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Thread: The TIME Barrier.

  1. #1
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    Default The TIME Barrier.

    the time barrier is the invisble wall you hit when tracing music back through time. the historical point at which any pleasure becomes detached and scholarly, or patronising, or simply impossible to access. for instance whenever i allow woebot's enthusiasm for duke ellington to overcome me and i listen to one of his records i just feel im in a nursing home. warm piss turning cold on the sheets.

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    was talking yesterday to the 16 year old sadmanbarty and he was saying how any hip-hop pre 94 is too early for him to enjoy. even sophisticated things like rakim.

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    my cutoff is ~1965. a bit earlier for jazz (whenever it starts getting free/weird).

    oh big exception for classical music, avant-garde + otherwise.

    otherwise ya I don't really like anything til drugs start influencing culture production.

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    I wrote this a while back to put on facebook to be ignored and get no likes and start no conversation. it's about this time question partly


    questions to ask when encountering music.
    what movements and manners does it map out? what elegances does it encode? what excellencies?
    what sophistications of understanding and attainment?
    what does it aspire to?
    what is the good life?
    how is time structured? and what pace does it move at? what does it feel like to be in a body moving at that tempo, and in that rhythm? is this a fairground ride or is it otherwise?
    can you imagine talking like that? walking like that? feeling like that? where is the weight centred? are you light on the feet? marching?
    do you not like it? what is it to not like it? what is causing the discomfort?
    do you like it? what is it doing to you that feels good? why does it feel good?
    is it redolent of an era? which era? what is it that ties it to its time? or what is it about its time that is preserved within it?
    a comportment? a psychological attitude? a bearing towards the world? how is that enacted in the music?

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    95% of Beatles songs are beyond the barrier for me and the later stuff more so than the earlier. I think the down to earth love song writing is more universal than the psychedelic stuff which feels so flat and uninspiring. Hendrix is another one. Any time I see someone doing those cathartic pleasure spasm faces with their eyes closed to Hey Joe, I seriously wonder what that person is doing with his/her life.

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    yeah this is the other aspect, that some things date in a way which doesn't correspond with linear time so that paid in full sounds more modern than dont sweat the technique despite the former being their first album and the latter being their last.

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    Jimi is a weird one. Simultaneously over/underrated. In desperate need of rescue from college freshman bedroom posters (see also Marley, Bob). Lotta filler to be sure, + the hero worship grates, but he was onto some legitimately great things - granted one needs at least some level of affinity for heavy shreddin guitars. unsurprisingly I think he's best when going the furthest out into heavy feedback proto-noise rock.

    this is my favorite thing Hendrix thing ever. idk how to embed vimeo, so just click through

    idk why it never gets brought up in a Drexciyan context, philosophically - black musician recontextualizes black experience by escaping apocalyptic America to live deep underwater, turns into a merman (proto-wavejumper...)

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    the rest of the Band of Gypsys LP sucks but this is great, full-on shrieking post-60s bad vibes dread heavy guitars ting

    I think if he'd lived he might've gone on to make some titanic psychedelic free funk records in the 70s but ofc we'll never now

    you also gotta remember at the time he blew peoples minds in a way I can't even conceive of having my mind blown by music now

    anyway that's my partial Hendrix defense

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    jazz before the 60's all sounds hokey. it only escapes that once the modality, atonality, suppressed harmonic function, etc. were introduced.

    a lot of the 1967 psychedelic stuff completely fails to be psychedelic to me and more generally sounds tinny, nasal and horrible. most of it either sounds like americans being square and thinking they're getting freaky or british public school boys thinking monty python's funny and making music that reflects that. i've grown up with music where synth pads and samplers, etc. can create lush, immersive sound worlds so stuff from that era can't really cut it. who needs syd barret when you've got young thug?

    this may well be dissensus heresy but a lot of dub from the seventies is wasted on me because the chords and melodies are too sweet and bubblegum. the idea of a music comprising of bass, drums and snatches of other instrumentation drenched in reverb and delay evokes something far more emotionally complex than the chords and melodies let it be.

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    Quote Originally Posted by padraig (u.s.) View Post
    Jimi is a weird one. Simultaneously over/underrated. In desperate need of rescue from college freshman bedroom posters (see also Marley, Bob). Lotta filler to be sure, + the hero worship grates, but he was onto some legitimately great things - granted one needs at least some level of affinity for heavy shreddin guitars. unsurprisingly I think he's best when going the furthest out into heavy feedback proto-noise rock.

    this is my favorite thing Hendrix thing ever. idk how to embed vimeo, so just click through

    idk why it never gets brought up in a Drexciyan context, philosophically - black musician recontextualizes black experience by escaping apocalyptic America to live deep underwater, turns into a merman (proto-wavejumper...)
    either reyolds or eshun or both have done this havent they? wrt conceptulising the oceanic.

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    you're not listening to the right dub. tbf a lot of it is kinda whatever.

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    Quote Originally Posted by luka View Post
    either reyolds or eshun or both have done this havent they? wrt conceptulising the oceanic.
    they may very well have. it definitely seems like something that would've been in more brilliant the sun.

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    Quote Originally Posted by sadmanbarty View Post
    jazz before the 60's all sounds hokey
    this I agree with 100%, only exception (to me) being Mingus

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    maybe cos he was integrating classical motifs? idk, not my area of expertise

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    no secret that a lot of dub is dull as ditchwater. high chaff to wheat ratio. did always look askance at the valoristation of dub at the expense of roots. like insisting on playing hip-hop instrumentals and flinching from the vocals. mind you the good stuff turns my brain inside out.

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