terça-feira, junho 22, 2004
Ainda o "Demo(n) Tracks" do Vladislav Delay
Este disco está, aparentemente, a gerar ondas de cepticismo junto de alguma crítica especializada. É o caso do escriba da Pitchforkmedia:
http://www.pitchforkmedia.com/record-reviews/d/delay_vladislav/demon-tracks.shtml
"(...)Even in his least intelligible moments of experimentation, when the strict lines separating sound, rhythm and overall structure are blurred or disregarded, Delay generally manages the impression that there is at least some method to his madness, or some point to his conceit. There's an unspoken promise that, on any of his albums, Delay firstly has censored himself to a great extent, and secondly has carefully crafted all sounds, however random or disjointed they seem, to create one unified artistic statement in the end. And historically speaking, Delay consistently delivers in this respect, a simple fact that not only commands him high praise, but also an audience willing to work through his most demanding compositions.(...)
Unfortunately, there is no apparent internal logic at work within Demo(n) Tracks' 13 songs, and no discernible reason why the tracks are even split up as they are. There's no movement in ideas, no compelling expansions or collapses of sound, no set-ups or punchlines or Parthian shots. Some recourse to structure is a natural inclination even when improvising freely, but Delay seems to go out of his way to frustrate any remote chance of his passages being obedient to even their own scheme. Which may be the "joke" of Delay's album: At every turn, Demo(n) Tracks refuses even the slightest of human nature, in favor of a perfectly unstructured sound. "You see, you were expecting the album to go somewhere-- but it never does! Hee-haw, avant-garde."(...)
-Nick Sylvester, June 18th, 2004"
e o caso da Dusted Reviews:
http://www.dustedmagazine.com/reviews/291
"(...)Delay now produces on a post-post-post-Kingston plane, where Pole 1-2-3 is reactionary, and facsimiles of representations of interpretations of dub’s cues mark progress. (...)
Demo(n) Tracks’ tendency not to index or induce makes for a demanding listen. Absent the choice to dance or sleep, what is most inviting is to concentrate on textures, lush and strange, without becoming mired in context. (...)
Innovation moves slowly, usually, and an attempt at unnatural acceleration is apt to feel forced. That is the case with Demo(n) Tracks, which may or may not represent the future of dub, but in any case skips over the present completely. After a bunch of releases that emulated the basic conventions of dub – plugging available moments with feedback, saturating the spectrum with creative rhythm – Delay strains to do something so different that his program becomes unrecognizable and sort of humorless.
By Ben Tausig"
(recomendo a leitura completa das críticas)
Comentando os comentários, não deixa de ser um sinal dos tempos a música mais ouvida ultimamente ser reaccionária e, pelos vistos, a própria crítica ser ainda mais reaccionária. Não há nenhuma tentativa por parte dos críticos de "ouvirem" o disco, a sensação é que o rejeitaram apenas com base de ser dificil e sem nada de imediatamente reconhecivel. É a atitude típica de ouvintes habituados a outras coisas, que esperam algo que não lhes é oferecido e depois fazem uma birrinha como se não quisessem comer a sopa. Estes "críticos" em 1980 teriam rejeitado Throbbing Gristle, Suicide e mesmo This Heat provavelmente usando argumentos muito semelhantes. É bem provavel que actualmente os idolatrem, contudo. O que é fixe, por um lado. Mas pelo outro demonstra que há por aí uma nova geração de jovens velhos a ouvir música. É engraçado no final da sua crítica o Ben Tausig dizer que é "humorless" o disco, é que a sensação é que é ele próprio que é "humorless". Assim como este "post" o é um pouco. Mas só um pouco. Quando puder vou reouvir o "Confield" dos Autechre, que gerou comentários incrivelmente parecidos.
Este disco está, aparentemente, a gerar ondas de cepticismo junto de alguma crítica especializada. É o caso do escriba da Pitchforkmedia:
http://www.pitchforkmedia.com/record-reviews/d/delay_vladislav/demon-tracks.shtml
"(...)Even in his least intelligible moments of experimentation, when the strict lines separating sound, rhythm and overall structure are blurred or disregarded, Delay generally manages the impression that there is at least some method to his madness, or some point to his conceit. There's an unspoken promise that, on any of his albums, Delay firstly has censored himself to a great extent, and secondly has carefully crafted all sounds, however random or disjointed they seem, to create one unified artistic statement in the end. And historically speaking, Delay consistently delivers in this respect, a simple fact that not only commands him high praise, but also an audience willing to work through his most demanding compositions.(...)
Unfortunately, there is no apparent internal logic at work within Demo(n) Tracks' 13 songs, and no discernible reason why the tracks are even split up as they are. There's no movement in ideas, no compelling expansions or collapses of sound, no set-ups or punchlines or Parthian shots. Some recourse to structure is a natural inclination even when improvising freely, but Delay seems to go out of his way to frustrate any remote chance of his passages being obedient to even their own scheme. Which may be the "joke" of Delay's album: At every turn, Demo(n) Tracks refuses even the slightest of human nature, in favor of a perfectly unstructured sound. "You see, you were expecting the album to go somewhere-- but it never does! Hee-haw, avant-garde."(...)
-Nick Sylvester, June 18th, 2004"
e o caso da Dusted Reviews:
http://www.dustedmagazine.com/reviews/291
"(...)Delay now produces on a post-post-post-Kingston plane, where Pole 1-2-3 is reactionary, and facsimiles of representations of interpretations of dub’s cues mark progress. (...)
Demo(n) Tracks’ tendency not to index or induce makes for a demanding listen. Absent the choice to dance or sleep, what is most inviting is to concentrate on textures, lush and strange, without becoming mired in context. (...)
Innovation moves slowly, usually, and an attempt at unnatural acceleration is apt to feel forced. That is the case with Demo(n) Tracks, which may or may not represent the future of dub, but in any case skips over the present completely. After a bunch of releases that emulated the basic conventions of dub – plugging available moments with feedback, saturating the spectrum with creative rhythm – Delay strains to do something so different that his program becomes unrecognizable and sort of humorless.
By Ben Tausig"
(recomendo a leitura completa das críticas)
Comentando os comentários, não deixa de ser um sinal dos tempos a música mais ouvida ultimamente ser reaccionária e, pelos vistos, a própria crítica ser ainda mais reaccionária. Não há nenhuma tentativa por parte dos críticos de "ouvirem" o disco, a sensação é que o rejeitaram apenas com base de ser dificil e sem nada de imediatamente reconhecivel. É a atitude típica de ouvintes habituados a outras coisas, que esperam algo que não lhes é oferecido e depois fazem uma birrinha como se não quisessem comer a sopa. Estes "críticos" em 1980 teriam rejeitado Throbbing Gristle, Suicide e mesmo This Heat provavelmente usando argumentos muito semelhantes. É bem provavel que actualmente os idolatrem, contudo. O que é fixe, por um lado. Mas pelo outro demonstra que há por aí uma nova geração de jovens velhos a ouvir música. É engraçado no final da sua crítica o Ben Tausig dizer que é "humorless" o disco, é que a sensação é que é ele próprio que é "humorless". Assim como este "post" o é um pouco. Mas só um pouco. Quando puder vou reouvir o "Confield" dos Autechre, que gerou comentários incrivelmente parecidos.
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