puntiniCAZpuntini

Yes, I like how you put it and I agree. For example, I spit on the first of the NIN, which now sounds like Power-Pop; those who listened to it in '89 were amazed, but when I picked it up, it just seemed to me like a pop vision of Broken or TDS. This is the same example but with reversed evaluations.

I think like you but I evaluate it differently. You said it perfectly when you said, "it seems to me that with this album, MP has started to think about Fantomas." Exactly, he should have calmed down a bit; nothing happens if he doesn't make his 6 albums a year. There are people who make an album every five years; if he doesn't make six, he's not happy. He should have waited, nurtured the idea better, committed himself, and worked hard on it. Instead, he took four vague half-ideas and passed them off as a concept, confident that if anyone wanted to tell him to fuck off, they'd think twice given the presence of Ribot & Zorn on the Tzadik label. It was a commercial move to gauge his fans' reactions; he was probing his target audience because he was about to open his own record label and wanted to understand "how far his audience's tastes went." I've always had a negative view of this album. Sometimes when discussing Patton, I say I haven't listened to it just to hear what others think without being influenced by my negative judgment, and sometimes I hear people shouting "masterpiece"... when it's just a collection of burps. I will never get tired of saying this: if this album were made by the Strokes, the entire world would have vomited on it; instead, Zorn made it, so the more senseless it is, the more it's considered a masterpiece... in my opinion, no. A masterpiece is Grand Guinol, masterpieces are those of Masada, a masterpiece is disco volante, this absolutely is not. I’m for deconstruction, not for the absolute lack of structure; this thing doesn’t start anywhere and certainly doesn't arrive anywhere. Four good ideas (like nutrient noises, I also like that, for example) surrounded by absolute nothingness, and when I think that it’s the result of three geniuses, it annoys me :D.

I don't agree at all. Since we’re talking about tribute to noise and the avant-garde, they should have put in more effort. I have everything from these people, so let's say I "think I know what they are capable of," and in this album, in my opinion, they are just goofing off, no effort at all... just some nonsense thrown out there. That it's better than billions of albums is obvious since we're talking about Patton, Zorn & Ribot, but it doesn't make sense to compare Zorn to Cremonini, right? I'm not saying that "noise is crap," this album is "a very bad noise album" that, on top of that, has the presumption to serve as a tribute to the genre itself. They remain three geniuses, and noise remains a great musical resource, but this episode is one to forget since they were just "working on the sounds" for "Amenaza Al Mundo," which is really a great noise album, not this thing here. :)

You also have that know-it-all attitude, with your "I'm more than sure," when you don’t even know who or what you’re talking about. Someone who categorizes masterpieces of psychedelia under "weird noises" hasn’t graduated middle school, at least mentally.

It was a quote from the album, Puglia :D. The essential essentials essentials are Aenima & Lateralus. This is beautiful, but they have definitely surpassed it since then.

In fact, it classified it under Dance-Power Pop, right? Come on, it didn't seem like blasphemy to me, just a comparison, and I think it fits. That this is just a very basic pop album and that SY - MBV are monsters, I don't think anyone doubts it. Plus, she's hot, come on Luk, don't get angry, you'll get wrinkles in the summer. :D

Zion is on drugs.

Since you gave it four, what's your favorite track? Which rhythmic section did you enjoy the most? And what's the track with the most groove? What makes you say "cool!" besides the non-sense? And what do you find beautiful in the "non-sense"? And keep in mind that the more niche the record is, the harder it is to find, and the harder you search, the higher your expectations become, and the higher your expectations, the longer the waiting time seems... then the CD arrives, and you're over the moon... you put it in... and it's not a CD. How do you feel about that? I feel bad, but if there's something good to hear, show it to me and maybe I’ll change my mind. Tell me, what's good in here, come on :D

NOW you know what to expect from Patton thanks to crap like this, but back then nobody knew at all. And I repeat, this record makes no sense, it’s terrible, it’s just a joke... it deserves a free listen taken as a "cabaret gag," but let’s not pass this off as a proper album because it’s really a false snobbery. I don’t believe that you genuinely enjoy this jumble of sounds and vocalizations; nobody enjoys it willingly. If this record were made by some random nobody, you’d say "what the hell is this??", but since it’s Patton & Zorn then everyone’s all in a frenzy... bah, it’s crap and it’ll remain crap in my opinion. A beautiful and good joke, I’ll give it two stars just for the food concept, but come on... the music is elsewhere.

I knew you hadn’t bought it; otherwise, you would have voted 2. I don’t agree with the idea of "you know what you’re buying," since this album is from '97. I bought it in '97, and back then, Patton wasn’t the Patton we know today. Zorn was the Zorn we know today, which means everything and nothing, and Ribot was the Ribot we know today, meaning everyone and no one. There were no Fantômas yet, California hadn’t come out, and none of Patton’s pure delirium (NB: Patton NOT Zorn) had been released aside from the absolute nonsense (read: CRAP) Adult Themes for Voice in '96, exactly one year before. When this thing came out, it was thought that Patton wanted to “make amends” for that hideous crap of ATFV with this album by joining the compositional genius of Zorn & Ribot; instead, they offered up madness without head or tail. Honestly, I didn’t expect two pieces of crap like this one after another, and maybe the disgust this album causes me has also increased precisely because it’s the second piece of garbage in a row. Now, in 2005, with Patton having released another 20 albums, you see this as “one of many things,” but back then it wasn’t one of many; it was just “the second release of Patton,” and it sucked just like the first one... which made you say (in '97) that Patton alone was just a fool. Then I completely changed my mind, but honestly, it’s not very professional for Mike to have rehearsed for Fantômas on records for sale like this one.