Oh Pleasant Din

Reign in Acai

Of Elephant and Man
Jun 25, 2003
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Favela of My Dismay
Music is subjective, so what one may find enjoyable, another may find cacophonous. Talking objectively from a wave of trash cans thrown against a dumpster being pushed off a bridge here. Should music always be pleasant to the listener, or is there a place for albums one finds irritable, cacophonous, and claustrophobic? Personally speaking, theres zero place for any music that gets on my nerves. I got people I have no choice to be surrounded by, and situations in life I choose not to be in. I dont need or seek music to grate my nerves.

To those who enjoy cacophony (many albums are affectionately labeled as such in the non-pejorative), what do you feel?
 
I'm not as into Weird Shit as I once was, but brother, there was a time. For me it was always the pleasure of dissonance going against whatever grain it railed upon. But only if I enjoy the actual sound itself of course, just like any other music.

If something agitates me I'm not into it. That is typically reserved for happy sounding shit to mine ears. Upbeat ukulele indie pop? I have become physically violent toward such things.

THAT BEING SAID, unpleasantness has often lead to great art. On one particular Sunn O))) album, Xasthur Scott recorded the vocals from inside a coffin. Yeah sure that's a gimmick (in heavy metal? surely you jest!), but the whole point was the guy is extremely claustrophobic so that brought out a certain uncomfortable performance that slays on the record.
 
Like others have said, even cacophony needs some dynamics or some variation. There's some 80's industrial/noise stuff that is tough to listen to a whole album's worth but even SPK has some contrast within the noise-. I would agree with Erik's uncomfortable over irritating take--i would add exhausting or draining to that as well (albums you listen to rarely--Metamoprhogenesis comes to mind) Like I said in another post, there are plenty of movies that are exhausting to watch or books that are draining to get through but still still very worthwhile and pleasurable but just in a different way and a consumed in a different context.
 
This is why I don't listen to Reverorum ib Malacht much. I appreciate it, but I just don't find it that enjoyable...it's actually kind of exhausting and a little nauseating. I've never been into really avant-garde/noise/ambient/experimental/etc. stuff. I guess my tastes are simple. I just stick to the traditional subgenres and I'm pretty content with that. I guess this response equates "weird" stuff with cacophony, but that seems to be generally what others are implying here as well.
 
Haha yeah I haven't thought about that site in years. I remember ending up there many times when trying to find info about a band or an album in the early 2000s, so it must have been a semi-decent source of info, when there wasn't much else - although reading back about it now, it seems like it was basically run by a bunch of lunatics.
 
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the reviews were absolute garbage. endless run on sentences and the same two dollar words in every fucking review. it was people who didn't understand philosophy namedropping philosophical concepts; people who didn't understand music theory trying to use music theory terms (iirc "chromatic" was a fav, as if it was insightful to constantly remind everyone that yes, death metal does have a lot of chromatic riffs actually)

here's the first random review i pulled off archive.org
A unique fragment of the New York Death Metal sound was birthed with the first album from Immolation which wrought from complex and specific structures enwrapping rough chromatic death metal riffing an emphasis on the content of each song. Thunderous hollow vocals and exact percussion frame the rushing chaos of intricate riffs and extended thematic conclusions which synergize to form sensibility.


With a taste for the fast strumming of southern bands but an emphasis on the pounding rhythm of death metal worldwide, Immolation made from the sludgy metal of the northeast a style of riffing which brings out the tugging, dragging, tearing influence within otherwise fast riffing, allowing the band a flexibility of emotion within their ability to hammer out ripping vertiginous phrasing. Songs introduce concepts and return to them in accents through a cyclic exchange of motion in the various directions employed to route a cluster of riffs into familiar verses and choruses.

Unabashed in their desire for speed songs undulate within a theatre of growth and change, setting each scenario in listener consciousness with the symbolism of shaping and tone expressed in nihilistic but universally human riffing, and in this drama of the conflict within space is given to differing speeds including a raging blast. To the credit of the percussion department, beats incorporate more than one texture and use balanced internal emphasis to conserve momentum.

On their first album, Immolation can be seen making the transition from the straightforward death metal of their demo to a new and technical style within the advancements the death metal genre was to make in the early 1990s, seen most prominently on the newer songs on the first half of this release. Their strengths in perceiving existential consciousness and creating it in the shapes and vibrations of the communicating structure flower greatness throughout this album as groundwork for what is to come. In this motivation toward evolution as in all of its songs, this release shows a cognitive grasp of the spirit and strength of metal.

this is far from the worst example iirc but lmao
 
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Introductory fragments meld into raging muffled chord playing which reverts to the pure streaming of smooth guitar textures created via tremelo playing at high speed, before fountaining into harmonic possibility and dissolving into chaotic and dissonant but expectant, fertile space for new motion. Depth of partially oppositional sounds enhances mood like descent into an uncharted cave. Transitory themes become reality in thunderous revelations, and unfurling riff progressions culminate in sensible yet abstractly inverted visions of theme. Over this the roar of solid connection in impact is rendered through vocals guttural yet pneumatically projective.