antoniodeste

@Supersoul: I believe I know Fripp's work with Eno well, as well as the more recent developments of the English guitarist with his Soundscapes. The album you mentioned and "Evening Star" (except for the "Index of metals") are two reference works; nevertheless, I do not think that a simple technical assimilation (the use of modified Revox tape machines during the time of Frippertronics) allows for a productive comparison of these different compositional methods. The instrumentation used also differs quite a bit. I believe that the characteristics, including rhythmic aspects and the final outcomes, differ significantly, even though some similarities can be detected on the surface. As for the German groups/artists, which ones are you referring to?

Trout-idiot: your prose is truly weak, it really stinks of shit. Isn't your ass enough to carry out the function? Deflated balloon, you smell now.

trout-idiot: Terrible memory. Hard to find the sense you don't have. You could still spit on yourself in the mirror. Then clean it up and continue with growing conviction. It's a good way to cleanse yourself of the junk that, in your case, is starting to smell.

Idiot-Trout, you are mistaken. At the top of the human cases, you have been there since you were born, and everyone here knows it. Now, be a good little child and throw yourself down that "very steep road that is a precipice" so we can all have a good time.

Trout-idiot, put two fingers in your ass and life will smile at you. And fuck the dog if you have nothing else to screw. As long as even he, like everyone else, doesn't disgust you.

Great idea, trout-idiot! Emigrate to another galaxy so you can finally get lost and we can all celebrate for a month.

I know, albeit very limitedly, the work of LaMonte Young and I do not have sufficient elements to argue about it. In the past, I had the opportunity to listen to "DreamHouse 78/17," a work for Shandar, but I found it slightly soporific rather than hypnotic. However, I would appreciate a more detailed commentary from you, Soul, regarding the sheet, considering your dissatisfaction with it. I would be particularly curious to know your point of view on Riley's work in relation to that of Fripp or the "krauti," perhaps with some more specific indications. Tks in advance.

As a true fool, you still haven't understood a thing. In the delusions that accompany your eternal slumber, the caregiver represents the last resort for your sick, brain-damaged erotic fantasies. But unfortunately for you, the raising of the flag is a distant and sad memory.

The minimalist theory of continued reiteration with minimal variations in slow and almost imperceptible progression was well developed in the late '70s and subsequently especially by Reich and Glass, who managed to rhythmically articulate this concept at its best. I don't know if there are homonyms, but I should mention, referring to post n.9 of Supersolul, that "Six Pianos" is not by Riley but by S. Reich. "In C" is the classic seminal work at a time when experimentation in Europe was still anchored to the late musicians of the twentieth century mentioned (Schoenberg, Boulez, Berio, etc.) or to more recent innovators (Curran, Zappa, Cage). I believe the significance of Riley in the contemporary context is still immeasurable, despite the fact that the most recent developments have left me perplexed and doubtful. The mentioned works, along with "Persian Surgery Dervishes," "Shri Camel," and the unavoidable reference "A Rainbow In Curved Air," significantly mark the evolution of a language still to be fully explored. As for comment n.8, unfortunately, here we go again. Someone call psychiatric services. Enough of this nonsense from this psychologically unstable person.

A true curse that you don't keep sleeping, trout-idiot, for the sake of the community. When you're awake, you're always worse. Would a caregiver be of any help?