Eneathedevil

Anyway, you're just the same old dullard: even Untilted is presenting the issue of the validity of his dogmas in terms of absolute truth, only you don’t know his thoughts a priori (and you refuse to read them now), while you only know mine, so it’s quite a load of nonsense to criticize one of the two sides without knowing the other. Comfort yourself with some other thrill of pleasure.

Damn, what a comment I've written, and it's even number 69. Everything is so wonderfully primal: I possess you, Josie. I have penetrated your thoughts: at least admit it to yourself. Shudder again.

Hey, you gave me a huge assist regarding the Enola Murder matter: in the end, yours is just the usual fetishism. But yes, the usual fetishism for words. Draft 7.30 can't please you because you don't understand it. You can't get to talk about masterpieces because you know very well that it's not your field (and this is confirmed by the fact that you mostly skip all electronic music, especially that which is related to an album like that), so let me tell you why you get so worked up: because you like the titles of that album. Its semantic package. Come on, don’t tell me you’ve never thought about how cool the title "IV VV IV VV VIII" is and how it can align with your ethics of mental masturbation over the cleverness of words. Now I know you’ll try to hide, but damn, I know that at this very moment, right as you’re reading my words, you’re shivering at my intelligence because I’ve secretly caught onto your twisted thought, and you feel exposed in front of my depth of understanding of human intentions. Shiver. Don’t be afraid.

Hey, but it's really concerning how you get resurrected the moment you’re called into question. Remarkable. In any case, the fact that you like it gives me strength: I would have been surprised by the opposite. Your methodism seems very gay-addicted to me: "I haven't felt it since that time, once I realized that it took too much stuff to appreciate it," and it sounds quite laughable since it doesn't seem like your behavior, too much of a low-key understatement that doesn’t suit you. If I like something, I don’t let it rot; I try to understand it in every way, constantly listening to it again. You fucking poppycock, you’re the same old snobby drone of ours. I am a genius because I wonderfully place myself between the drift and the stream, taking what’s good from the drift and what’s good from the stream. Otherwise, all of Bowie would be crap, along with him the Bidols, the Stònz, Clapton, Dylan. You, on the other hand, are despicably obtuse in your alternative garbage, it’s a well-known and acknowledged matter.

Strunz, instead of joining the equestrian circus, give your opinion!

But no, but no. In the meantime, the first link is hilarious because you make a reference to CAZ's comment: I mean, if you were aware of our epic disputes (and you should catch a whiff just by reading comment no. 2 of this review), you would have refrained from bringing me such a reference. Our type is indeed impulsive and has a natural tendency to be a pain in the ass (which is something that generally unites us): in discussions about merit judgments and the like, we have clashed thousands of times, so just imagine how much weight his opinion on the matter of music criticism can carry. In fact. Returning to the point, well, the fact that criticism counts for nothing is, alas, an unacceptable assumption. By definition. Today it is impossible to draw a line of demarcation between critical judgment and popular opinion; the fact is that today, in the age of cultural leveling that allows anyone to become a critic (and is even the logic of this site), any judgment, filtered under the guise of a review or similar, is criticism, and a music criticism site like Ondarock, Rockol, or even (you assume), even Discogs (by the way, that reference is not indicative at all, because that site has a non-review value, but a more promotional nature, so it naturally collects approval votes in almost all its cases and from this standpoint I invite you to also look at the other ratings of Autechre's other works, in comparison to which - even Oversteps and Move of Ten - an average score like that of Untilted looks bad), if only user votes can become for you arguments in support of the thesis on "alarm bells." Why should I assume that the staff of Ondarock, in all its elements, knows more than I do? My opinion, my review on this site is critical. And yours is too. Therefore, if you just told me that criticism is worth zero, I should tell you to go fuck yourself and keep my opinion, quite happy in the soundproof golden abode. Instead, yours is an experience that has a say and fits into the context of criticism. And which, in my opinion, numerically does not yet affect the overall merit judgment on Untilted, which here on Debaser, for instance, has been positively rated only by a few (Giubbo, a certain Ampere, sodo, ZiOn, who then told me that he definitely scaled down his judgment on it) in a moment of immediate feedback on the work. If you then believe that my evaluation of criticism is flawed, then tell me where the boundaries of criticism lie, what are the names and surnames of the critics who you think "count for zero" (sic). Sure, give me rational explanations, please, because saying that those critics who say the Autechre albums you dislike are great count (less than) zero is a quite obvious tautological ploy, since at this point, all those who think differently than you are just poor fools.

Hahaha, knowing Geenoo, the comment is even more fitting!

This strongly conflicts with the Dantesque interpretation of beauty that emanates from within and manifests identically on the outside.

*damn it, I made a mistake with the subjunctive. It must be the presence of certain sordid individuals mentioned in comment 43.

To me, they are both equally annoying: now you might think I’m a crude primitive who doesn’t understand electronic music, but it doesn’t matter; in reality, we've been debating those records on Debaser for years and I've already made my point just as you've made yours, so in a sense, I’ll also refer you to my assessments of the reviews on Autechre. About the criticism, I have always thought and will always think that an alarm bell should necessarily ring when 9 out of 10 people say something is poor, because it would be infinitely presumptuous to assume that the entire world is wrong while the only valid reasoning is one's own. The album with Hafler Trio is a exquisitely mckenzian work: you know it, and you can't cheat about it. In any case, the fact that you casually mentioned it (it’s a collaboration, it doesn’t belong to the Autechre discography tout court and as you say, it’s not even a WARP) is a point in favor of my thesis: the search for a collaboration by Autechre confirms the desire to seek "other" and the album (you always say it!) is indeed "more experimental and abstract," which translates to it being something entirely different. And I hope you have enough intellectual honesty to recognize that it is a work quite different from Untilted. In fact, I find it somewhat enjoyable, unlike Untilted, which disgusts me profoundly. We can also discuss it while trying to confront the quixotic windmills, but we wouldn't gain anything: for you, Autechre's latest works are cool, for me they suck like de-nuclearized platypuses. They seem to me to be civil and correct positions. Getting back to the main point, the assumption was that your judgment on this work was too harsh. And on this, I believe we can discuss ad libitum, but without finding common ground. Thus, just to find some convergence, I myself in the review hoped for a certain resizing of the Redrum's work: they need to adjust their aim a bit. And we’ll see if they do so with a work that doesn’t appear easy and simplistic even in your eyes.