In the picture: just like all this hard! And what Obama has in hand is a copy left at the White House since Richard Nixon.
Here we are. Almost a request for this episode [1], but it is a "challenge" that I picked up willingly.
Why is my history with this record is long, I heard for the first time around 1985, then again a decade later, and a third time a few months ago.
Each time, got to the end of the album I thought "mah" and move on. [2]
After reading - really beautiful - review / essay linked by Sigur Ros [3] I tried again: the disk was left in the iPod and, with self-denial and discreet effort of will, I heard no less than four times from start to finish, on the way home-office-home office. [4]
Now.
I understand and I can appreciate the conceptual part of the work.
But, as already mentioned in the discussion cited in note 1, even before defining what the "pleasure" in music, I believe in listening to a disc it is needed. Whatever be your "listening pleasure" [5], here there is almost nothing that makes this for me .
's not that I fear for some 'noise, discord, dissonance.
But when the dissonance is the rule, when the "not nice" è cercato ostinatamente, quando disarmonia e assenza di melodia sono tutto quello che c'è, beh, mi arrendo.
E posso anche capire la scrittura rigorosa delle parti strumentali, la ricerca di un obiettivo pienamente raggiunto, cosicchè ogni cosa che si sente sul disco è esattamente quello che Captain Beefheart voleva si sentisse.
Ma quando lo scopo è realizzare qualcosa di inascoltabile [6], perchè dovrei ascoltarlo? Se lo facessi, contribuirei a non realizzare lo scopo per il quale il disco è stato registrato...
Questo disco potrebbe essere uno scolapasta senza buchi, magari ideato da un famoso designer: forse anche bellissimo, ma inutile.
E' un disco senza musica e senza canzoni.
There are some things I like about the same, mind you: the sound of the guitar is really nice, and that sound, that kind of interplay between the two guitars that sometimes intra-feel are in my opinion the thing that most influenced groups "heirs" of this disc.
for the rest:
- The voice is unbearable. The little voices and the loud voice, already I do not particularly like the disks of Zappa ...
- The songs "a cappella" [7] are irritating: the effect of "high mass" is disgraceful.
- Even the few times that the guitars are playing "together", the voice is not to lose too much time to follow: usually continues to go on his own.
- Low maybe there, maybe not. Not pervenuto.
- La batteria è veramente registrata alla cazzo.
- Il missaggio, sembra fatto a seconda di chi c'era in quel momento al mixer: un tecnico del suono, un passante, il cane di Captain Beefheart, il ragazzo dei giornali o la signora delle pulizie. La voce è spesso insopportabilmente alta, a volte le chitarre spariscono del tutto.
- A volte arriva un sax suonato alla cazzo, che fa tanto figo e free-jazz. [8]
E parlando delle non-canzoni:
- C'è un brano che sembra root-blues, d'accordo. Carino. E quindi?
- Ci sono un due/tre di pezzi dove il Capitano non canta. Mi immagino la band che si ritrova in studio: "Dov'è il capo? Ha detto che oggi non viene, cià mal di pancia." And down the run, all happy, to record a piece of shit without that voice over.
- The polyrhythm which is discussed in links, not hear it. "Polyrhythm" different rhythms are fused together, different rates in different songs (or several sections of the same song), or the one played as it happens.
- slide guitars (same source as above), boh. Sure who wrote that part of the disc has heard? I heard a slide maybe in a couple of songs.
- Texts, boh. They will also be beautiful, but do not understand them on the fly, I do not know enough English. Should I put myself there, try to listen only the text to try to understand: it is not something I normally do while listening to a disc.
- The songs have a big advantage: they are short. At least that. What then are many. I do not often look at the counter of the CD ("Where are we, the track number. 15? Shit, still 13?") And hope that you reach the end quickly.
This is one of the few discs that make me think "but how nice it is finished." [9]
So, to make a record that seems so completely did the fuck, there are two paths: either write everything exactly , note by note, always trying to give the impression of a random chaos, not at all controlled.
Or, more simply, to do this shit. How are you.
If you ask me, the second I said.
Notes and links:
[1] See the comment of Joyelle (27/08/10 13:13 hours) and following the post holidays finished.
[2] is not particularly original, but usually I could think of Battleship Potemkin.
[3] In its comments to the post mentioned in footnote 1 above.
[4] The very first result was a further decline of enthusiasm for going to work, now balanced by an unexpected drop of enthusiasm to go home ...
[5] That can be anything for me, checked the sound of the early Sonic Youth, the melodies buried under the feedback of My Bloody Valentine, de-structuring David Sylvian last sound, the sound of laptop Fennesz, minimalist drones of Richard Skelton.
[6] Version politcally correct "otherwise listenable".
[7] Not in the sense of "front end of the cock." Or maybe, in retrospect.
[8] And here, I have to say "no thanks". Not interested in the jazz, we're talking rock. I can not find the need to "dignify" the alleged grafting rock music more "high", such as jazz or classical music.
[9] To be clear, then comes Harmonica and leaves us a couple of sentences against the avant-garde music and in favor of the pop class: with so many albums of avant-garde / noise / drone-psychedelic / field recording did not even wait to arrive in half, pressing "stop" and delete from your perennial.
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