easycure

Anonymous, you're getting worse and worse.. :-D 1) "you're just a poor idiot who hides behind a computer, puffs up his chest, and insults. because he has no arguments, that's the truth." .. what arguments have you brought instead? But you haven’t brought even one? Can’t you see you don’t know what you’re talking about? Can’t you see you’re just rambling? What the hell are you saying? It’s all written, you idiot, you haven’t said a damn thing, it’s your only tragic truth. You're just hot air. :-D

Well, Larrok, with all due respect, one could also reach the simple conclusion that you may not be able to understand these things, and that this is therefore your problem :-D ..to say that the drums change the final meaning means saying that the piece wouldn't have sounded the same with a different approach/interpretation of the rhythm. With its play of timing and dynamics, Collins contributes to shaping a precise expressiveness to the piece, which otherwise wouldn't have sounded the same.. Portnoy doesn't have all this: the eighth-note triplets are a first-year drum school trick overly used in rock that he incorporates in the most classic way possible (for example, progressing clockwise and descending on the drums in most cases, or with rather simple and predictable variations).. in fact, one cannot even say that he is referencing anyone in particular (in this case): it's simply the abstraction of a stylistic feature. As for the rest, there's never the consideration of contributing to the formation of the theme; it's just adding a rhythmic score to the guitar or bass theme, or simply inflating the piece with overflowing feels that, in their sonic opulence, turn out to be very little organic.

Technique is the foundation of every art: false. The foundation of every artistic form is actually the need to express oneself. This has always been the case, and it's where one must begin... cave paintings had no technique, just as the tribal music of nomadic peoples did not. Rock, which has immediately established itself as a popular art form, in turn substantially transcends this precept, which becomes anything but paradigmatic. And it is not just a musical example: one only needs to consider the Beat Generation, Pop Art... it is definitely a discourse that does not hold.

x matt: look, you might have missed a few points: I stayed where I was because my argument hasn't been affected in the slightest; sorry to disappoint my detractors :-)

"Easy if you manage not to offend me, I’ll be authentic. I promise" ..I promise? I promise? What are you talking about? What are you saying? I owe you nothing, I don’t know if you understand... you took it upon yourself to come here and spout anonymous judgments, and I should worry about not offending? What are you saying? Have you read yourself? ..maybe it’s not clear to you: as an anonymous person, you will always only demonstrate your own insignificance, that’s not my problem :-)

point 3) My discourse is far longer than your simplistic and a priori attempt to resolve it in three words: I say that they are useless musicians because they are citational, because they replicate known patterns in a pedantic way, because they do not understand the concept of originality, because they are not remotely modern, because they are not expressive, because they are not unique. Now, you haven’t made any criticism of this, you haven’t said a damn thing. Furthermore, I myself have made an enormous synthesis of all the themes more or less covered so far. For each of these themes, one could reason for whole days, just like it was for Orion, downtown Jesus, etc. you’re not saying a damn thing, you’re not putting forth any opinion, you’re just trying to resolve my discourse in three nonsensical words, because evidently you have not read or understood a damn thing, trying to make it appear like it’s from a “sports bar” when YOU are the one who has enormously simplified it, with a priori and offensive attitude, like in a sports bar.

anonymous disillusioned, if very, very presumptuous, and very, very arrogant (but it's clear, since you're the same as before :-D): point 1) you don't want to authenticate yourself because you don't like my way of discussing. Bullshit, enormous stratospheric bullshit. Besides sounding like a blatant excuse, I can't stand those who allow themselves to spout judgments without even having the guts to step forward for what their authenticated nickname represents. And there is a difference. A very big one. So right now you're continuing to irritate me a lot, and I have no intention of changing my tone (by the way, unlike your last much calmer posts, I have NEVER been offensive). Point 2) you keep shooting off a priori judgments, unsupported by ANY consideration/analysis/evidence. This is why it’s offensive, and for this reason, by the way, false: you say that I don't like them because they don't respect my way of understanding music. This is false, a priori, and therefore offensive. Evidently, you haven't read the review well, evidently, you haven't read a damn thing of the comments; mine have always been analytical evaluations, supported by examples, comparisons, historical considerations. You say nothing, analyze nothing, and you evidently haven’t understood (or read) a damn thing of what I wrote.

You're amazing ahahahahah :-D ..how much I was expecting this.. burns, huh, you idiot? :-D you can't put me in difficulty over there and you spam me here as well. Typical of spineless losers like you.. watch out, idiot, be careful, it takes me three seconds to figure out who you are if I want to.. :-) for now, I'm just having too much fun messing with you. Until the next crushing humiliation ahahahah :-D

Dear Larrok, Portnoy has a classicist style in ballads, where he meticulously follows a tradition of accompaniments for fairly banal melodic pieces, with linear rhythms and classical breaks in eighth-note triplets that are truly insignificant. In the more grandiose and complex parts, he is merely ornamental; he follows the accents of the other elements or detaches himself when he becomes the protagonist of the current digression: in other words, he is far from an organic drummer... his drumming is purely arrangement-based, NOT expressive. However, when I listen to "Watcher of the Sky" or "Timetable" by Genesis, THAT is expressive drumming... because it completes the piece expressively, fundamentally changing its final meaning, with an interpretation that transcends merely keeping time, and indeed becomes a vision of the piece in a certain way. This is what it means to be a great drummer. After all, rock is group music, whether we like it or not. And after all, it takes no mental effort or creative divergence to learn to play fast, cleanly, or to insert 400 breaks a minute. You just have to work your ass off every day, day in and day out. Which in itself has nothing artistically significant. No more than the carpenter who busts his ass every day to learn how to work wood, or the bricklayer mixing mortar :-D pure craftsmanship.

Coercion? Provocation? Where? Why? When? How? "Anonymous who doesn't insult" (by the way, you're the same as before and it's all too obvious from your shallow and thus offensive prejudice :-D) but do you see that you're not saying anything? You're just shooting blanks, not saying anything, not making an effort, not presenting... we’re not on the same page, not at all: here the basic rules of discussion are missing (weren't you taught them in elementary school?). Very, very limited… :-)