texture, and rhythmic dynamics, and specifically explained what I meant by the embodied-ness of the emotion evoked. So they used pedals and textures (up to 17 graphic equalisers in series on Shields' guitar it was rumoured!)? May as well say Rothko (insert favourite painter here) used paint and painterly effects. These were simply their chosen/available means to pursue an aesthetic that wasn't simply a formal exploration of noise or texture for their own sake, but in the context of rock/pop song structures.Do any of you play guitar? The dynamics that carry along the notion that MBV create some sort of soundscape that is on some purer plane of abstraction where it successfully represents emotions as physiological sensations, surges, flows, whatever, seem kind of chintzy to me because they're mostly pedals and textures.
Excellent.Oh jesus. Don't even get me started on Talking Fucking Heads. They can just fuck right off.
Excellent.
Oh jesus. Don't even get me started on Talking Fucking Heads. They can just fuck right off.
(although you might find them too conventional/boring).
like it or not emotions are something music is capable of invoking
some people prefer explicit exploitation of this device
others not so much
doesn't make anybody right
I do think Joyce could've edited himself better at times and Van Gogh's painterliness isn't always to amazing ends. See, I think you can like works of art, pieces of music and think they're great even while acknowledging itheir excesses and "flaws" or gaps in formal aesthetic coherence