re sweet jesus
- look i didn't mean that to go out like that
i don't like the idea that i'd fall out with somebody that fast
-its you that took umbrage
-to a message posted way before i even came across you
i didn't like the attitude of your first response
-anybody saying sheesh -implies that they think there is a major
mental problem involved -that they are inherently superior
I'm not about to defer to you but i certainly didn't mean to call you
an imbecile - I lost my temper for which I apologise.
I did so yesterday too -which was stupid.
-i think that last post still shows that you are creating conflict
where it shouldn't exist way more than you ought to -mine went out in
a way that i thought
i'd edited since
I am under the impression that since the books came out -starting
with krautrocksampler - a lot of stuff had been passed off as
krautrock that really wasn't
the same way psychedelia was used as a general umbrella to sell 60s
hippy kaka to the unexpected.
I think from what I've read of what you've said you probably know the
difference between the good and the bad. but i'm not about to stick
you on any type of pedestal-
-show me excess in krautrock - please do
or anywhere that any of Can play excessively.
i can think of a lot of places where they stick on one chord
throughout the first lp for e.g. -
-how long does karoli do that? -and magazines that talk about them
which is what i said
i agree with most of what you said -i think i even had said a lot of
things you covered - elsewhere
-yes i have a problem with prog -because of its stigma
-you are saying that there is good stuff coming from that area?
please show me
-its something I'm trying to work out -the 70s dead era?-inventive
non-smug stuff -where is it?
comes from Germany/ -funk /-jazz--presumably elsewhere
(I'm not trying to say they're the same thing-thats 4 separate
places oh ye smug )
i listened through the Gentle Giant lp again earlier and was going
to say that yes that definitely goes in there -not as bad as a lot of
stuff as far as i'm aware but still unfortunately Prog
-i meant i wish there was a different title -subset 30 years on that
separated out the absolute head up ass dead end stuff that are only
understood for that emperors new clothes reason -you only like this
stuff 'if you're intelligent'.
i thought king crimson deserved their own subset -since they were
more about discovery than showing off chops - at least on the
material i have (-even there its probably personal taste)
-probably also since they got there first and do have some idea of
lengths to go -where to reject.
sorry -but i hate your idea that faust is not stripped down
-i would say that anything that minimal was
-you think a lot is going on there?
-you think that there is anything used that might not be?
-i'm thinking of - what is not played as much as what is
and how much repetition is involved
i sat and listened through the final cd that i hadn't heard recently
from the set and it has 19 excerpts of longer pieces
-but that isn't minimalism? i thought those were excerpts of longer
things that stayed much the same -which would be minimalist-wouldn't
Television -do reject waste on at least most of their stuff -show me
i'd show you what starling says about them -but then you'd think that
that was the only place i'd read it -or heard it -not by myself
i thought their whole essence of being was marrying 3 chord garage
punk to freejazz ideas -which is what is normally talked about
but you know better?
yeti -show me excess-therefore what is not stripped down
-chorded guitar instead of weedly-weedly type lead all through.
(except on Cerberus where everybody is using the same primitive
rhythm to jam to- and basic riff- or am i(not?) hearing things)
-even on Yeti that is more rhythm defined than showy
show me lack of economy.
look economy =stripped down -do we disagree?
all excess cut off -do we disagree?
I was wondering as i walked out of my place earlier after listening
to 'We're only In it for the money' if prog went wrong by taking the
template of Zappa -who was as much about rock and roll as he was
about other influences -Varese -jazz etc
-and removing the 'dumb black stuff' i.e rock and roll
thus winding up with extremely po faced tricky things -that they
didn't know how to use.
i thought chord choice was deeply important -like most things as you
get better at something you know what to use and not use
using things to show off was a bit like 'nouveau riche'.
those who knew how to do things were economic.
i don't think you'd disagree.
the use of sustained chords -this is alien to krautrock?
isn't it what Manuel Gotsching is doing most of the time
-at least on Schwingungen and Cosmic Jokers
Do Guru Guru sound as much like a template for Caspar Brotzmann
Massaker as i remember them?
I've gone against my last post -but i stand by what i said -i don't
want this to be a flamewar -i hate flamers
its a stupid pastime -that last message should have been edited
-i thought it had been
until i read it