Sanjuro

@ $FACE$: Maybe you're not very familiar with Sun Ra, one of the greatest jazz musicians in history. He was born in 1914 in the USA, and like every Black man, he was destined to be just a flesh puppet in the cotton fields. But in addition to this racial exile, he faced a testicular hernia that made him the laughingstock of his own neighborhood. Ridiculed by both whites and blacks, by every race. He spent each day playing the piano, and since he was sexually impotent, he deluded himself into believing he was an angel from Saturn. He composed essential jazz albums like Atlantis, and (though I’m not interested in this) his academic technique is unbeatable; that video showed precisely that in his abandonment, he went completely beyond "playing well," achieving a Stirnerian transcendence of the concept of Good and Evil. You have a horizontal line: on one side, there's "knowing how to play technically," and on the other, "not knowing how to play technically." Do we want to reduce music to this? The fact is, I find Nirvana banal and I find Dream Theater banal too; both are absolutely predictable, boring, repetitive, and cloying. Without a doubt, Nirvana is better in their small way. But what I’m talking about is the instinctual spark, the forgetting of oneself, the antisocial copulation, the unlearning, deconstructing, dismantling the little lesson they taught you. Who decided that playing in a certain way is "playing well" and who decided that in another way it's "playing badly"? What does "good" or "bad" mean? Does it make sense to talk about good or bad in sounds; aren't they just sounds? Dream Theater has devoted their lives to "Playing Well," while Captain Beefheart dedicated his life to "Not knowing what it means to play well." Talent learns, genius unlearns.

The criticism is directed towards the repetitiveness and cloying nature of old school hardcore. To claim that the Germs are vastly different from Black Flag seems to me decidedly hyperbolic; they are all groups that are related to each other. Hardcore will truly make a qualitative leap with bands like: Big Black, Butthole Surfers, Tragic Mulatto, Rapeman, Jesus Lizard, Fugazi, Naked Raygun: the post. None of those original bands would have ever conceived of a "Monkey Trick" by the Lizard, because they were too busy leaving scorched earth in their wake. If we then say that hardcore is a genre so nuanced, then what is jazz in its thousand crazy incarnations? Old school hardcore bores me; I find it awkward, with a significant urgency and anger but not channeled into an interesting musical form. Always the same tedious sequences of shrill screams, blazing guitars, melodies like the Seven Dwarfs' song (Misfits - “Heigh-Ho, Heigh-Ho, it's off to work we go”): let’s move beyond hardcore.

REM: two balls.

Shit.

For Pedophiles: who gives a damn. Am I a pedophile? No. Am I or do I know a child? No. For feminists: am I a woman? No. For Gays: am I Gay? No. What the hell do I care about what they do, indifference, blessed indifference. Throwing oneself into social issues and "just causes" that don't belong to us to fill our existential voids is the real plague of the masses.

@NIBBIO: Bovine Heart has undoubtedly gone beyond, but it lacks that aggression that makes me lose my mind. There's no doubt about the artistic qualities of a Trout Mask Replica, but in my player, I prefer to let in the far more emotional Head or Goat by the Jesus Lizard. Plus, I find that Yow's singing is an evolution compared to Beef's; the Lizard is hysterical and anxiety-inducing, I resonate with that, maybe that's why I love them :) Ahhh how was the concert, nibbioooo?

I've never seen Blow Up @_@ Tonight I'll buy it and watch it immediately; I have my cinematic gaps, I live in Venice.

I wouldn't even call Minutemen and Husker Du hardcore, because as you can see, they mix everything with jazz (the former) and pop with a touch of experimentalism (the latter). Black Flag bores me, and Minor Threat feels limited; Fugazi is much more interesting. The best hardcore or post-hardcore band of all time is Jesus Lizard. That's it, no bullshit. No one sings like David Yow; he surpasses David Thomas and Captain Beefheart combined. He's aggressive, off-kilter, and precise at the same time. Jesus Lizard rulesss.

Group of shittttt. Mozart, as we know, was a fucking genius, composing in a state of ecstasy and abandon never seen before, a true mental maniac like Klaus Kinski would be later on. But Mozart had a loser friend who was constantly trying to emulate him, spending 12 hours at the piano perfecting himself, but he was simply becoming a 486 of classical music. Mozart had the light within, the conservatory rat friend: no. Dream Theater are the reincarnation of Mozart's loser friend. AHAHAHAHAHA