Trout Mask Replica vs. White Light/White Heat

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Poll: Trout Mask Replica vs. White Light/White Heat
Trout Mask Replica
33%
 33%  [18]
White Light/White Heat
66%
 66%  [36]
Total Votes : 54

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AfterHours



Gender: Male
Location: originally from scaruffi.com ;-)

  • #31
  • Posted: 01/31/2018 06:41
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sethmadsen wrote:
AfterHours wrote:
Amirkhosro wrote:
He wasn't just doodling on a piano though. The individual guitar and bass lines are beautiful and creative with well-defined structures.

He's definitely just doodling on the sax though =)))

There's a persistent myth going around that Beefheart composed the entire thing during 8 and a half hours on a piano. The myth was created by himself in a Rolling Stone interview. According to John French, each song's first piano sketches took a few hours to make, and then months to develop as the band practiced the music non-stop. Kinda sucks that he didn't tell this instead of "I made this all by myself in 8 and half hours" as a marketing strategy. Maybe he would've been much more popular if he wasn't so extremely egotistical. Still, the music's dope and fun to play despite whatever some hipster douchebags claim about how the secret to the meaning of life is hidden deep under its non-existent "indecipherable structure" which only unlocks itself to those with the best of ears. For fuck's sake, the guy's singing about going up to the mountain with his wife (which rhymes with life!) on a bunch of dirty-ass delta blues riffs. They should just straight up dickride Stockhausen or something for this kind of horseshit posturing.

Oh she does just like Sister Ray said.


But... But... and I mean this in the least pretentious/douchebaggery way possible: the album does become an extremely profound, even metaphysical, experience, the more one puts it together and becomes acclimated to its parts, and as a whole. This is primarily due to the following:

(1) Beefheart's vocals expand the temporal space of human psychology in relation to its environment -- never before expressed as such in Rock (and not approached to this degree in Jazz or Classical either) -- both by thoroughly dilating its sound with cries for help, animalistic screams/howls, and through a wild, endlessly varied and nuanced expressiveness that unlocks seemingly long-dormant, repressed psychology/forces of nature.

(2) The shape-shifting, extremely physical, tactile and surreal instrumentals/compositions are constantly expressing, both in unison and counter to his vocal expressions, the concept(s) of violent facial/body contortions and of influx/warping of spatial dimensions, his past enacting terrible delusions and scars upon him (farcical and serious) as he is acting them out/acting against this affliction, and these often become akin to "out-of-body" experiences, like he is exploding out of the confines of his skin to express something not possible otherwise.

(3) The endless variation of the music, and its constant flux of vocal and instrumental creativity, while also echoing, reminiscing on previous variations, seems to present an ever-expanding scope of all which came before, turning the whole album into like that of a massive stream-of-conscious.

(4) 1, 2, and 3 combined with the very deep conviction, blues and soul, fundamental to the work.

All of these factors combine to turn the work into an extraordinarily offbeat, insane, metaphysical experience, which expounds relentlessly and endlessly on the thoughts and expressions of a crazed, madman into a whole that is impossibly profound and powerful, of endless detours, an endless domino effect of its own insanity trying to break free from its own skin.


To what end?


The end of madness actually. In an ultimate dichotomy, it uses the craziest, most indecipherable constructions towards reverse ends. It pits one's own innate recognition of truths, of patterns, of palatability -- against compositions that go as far as possible to distort these things, while also still barely maintaining it just enough to be recognizable. It erects madness and nonsense into an ultimate in metaphysics, into a relentless venture for truth, the truth of one's life, of one's self, Beefheart himself as the surrogate and conveyance. Beefheart represents a state of mind relentlessly unraveling but also (impossibly) as a means to some final existential, ultimate truth. It is simultaneously the greatest satire in the history of art upon "profundity" while also perhaps its greatest exponent.

It represents the point in the history of art when the purposes of High Art (like that of Beethoven, Michelangelo, etc) and the "pointless" works of Modern Art (like that of Picasso, Duchamp, Warhol, Pollack) finally met on equal ground and created their supreme masterpiece in an impossible display of equivalence.
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Tha1ChiefRocka
Yeah, well hey, I'm really sorry.



Location: Kansas
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  • #32
  • Posted: 01/31/2018 07:56
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I think both of the artists have become, so overexposed and analyzed at this point that they have probably lost all meaning associated with the artist's original vision, which only they know. It happens with all great works of art. I've never been one to apply meaning where it doesn't seem fit. Although it has a myriad of problems, I like some of the facets of Cleanth Brooks philosophy and "New Criticism". It was made for literature, particularly poetry, and it encourages looking at poetry as a, "self-contained and self-referential work". This is the way in which I feel about most forms of art. So, for Beefheart, if you take away all outside commentary and context, then what do you have? Is it the same, different?Personally, I feel that taking half an hour to go over Frownland is overdoing it, because I think it's fine with no explanation.

Anyway, i like VU better, so that's my vote.

Here's a little further explanation of what I was trying to say. Hopefully this will make sense.

"It was felt, especially by creative writers and by literary critics outside the academy, that the special aesthetic experience of poetry and literary language was lost in the welter of extraneous erudition and emotional effusions. Heather Dubrow notes that the prevailing focus of literary scholarship was on "the study of ethical values and philosophical issues through literature, the tracing of literary history, and ... political criticism". Literature was approached and literary scholarship did not focus on analysis of texts.[3]

New Critics believed the structure and meaning of the text were intimately connected and should not be analyzed separately. In order to bring the focus of literary studies back to analysis of the texts, they aimed to exclude the reader's response, the author's intention, historical and cultural contexts, and moralistic bias from their analysis."

"In response to critics like Hawkes, Cleanth Brooks, in his essay "The New Criticism" (1979), argued that the New Criticism was not diametrically opposed to the general principles of reader-response theory and that the two could complement one another. For instance, he stated, "If some of the New Critics have preferred to stress the writing rather than the writer, so have they given less stress to the reader—to the reader's response to the work. Yet no one in his right mind could forget the reader. He is essential for 'realizing' any poem or novel. . .Reader response is certainly worth studying." However, Brooks tempers his praise for the reader-response theory by noting its limitations, pointing out that, "to put meaning and valuation of a literary work at the mercy of any and every individual [reader] would reduce the study of literature to reader psychology and to the history of taste."
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AfterHours



Gender: Male
Location: originally from scaruffi.com ;-)

  • #33
  • Posted: 01/31/2018 08:32
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Going back to my original point, which was in partial, but respectful, contention with Amir's point about people proclaiming TMR's significance...

I will say that those not extensively familiar with Trout Mask Replica (and perhaps the history of painting too) are far less likely to agree with what I said. Most people consider the album a joke or mistake, but aren't familiar with it enough to recognize that it's, at the very least, a very profound, extremely elaborate and insightful, stunningly creative and intentional, joke or mistake. I would also say that the previous points I list (1-4) are prerequisites to illuminating this in its full glory, and that one should listen to it with those (especially 1 and 2) in mind at virtually all times, as they are virtually 100% prevalent, in varying guises, throughout. If successfully done (which is not too difficult once one has a basic acclimation to the work), the level of significance, its astounding emotional and conceptual depth, should become increasingly apparent until the work is completely overwhelming. And then the rest of what I said might make more sense, if it doesn't already.
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Puncture Repair





  • #34
  • Posted: 01/31/2018 12:36
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Tap wrote:
it's totally scrutable tho https://youtu.be/-FhhB9teHqU


"critics attempting to write about this album tended to rely, excessively in my view, on emotional descriptors of what their experience of listening to it is, which doesn't always help us to get a handle on exactly what is going on"

"if you're a music student and you haven't sat down and listened to this entire record, which is 80 minutes long, at least 4 times, then your musical education is woefully incomplete"


holy shit what a dead outlook on music. I'm guessing this guy is wearing a suit because he's an accountant and also likes to spend his free time fully appreciating good algebra equations
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glynspsa



Gender: Male
Age: 52
United States

  • #35
  • Posted: 01/31/2018 13:01
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This is a great summation of trout mask in my humble opinion. Awesome write up.

AfterHours wrote:
sethmadsen wrote:
AfterHours wrote:
Amirkhosro wrote:
He wasn't just doodling on a piano though. The individual guitar and bass lines are beautiful and creative with well-defined structures.

He's definitely just doodling on the sax though =)))

There's a persistent myth going around that Beefheart composed the entire thing during 8 and a half hours on a piano. The myth was created by himself in a Rolling Stone interview. According to John French, each song's first piano sketches took a few hours to make, and then months to develop as the band practiced the music non-stop. Kinda sucks that he didn't tell this instead of "I made this all by myself in 8 and half hours" as a marketing strategy. Maybe he would've been much more popular if he wasn't so extremely egotistical. Still, the music's dope and fun to play despite whatever some hipster douchebags claim about how the secret to the meaning of life is hidden deep under its non-existent "indecipherable structure" which only unlocks itself to those with the best of ears. For fuck's sake, the guy's singing about going up to the mountain with his wife (which rhymes with life!) on a bunch of dirty-ass delta blues riffs. They should just straight up dickride Stockhausen or something for this kind of horseshit posturing.

Oh she does just like Sister Ray said.


But... But... and I mean this in the least pretentious/douchebaggery way possible: the album does become an extremely profound, even metaphysical, experience, the more one puts it together and becomes acclimated to its parts, and as a whole. This is primarily due to the following:

(1) Beefheart's vocals expand the temporal space of human psychology in relation to its environment -- never before expressed as such in Rock (and not approached to this degree in Jazz or Classical either) -- both by thoroughly dilating its sound with cries for help, animalistic screams/howls, and through a wild, endlessly varied and nuanced expressiveness that unlocks seemingly long-dormant, repressed psychology/forces of nature.

(2) The shape-shifting, extremely physical, tactile and surreal instrumentals/compositions are constantly expressing, both in unison and counter to his vocal expressions, the concept(s) of violent facial/body contortions and of influx/warping of spatial dimensions, his past enacting terrible delusions and scars upon him (farcical and serious) as he is acting them out/acting against this affliction, and these often become akin to "out-of-body" experiences, like he is exploding out of the confines of his skin to express something not possible otherwise.

(3) The endless variation of the music, and its constant flux of vocal and instrumental creativity, while also echoing, reminiscing on previous variations, seems to present an ever-expanding scope of all which came before, turning the whole album into like that of a massive stream-of-conscious.

(4) 1, 2, and 3 combined with the very deep conviction, blues and soul, fundamental to the work.

All of these factors combine to turn the work into an extraordinarily offbeat, insane, metaphysical experience, which expounds relentlessly and endlessly on the thoughts and expressions of a crazed, madman into a whole that is impossibly profound and powerful, of endless detours, an endless domino effect of its own insanity trying to break free from its own skin.


To what end?


The end of madness actually. In an ultimate dichotomy, it uses the craziest, most indecipherable constructions towards reverse ends. It pits one's own innate recognition of truths, of patterns, of palatability -- against compositions that go as far as possible to distort these things, while also still barely maintaining it just enough to be recognizable. It erects madness and nonsense into an ultimate in metaphysics, into a relentless venture for truth, the truth of one's life, of one's self, Beefheart himself as the surrogate and conveyance. Beefheart represents a state of mind relentlessly unraveling but also (impossibly) as a means to some final existential, ultimate truth. It is simultaneously the greatest satire in the history of art upon "profundity" while also perhaps its greatest exponent.

It represents the point in the history of art when the purposes of High Art (like that of Beethoven, Michelangelo, etc) and the "pointless" works of Modern Art (like that of Picasso, Duchamp, Warhol, Pollack) finally met on equal ground and created their supreme masterpiece in an impossible display of equivalence.
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  • #36
  • Posted: 01/31/2018 17:18
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Puncture Repair wrote:
"critics attempting to write about this album tended to rely, excessively in my view, on emotional descriptors of what their experience of listening to it is, which doesn't always help us to get a handle on exactly what is going on"

"if you're a music student and you haven't sat down and listened to this entire record, which is 80 minutes long, at least 4 times, then your musical education is woefully incomplete"


holy shit what a dead outlook on music. I'm guessing this guy is wearing a suit because he's an accountant and also likes to spend his free time fully appreciating good algebra equations


yeah looking at what's actually happening in music is boring I'm sorry for bringing it up here. what kind of a heartless nerd would be interested in that
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Lastings



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  • #37
  • Posted: 01/31/2018 18:25
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that's right, the mascara snake, fast and bulbous.
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Skinny
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  • #38
  • Posted: 01/31/2018 18:47
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Tap wrote:
Puncture Repair wrote:
"critics attempting to write about this album tended to rely, excessively in my view, on emotional descriptors of what their experience of listening to it is, which doesn't always help us to get a handle on exactly what is going on"

"if you're a music student and you haven't sat down and listened to this entire record, which is 80 minutes long, at least 4 times, then your musical education is woefully incomplete"


holy shit what a dead outlook on music. I'm guessing this guy is wearing a suit because he's an accountant and also likes to spend his free time fully appreciating good algebra equations


yeah looking at what's actually happening in music is boring I'm sorry for bringing it up here. what kind of a heartless nerd would be interested in that


That second quote is unnecessarily elitist, in fairness.
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  • #39
  • Posted: 01/31/2018 18:57
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it's directed at music students, not a general audience tho. not like "oh I'm a student of music, I listen to everything", actual music students
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Skinny
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  • #40
  • Posted: 01/31/2018 19:02
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Tap wrote:
it's directed at music students, not a general audience tho. not like "oh I'm a student of music, I listen to everything", actual music students


Yeah, but even a music student can't listen to everything. People choose different paths and disciplines, and labelling somebody "woefully" uneducated because they're unfamiliar with a particular piece or record isn't exactly the best way to engage people imo, but whatever.
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