psychopompe

DeRank ™: 13,33
DeAge™ : 8186 days • Here since 11 january 2004
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Soft Machine Third
Soft Machine Third
26 aug 08
Voto:
Thank you, Bartle, for saving me from the pain in my fingers. Ah, the guy was friends with almost all the rockers of the time (especially Schulze, Froese, Kraftwerk, Gottsching), so he speaks from a position of someone who was there and involved. Anyway, what you don’t understand and what I want to say is that one should never take for granted what is written or read, so neither Cope nor the guy from the article is right. However, this article helps develop a critical ear towards the phenomenon, which is increasingly rare since every piece of nonsense produced in Germany at that time has now been elevated to an indisputable classic. We create the classics, right? And with this, I don’t mean that you or whoever think that way. It’s a general trend that is pretty obvious. <<You won’t believe it, but Krautrock was certainly not invented by music critics, you know?>> Look, I won’t rise to the provocation; when I heard the first Kraut record, you had just been born, so I’ll skip it. Moreover, if you look closely, the term was actually invented by English critics; the musicians themselves don’t identify with the term... but it’s a bit like calling Kyuss stoner when the term was used to define the bands that came after their breakup.
Witchcraft The Alchemist
Witchcraft The Alchemist
26 aug 08
Voto:
Nooo, the Jex Thoth don’t hold up!!!! I mean musically yes, but the girl’s voice is almost laughable. Don't hold it against me Don Bartle. Instead, the Summer Sessions by Causa Sui (that Danish group ?? that does stoner psych) come close to being the psychedelic release of the year after just two listens. Super trippy and laid-back stuff. Highly recommended.
Soft Machine Third
Soft Machine Third
26 aug 08
Voto:
I'm sharing a link that connects well with what I was saying above about new myths and instead following critics with one's own ears (a flaw I have too, of course). It seriously downplays the phenomenon of the reevaluation of anything coming from Germany from the late '60s onward (and it hits hard). Oh, and the article is also 11 years old, so it's quite prophetic: The Real Krautrock Story
Soft Machine Third
Soft Machine Third
25 aug 08
Voto:
look at the last lines and then I'm going hunting with bow and arrows. Back then, Beffheart was stuff for a few (in Italy I think few people knew him, but you never know), and little by little, thanks to word of mouth from listeners, he emerged first in his homeland and then abroad. BUT now (that it's enough to click and one creates a "musical culture") he has become a new myth. If you're a musician and you mention him among your sources of inspiration, you're one of the "right" ones; if you're a simple listener, the same applies. Maybe you genuinely like him, but now he's on the lips of at least 100 times more people than those who listened to him 12/15 years ago (just to stay within my personal experience with music). The same goes for Faust and kraut in general. Tangerine Dream, Amon Düül, and a bit of Can weren't so famous, but now everyone knows them. So, new myths. But I don’t want to say that these are crude music and groups; I like both a lot and discovered them over time, but simply that now the underground is monstrously upground, with its pros and cons. It’s strange because, compared to myths already from their eras (like the Doors, Hendrix, Joplin and so on), they made music that was decidedly more challenging, which was rewarded by attentive and patient listeners. I might be snobbish, but their mass accessibility and subsequent mainstreaming somewhat diminishes their charm, to the point that many think they've understood them after just a few listens, considering that patience is a missing quality for many 2.0 listeners. Then, it's obvious that I fundamentally think it’s better that many more people can listen to them freely, but often they don't internalize it and still pass judgment. I'm off, bye.
Soft Machine Third
Soft Machine Third
25 aug 08
Voto:
Aeneas, you might be offended because I fit into post 83???? Anyway, it was an idiotic quote from Nuntereggaepiù by Gaetano. And I've realized that since I have a daughter, I talk and think like an old fart in a diaper. And I think I'm starting to feel a huge envy for today's teenagers (in the sense that I would never sell my adolescence, but I would like to go through it again). So you can easily pity me. I'm off to hunt for food for the family, saludos.
Soft Machine Third
Soft Machine Third
25 aug 08
Voto:
What makes me laugh is that a new generation of listeners is forming who is rejecting the old dinosaurs (often starting with a prejudiced ear, but I’m not referring to anyone in particular) and introducing new myths to the groups you mention in your notes. That’s fine, of course; soon there will be the opposite trend. It’s a cycle. When someone gets fed up with hearing Faust, Beefheart, or the Vampire Rodents being praised, we will circle back or dig deep to find some unknown genius who wrote beautiful songs with his own feces on the four walls of his room. The problem is that snubbing Jefferson Airplane (just to name one) and praising the USA—although I like both very much—just because the former are old, well-known, and pseudo-barons seems quite childish to me. This is what I notice in many young listeners (for me, young includes those born from '83 onwards, just to clarify). The issue is that this way, another intelligentsia is being created (I don’t know how that’s spelled!) to oppose. And the list of albums you include in your notes doesn't help to consider you a listener immune to Scaruffismo, you must agree. Still, what I don’t understand is why if someone enjoys certain things, they can’t also like others. And be careful, the influence of many sites is more insidious than we think. And the best critic is the ears.
Soft Machine Third
Soft Machine Third
25 aug 08
Voto:
Well, I was an old fan of the early Tool!
Murcof Remembranza
Murcof Remembranza
25 aug 08
Voto:
Seen on Friday as mentioned above. Challenging, especially if you listen to it completely sober (and knowing this, I had already arrived equipped with firecrackers and Eastern rockets). But in the end, quite a trip, even though the visual aspect played a significant role. Many didn't like it due to the almost complete absence of beat, but I appreciated it precisely for the rather unsettling atmosphere it evoked. Given my nonexistent knowledge of electronics, it reminded me of certain krautrock + cosmic elements (Electronic Meditation by Tangerine Dream, Klaus Schulze on full blast), and I even noticed monstrous similarities with the drones of Sunn O)))) and their unlucky companions.
Soft Machine Third
Soft Machine Third
25 aug 08
Voto:
I listen to less and less music, and I like even less of what gets pumped out by so-called "alternative" sites where many of your peers think they’re building an underground music culture. You give 5 to albums just because Piero tells you they’re the best instead of paying attention to what YOU feel about an album and its music. For me, the Softs are the first two, discovered 15 years ago with those and then heard this, but never got it. Think for yourself, question authority. And I don’t hear superior music, superior to what or to whom especially?
Lisa Lopes Supernova
Lisa Lopes Supernova
25 aug 08
Voto:
"rapper from the legendary 90s R&B group TLC" is such bullshit that even Wikipedia couldn't write it. If one of the Wu Tang Clan (like Mastah Killah or any random member) knew Italian, you'd find him stuck to your doorbell in a nanosecond.
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