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Thread: listen to something now

  1. #286
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    Patty, go w/ this prompt

  2. #287
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    Quote Originally Posted by CrowleyHead View Post


    Patty, go w/ this prompt
    rapid fire reply. diddy channeling his inner james brown. getting hype as i type. that hi hat loop is doing a lot. punching on the 4 is force effective. dissonant keys only adding to the majestic chaos. feels like a constant build. now diddy's telling us about a christmas gift from his ma. oh snap, james brown check. not tired, not ready to go. love the baritone sax adding funky intrigue throughout.
    Last edited by pattycakes_; 09-11-2018 at 04:46 AM.

  3. #288
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    Quote Originally Posted by sadmanbarty View Post
    crimedawgbylaw?



    the same

  4. #289
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    Quote Originally Posted by blissblogger View Post
    the existence of a tune is generally not a bad thing
    tbc I'm not saying it is - I'm not one if those people (if they even exist) who is uniformly against pop hooks or tunes

    and I'm not suggesting it's an either/or binary - rather a spectrum with (abstractly) atonality at one end and MOR at the other

    now that disclaimer is out of the way

    I should have been clearer that hardcore itself is the departure point in this case - again you can't point at any single dividing moment or line, but somehow in ~7 years you get from sneering over sped-up Chuck Berry to this

    which along with first 2 D.R.I. 7"s, is the logical conclusion of the initial wave of U.S. hardcore

    (everything that comes after - thrash, grindcore, power violence - is in dialogue with the past rather than part of the initial burst of energy)

    you're right that "Nothing" wasn't the best sonic example of what I was talking about - it's just such a perfect distillation of the vibe of the 1st wave of hardcore

    the Negative Approach sonic example would be the 11 seconds of "Pressure"


    I did notice that the hardcore bands - Descendants, Samoans - you named are from the most pop end of the most pop scene (Socal) in hardcore. not that saying that's bad - side A of the first Bad Religion LP is one of my favorite 80s hardcore records. I've never, even as a teenager, had any time for later pop-punk (besides the odd exception like Propaghandi), but those initial Socal bands - the ones named, plus anything Rikk Agnew was involved in - made some great records

    tbh I find Zen Arcade way overrated - some decent tracks but like most double LPs, plenty of filler. I wouldn't perversely claim Land Speed Record is their best - tho it fucking rips - but I do firmly think Everything Falls Apart/Metal Circus Du is the best Du. New Day Rising and after, no thanks.

    Reoccurring Dreams is the kind of thing I'd like better if I hadn't heard a ton of superior longform psychedelic jams

    I also noticed that in virtually all examples of guitar overload you named, said guitar overload is largely or all textural rather than composition/playing, with the partial exception of Dinosaur Jr. - they have noise textures but Mascis certainly shreds. again, not value judgment, just observation.

    Flipper did always have riffs and grooves but they didn't have hooks, not even in the JAMC sense of hooks buried under a wall of feedback noise

    that's part of what I'm getting at - the difference between noise rock and "noise not music" as aesthetic philosophical base

  5. #290
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    Quote Originally Posted by blissblogger View Post
    but i do like that zone where things enter pop and change it, but also are changed by pop
    right - I don't find that uninteresting but I don't care about it of itself b/c I don't really care one way or another about pop

    I only care about pop to the extent to which it interacts with things I care about, which disco aside usually isn't much

    that's what I mean by pop context, pop logic etc

    I'd acknowledge I'm a specialist, albeit with multiple niches - things I really like, I get all the way into

    I don't really care about clarity or structure or focus or whatever, I just care about what I care about - good riffs or raw energy or whatever the relevant qualities are

    we're judging on different criteria

    the radio rock you named - I'm all either indifferent to or actively loathe, with the exceptions of ZZ Top (the American AC/DC) and - for nostalgic reasons - the first Boston LP

  6. #291
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    here's one those YT exposition posts barty is always asking crowley to do about modern rap, except about hardcore, and no one asked for it

    some examples, to illustrate

    the first hardcore record, 1978. basically no one heard it, but it's the blueprint that Ginn + co then popularized. not just history tho, also a great record. it's all there - no hooks, just a blur of atonal power chord speed (blazing fast for 78 - no one caught up until "Pay to Cum" a full two years later)


    Lou Barlow + J Mascis's pre-Dinosaur Jr. teenage hardcore band. Barlow on guitar Mascis on drums.

    again, not just a curio tho - when it gets fast, it's insanely fast for 1982 - almost blastbeats. another important waypoint on the road from The Ramones to Napalm Death.


    1983, the mighty Die Kreuzen just annihilating Milwaukee public access TV, maybe the greatest U.S. hxc vocalist. shame they turned into a mediocre indie band.


    the first U.S. band to really integrate global influences - a mix of every good thing in U.S., European, and Japanese hardcore ca. 1983


    and then Siege - Drop Dead, as noted above

    the Discharge model has literally hundreds if not thousands of examples - a couple of the most archetypal

    Sweden 1982


    Italy 1983 (translated "Does the State Need You? Well, Fuck It" a truly perfect Discharge haiku of a title)


    Spain 1983


    and so on. not many U.S. bands copped the Discharge model - the most important being Crucifix, who are pretty well-known (hell, Orbital sampled them once)

    sludge punk bonus

    if you like Flipper, you should check out the first Fang LP - not as sludgy but possibly even more nihilistic (to a tragic degree, if you know the Sammytown story)
    Last edited by padraig (u.s.); 09-11-2018 at 03:22 AM.

  7. #292
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    other odds + ends

    @corpsey - you (and luka, barty, droid, idk I'm forgetting anyone) deserve the lion's share of the credit for breathing life into this place when it was moribund - we should all be thanking you

    @pattycakes - saw your proposed deepness thread. all my dissensus energy is obviously being expended here rn, but know that I'm thinking on deepness too.

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  9. #293
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    thirdform can you come to the front of the class please

  10. #294
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    im buried under all this dead weight of content can you give me something else please
    show us the new game.
    too much fucking dead matter heaped up to top of me here

  11. #295
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    how do i wrestle this back from the gross muso zone i feel this sliding into. barty! it's your fault! this is your border to police.

  12. #296
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    stop twiddling each others knobs its disgusting.

  13. #297
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    padraig you want to exist in the same aesthetic universe as a band that calls themselves shitlickers. thats a clean dividing line between us.

    this to me is just so much ugliness, just horrible excessive blaoted uglinesss

    i cant find a sympathetic window onto it and i have to be honest, i dont want to try. the shit lickers. i dont want to be there thanks

  14. #298
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    you go and lick shit if you want but i dont need to hear all about it.

  15. #299
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    Don't be self-destructive! This is a great thread. Revitalising.

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  17. #300
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    ok sorry. i shouldn't be here at this time. as you were.

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