lux

Ah, so I was right.. the point is this: I never pay attention to the artist's theoretical competence when I listen to a record; rather, I look at the final result for what it is. Also because I see Art in music as something that transcends compositional and theoretical technique. Of course, I do not doubt Zorn's preparation, but "preparation" is a term that brings to mind school, academic dogmas, the severity of gnoseology... all stuff that, in my opinion, clashes with music. Because creating music is something that cannot be learned or studied; it's a capability that you either have or you don't. Sure, the ABCs of the instrument are essential, that is for sure (but perhaps not so much upon closer inspection). If you then want to improve technically, that's perfectly fine, as long as theoretical competence doesn't stifle the ultimate sense of music. And here, in my opinion, it does so with a cerebrally abstract view of the work. For example, take Never again. Setting aside the theme of Kristallnacht, musically, I see a track that communicates very little to me. Much ado about nothing, I would say. Intellectualism in spades. Screams, noise, broken glass for 11 minutes: Did we really need Zorn to create a track like that? Or rather, does it take a particular genius to conceive that piece? I hope I've been clearer.

What exactly do you mean by theoretical knowledge?

I tried, but I really can't see any (musical) sense in this album. I'm still convinced that a work like Kristallnacht could be conceived by all of us—me, paloz, trickykid, MuffinMan, Contemplazione, Bonny91, Metamatic, CJBS, morningstar, Bisius. This is because it is so self-referential and cerebral that you don’t necessarily have to be an artist to bring this work to life. The first abstract sounds that would come to our minds we would translate into "music," attempting (but not too hard) to give it some semblance of formal logic (never substantial). If instead of creating 1000 albums he had made just a handful, perhaps we would be talking about a completely different (and better) artist by now.

Hi Vic, I'll jump into the conversation: do you really think that "the advent of the luciferian global masonic state of the Illuminati" is more advantageous and desirable than the classic Christian civilization? Would it make sense to continue living under such conditions? And wouldn't this new world order simply be another ideology and philosophy added to the many that you despise? In proclaiming what you have proclaimed, aren't you, yourself, a hypothetical "prophet"? Hi.

Beautiful record, it reminds me more of the MBV than of Loop, Slowdive, and the various Rides. Significant review.

"And don't say damn it if Spitty Cash is in the area, yeah"

Between him and spitty cash, the battle is tough, huh?

Uh.. the intro of In the Presence 1 is taken from a Rush song (the part before the solo). Honestly, it doesn't seem like such an innovation to me.. of course, it's the song on the album that is most directly connected to the old DT sound.

For 47: Yes, it’s true, there are even more pathetic manifestations (especially in prog metal). In fact, there are albums that are even worse than Images in that realm. However, I don’t understand your argument about lack of expressiveness; I don’t see why it should be considered a flawed interpretation. They might be old clichés, but largely truthful. You’ll tell me that everyone has a different concept of expressiveness, and that’s true. The thing is, when you start listening to things that are not just new, but completely opposite to what you used to listen to, the resizing inevitably becomes heavy. Images, however, is not terrible for me; it’s an album that "tries" within itself, but doesn’t succeed. It’s the entire discography of DT that, at a glance, shows impressive deficiencies, album after album, plagiarism after plagiarism.

No, Awake and Images (Scenes I add) have a better aesthetic taste, but the lack of substance is the same.