manliuzzo

DeRank ™: 2,48

DeAge™ : 6986 days • Here since 24 april 2007

Love Contact

Iosonouncane IRA

20 may 21

Voto:

Thank you. Oh my, I accidentally liked my own comment and I don’t know how to remove it. I'm really embarrassed.

I listened to the entire album just once, so I can't provide a detailed comment on the whole record. However, I would like to consider "Prison," a track I have listened to multiple times and that struck me quite a bit. In the first section, after a long introductory part, a choir rises based on a simple minor scale (or rather, almost a pentatonic scale, since the sixth is omitted); the choir is initially accompanied only by percussion and a shrill synth that plays counterpoint to the melody; then a pad is added, coloring that repeated melodic phrase with ever different nuances, giving it a poignant, triumphant, desperate tone depending on the circumstances. At one point, the melodic phrase of the choir is interrupted before it takes off, and a section begins with almost industrial tones, featuring a voice that seems to scream in a sort of German. Now, one could find dozens of references for both sections, competing over who can name the most obscure band that had already used this type of sound ten, twenty, or thirty years ago. But what's the point? What does this type of critique add to the enjoyment of music? For me personally, the mere title of the piece and its musical development evoked the attempt of the oppressed to rebel against their oppressors; of course, this is a rather simplistic interpretation, and there could be many different ones; what I mean is that music is not just about sounds that need to be as refined and innovative as possible, but it has (in the best cases) a thought behind it that, if expressed effectively and coherently (which is always debatable, of course), adds value regardless of the novelty of the sounds used. I believe we should abandon this somewhat snobbish and sterile way of listening to music, hunting for influences, and instead, we should respect the musician's desire to communicate something with musical language, trying to analyze that. In my attempt, I found both the choice to use a mix of languages and the attribution of the adjective 'political' to be coherent, things that for many seem like two clever tricks.