The Pathos of Distance

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The Pathos of Distance

- Agile Minds in Perpetuum -


    the audio thread

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    Z13

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    Join date : 2018-04-16

    Re: the audio thread

    Post by Z13 on Sat Aug 11, 2018 3:30 pm



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    Re: the audio thread

    Post by Guest on Thu Aug 30, 2018 7:17 pm

    the crunge... that joker's in 9/8. those boys are all over that shit.

    "I ain't gonna tell you nothin' but I do will but I knowww, yeah" - plant






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    Re: the audio thread

    Post by Guest on Mon Sep 03, 2018 12:28 pm

    every fifteen minutes some nigga off the block wanna act like he hard and drop a record. hey yo scarface, let dees chumps know what it is, my nigga.

    whatcha gone do....


    promethean75

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    Re: the audio thread

    Post by promethean75 on Wed Sep 05, 2018 6:09 pm

    ^^^ Dude. That's not scarface on the first and last verse... That's Willie D, the other dude besides the miggett, bushwick bill. So for over twenty years I've been thinking I'm hearing scarface when I find songs by the geto boys that I fucks with. You know why? Because the voice matches scarface... the fat ugly one on the left. Duddint it? Like I totally don't hear the dude on the right, Willie d, with that voice. He doesn't look like he'd have it.

    Well then it's settled. I like Willie d more than scarface. In fact, I don't like his second verse at all. Scarface makes a voice... Willie d just raps clean.

    This is crazy. Twenty fucking years man I've been thinking it was the other dude. This is devastating.

    promethean75

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    Re: the audio thread

    Post by promethean75 on Mon Sep 17, 2018 7:00 pm



    promethean75

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    Re: the audio thread

    Post by promethean75 on Mon Sep 17, 2018 7:27 pm

    Here we go.... funny motel scene...



    promethean75

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    Re: the audio thread

    Post by promethean75 on Mon Sep 17, 2018 7:39 pm

    Ooookay, this is what I was looking for. The relationship between the engineers, aliens, and predators.....



    promethean75

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    Re: the audio thread

    Post by promethean75 on Fri Sep 21, 2018 8:16 pm

    The league of crafty guitarists was an experimental side project Fripp formed in the 80s. These are some of his apprentices. They play as master Fripp keeps a close watch...


    promethean75

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    Re: the audio thread

    Post by promethean75 on Sat Sep 22, 2018 6:44 pm



    promethean75

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    Re: the audio thread

    Post by promethean75 on Sun Sep 23, 2018 4:36 pm



    one of the most fascinating things about Robert Fripp (to me, at least) aside from his style of playing, is how much his manner and personality is strikingly uncharacteristic to his guitar playing in the more edgy stuff done by crimson. how could this english fellow so perfectly poised and with such a pleasant manner produce the strange, dark and often terrifying music that he did.

    remember, this was early 70s, and heavy metal hadn't even been thought of yet. the closest thing you got to 'hardcore' was a band that distorted their instruments but remained in the confines of traditional blues chording, formats and arrangements. rock bands simply played louder and faster, with no noticeable change in the fundamental structures of the music, save denser and perhaps more complicated melodic changes. but the softness was still there, it didn't penetrate, didn't cause panic, didn't strike a dissonant chord (pun intended) in the mind of the listener, sending him into an unpleasant and unfamiliar environment that was terrifying, exhilarating, able to enrage you at one moment and at the next, send you into a deepest and most ecstatic state of sadness and melancholy. can anyone deny that this song is existentially timeless?

    what king crimson brought to the early 70s was just this, and it owed its unique sound primarily to Fripp. Fripp had sufficient training as a guitarist and was familiar with all the standard styles that were popular at the time... but this wasn't enough for him... he had to innovate, had to pioneer something new, had to play in a way that hadn't been done before.

    "When music appears which only King Crimson can play, then, sooner or later, King Crimson appears to play the music." - Fripp

    now let me approach this as a philosopher rather than as a rock journalist, if i may. it is my contention that something profound already existing in Fripp's mind began to develop exponentially after his coming into contact with the ideas of J. G. Bennett. This guy was a mathematician and philosopher who started a kind of 'cult', for lack of a better word, which Fripp quit the early crimson for, and ended up joining. Much of the stuff was pseudo-philosophical and new-age, but it needn't be necessarily different to work as a catalyst for Fripp... or what was growing in Fripp. it provided an atmosphere for spirituality, thus giving Fripp a new way to look at his music as an expressive means.

    There is a significant change in sound of the crimson line-up after Fripp re-established the band with different musicians... different than the musicians from the pre-bennett phase of his life.

    what i believe is that Fripp, whether fully conscious of it or not, was a kind of channel or medium for the zeitgeist of the age. better yet, a voice or warning for things to come; his music was a foresight into the nature of the world as it would become in the decades that followed. namely, the histrionic panic, anomie, frustration, despair and rage that was coming, and that would express itself in the modern societies that would develop so feverishly and fast through the 80s and 90s.

    these characteristics i describe are analogous to Fripp's particular style of playing, you might say. over-complex time signatures and meters, unpredictable change, asymmetrical patterns, atonal lines and diminished notes, raging distortion, frantic, maddening tempos, and all the things that were not present in the existing rock styles at the time.

    if one were to say that music is the voice of the age... Fripp's music was the voice of an age to come, and in this sense he was a seer and a sage. as the above quote put it; the world needed to speak, and speak quickly, and it found king crimson for its voice.

    when i mention earlier how odd it is that Fripp be the fellow he is, and yet be capable of creating such seemingly incongruous music to his personality, this is what i mean. he was/is a strange phenomenon. it is as if the music came out of him or through him. there is nothing of shallow pretense in this, as there is in so much of the modern, empty 'heavy metal' garbage the music of king crimson had warned us about when it came into existence as a precursor in the 70s. like so many other disasters in the music industry (pop, house, rap, R&B, country, thrash, techno, etc.), these things are the voice of a dying world, a post-modern world in which the art of music is no longer possible. today music is merely clinical, contrived, formulaic, nauseatingly repetitious and predictable nonsense produced and reproduced by soul-less people who have as little talent for the craft of music as they do integrity.

    it is no coincidence that on the last album (that i'm aware of) by king crimson, the world spoke again through Fripp. this time it was not a warning, but a parody of what has happened in the music industry. the zeitgeist throws back its head in sardonic laughter and tells you: be happy with what you have to be happy with. you've earned it.


    promethean75

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    Re: the audio thread

    Post by promethean75 on Sun Sep 23, 2018 5:31 pm



    Good morning, it's 3am in this great roaring
    City full of garbage eaters ravaging parking
    Spots beneath my plaza window I see cheetah in their
    Tight skins and tired heels all-night hippo in
    The diner crossing the street swarthy heards of young
    Impala flambastic gibbon even a struggling monza
    And over there that brilliant head ornament on that
    Japanese macaque but look closely at the hammerhead hand
    In hand with the mandrill, it's a sight you're
    Unlikely to see anywhere else on the planet...
    The stench and noise, yes, yes, the howler's
    Resonating repertoire is not too bad when mixed with
    The more musical twern of the tropical warbler but the
    Impatient taxi blare the squawking elderly ibis and
    The glass-eye snapper hawking papers I can certainly
    Live without also be cautious of the poisonous
    Boomslang laughter social droppings of the fruit bat
    And purple queen fish and who's that babbler conversing
    With a magazine stand? evidently he's getting a good
    Reply...
    Arrive in neurotica
    Through neon heat disease
    I swear at the swarming heards
    I sweat the foul terrain
    I rove the moving scenery
    I have no fin
    No wing no stinger
    No claw no camouflage
    I have no more to say...
    Say...isn't that an elephant fish on the corner over
    There look at that blush baby mud puppy noolbenger
    Rhinoderma marmoset spring peeper shingleback skink
    Siren skate starling sun-gazer spoonbill and suckers,
    They seem to be everywhere, well it's a live revue
    Random animal parts now playing nightly right here in neurotica...
    So long...


    promethean75

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    Re: the audio thread

    Post by promethean75 on Mon Sep 24, 2018 9:04 am

    Dream Theater covers King Crimson.



    A band I was in over 15 years ago also did this song. This is from a water damaged VHS recording of me practicing the song on drums....

    https://www.reverbnation.com/zootallures75/song/29454053-practicing-larks-tongues-in-aspic


    promethean75

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    Re: the audio thread

    Post by promethean75 on Thu Sep 27, 2018 10:37 am

    "Everything you've heard about king crimson is true. It's an absolutely terrifying place" - Bill Bruford (second drummer for the band)



    promethean75

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    Re: the audio thread

    Post by promethean75 on Sun Sep 30, 2018 7:10 pm

    "Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice..."



    "What we hear is the quality of our listening..."

    - Robert Fripp



    promethean75

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    Re: the audio thread

    Post by promethean75 on Sun Sep 30, 2018 8:09 pm

    "However, in modern conceptual frameworks there is a more sophisticated view. I would say that the act of music exists in several worlds simultaneously. Music can be transformative. The act of music is utterly transformative." - Robert Fripp


    promethean75

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    Re: the audio thread

    Post by promethean75 on Mon Oct 01, 2018 9:46 am



    Talk, it's ooooonly talk
    Arguments, agreements, advice, answers,
    Articulate announcements
    It's only talk

    Talk, it's only talk
    Babble, burble, banter, bicker bicker bicker
    Brouhaha, balderdash, ballyhoo
    It's only talk
    Back talk

    Talk talk talk, it's only talk
    Comments, cliches, commentary, controversy
    Chatter, chit-chat, chit-chat, chit-chat,
    Conversation, contradiction, criticism
    It's only talk
    Cheap talk

    Talk, talk, it's only talk
    Debates, discussions
    These are words with a D this time
    Dialog, duologue, diatribe,
    Dissention, declamation
    Double talk, double talk

    Talk, talk, it's all talk
    Too much talk
    Small talk
    Talk that trash
    Expressions, editorials, explanations, exclamations, exaggerations
    It's all talk

    Elephant talk, elephant talk, elephant talk


    promethean75

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    Re: the audio thread

    Post by promethean75 on Wed Oct 03, 2018 11:16 am

    when you are this good on the kit, it doesn't matter that your afro is lopsided.



    promethean75

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    Re: the audio thread

    Post by promethean75 on Wed Oct 03, 2018 11:29 am

    no, you don't understand.

    0:34-0:37

    wuhga-duhga wuh-duh wuh-duh wuh-duh wuh-duh... wuduggaduggaduggadugga duh GUH!!!


    promethean75

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    Re: the audio thread

    Post by promethean75 on Wed Oct 03, 2018 12:38 pm

    first of all, music doesn't belong to anybody, much less is it the product of 'race'. that the blues found its initial voice in the negro populations of the pre WW2 era and later morphed into jazz after it was taken to its experimental extreme, is incidental. the dialectic of music is something that waits to be realized. it is not invented, nor does it express a spirit exclusive to any one or group in particular... an sooner than a mathematics equation expresses the personal sentiments of the mathematician who discovers it.

    the acoustic age of music, the 'classical' age, an age that existed before instruments became electrified and amplified, has it owns merits and of course was the age in which music was at its most eloquent stage in the dialectic. but this doesn't give excuse to europeans to criticize modern music that evolved from the classical age forward. what they can criticize, however, is the period that came after the electric age had 'maxed out' its creativity in the time between the 40s and the 90s. in fact, one could say that contemporary jazz and jazz fusion was the last possible voice the musical dialectic had to express its intricacy and complexity. anything after this period is garbage; modern mainstream genres from country to hiphop, and anything in between.

    but i find it necessary to come to the defense of jazz often enough. those dull white europeans who aren't quick on their feet and have no lightness of spirit, can't hear it, much less understand it. there is a freedom of play in jazz that has never existed before in any other musical form. the lack of formulaic standard and the openess to 'on the fly' improvisation; this is where the creative spirit finds its liberty. these white european meatheads hung up on their pessimistic romanticism for 19th century classical music which they believed suffered an injustice at the beginning of the modern age, are sentimental dummies who no sooner understand the classical form than they understand the jazz they criticize. it's just that the dialectic found for its most beautiful form so far, the voice of greats such as beethoven, mozart, wagner, strauss, et al., but this doesn't mean it belonged to a 'people', or expressed a comprehension exclusive only to the type.

    nothing irks me more than hearing some metal-head white boy make a snide, dismissive comment about jazz music. you haven't the qualification or rank to say anything about it. you're too slow, too dense, too heavy, too dumb. you ain't built like that, you can't move like that.

    so when jazz is playing, sit the fuck down and shut up, dummy... before you get too dizzy and fall over.

    ske bop bobalooba do bobbitty bop, muthafucka!


    promethean75

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    Re: the audio thread

    Post by promethean75 on Fri Oct 05, 2018 3:20 pm

    buddy rich plays cymbals, rim shots and sticks... no drums. i wouldn't call them paradiddles and triplets... they're more than that. better to call them richadiddles and richlets.



    promethean75

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    Re: the audio thread

    Post by promethean75 on Tue Oct 09, 2018 11:00 am

    LOLZ! this dude just murdered the whole genre in three minutes.



    promethean75

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    Re: the audio thread

    Post by promethean75 on Sat Oct 13, 2018 9:57 am

    oh look who that is. right.

    ready eddie? joe? one two three four...

    good, good, good!

    one two three...

    yeah joe!

    hyow!!




    promethean75

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    Re: the audio thread

    Post by promethean75 on Sun Oct 14, 2018 5:03 pm




    promethean75

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    Re: the audio thread

    Post by promethean75 on Sun Oct 14, 2018 10:12 pm

    Old school rappers can't stand the shit, and this disgust is not out of ressentiment. This reaction is proof that rappers do have some modicum of sensibility because they are able to recognize this garbage for what it is. So yes, there actually is something even lower than rap. New rap.



    promethean75

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    Re: the audio thread

    Post by promethean75 on Mon Oct 15, 2018 3:16 pm



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    Re: the audio thread

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