People don't actually unironically listen to this trash do they?
Also I've been under a rock for the last month, I miss any major released other than blackstar?
I mean you just gotta put it under a microscope to understand it. After you understand how everything comes together. You start to enjoy it. You start enjoying it then you start remembering guitar parts. The guitar parts become second nature so you focus on the drums. The drum parts are burned into your brain next. However, you realize that there is a hobo yelling lyrics at you for two hours. So you think to look into the lyrics and see how dadaist and Beef-heart were. You explore the Dadaist movement and it's influence on the art world and music. You find new music to listen to and you expand your pallet. Then a year or so later you remember TMR. That is when you consider it a masterpiece or maybe even the best album of all time.
yeah but the Dada movement was deliberately shit art so... have we come full circle to finally admitting TMR is garbage?
The Dada movement was the revolt of art at the time. It was a message from artists from WW1 to the society at large. TMR is kinda a rebellion. It is a rebellion against Record companies and shit taste. It is also a rebellion on your shit opinion and posting.
the most famous piece of Dada art is a fucking urinal turned on its back, dated and signed. you are correct that it was a rebellion it was basically early 20th century trolling of the art world. its interesting and important to art history but thinking of it as some act of artistic genius is pretty ironic to its ideals.
Different people have different tastes.
Learn to respect the fact that some people enjoy trout mask replica.
Personally, i haven't heard TMR in ages, but i thought it was not "that bad" and not "that spectacular". it certainly was interesting though.
I really need to relisten to it, to be honest.
>implying >>61572525 isnt completely on point about it being musical Dadaism
>implying you "get" the musical equivalent of a urinal
there isnt anything to "get" when you realize that you have gotten it.
Trout Mask Replica is tremendously complex, and it's a required taste. They recorded 20 tracks in a 5 hour session when they went into the studio. The reason to this being that Captain Beefheart made his band members practice their parts for months, doing 14 hour practice sessions, just to get the intricate parts together as Beefheart wanted. It may sound random at first but the album is as far away from a jam session as they get.
Frank Zappa has talked about the album in several interviews, some pretty enlightening towards the complexity and hard work that went into this masterpiece.
I'm lazy and a lot of them are from litterature as well. Just be creative with google and see where it takes you. I have a short audio recording of him talking about it briefly (poor quality) which can be found if you google frank zappa trout mask replica quotes.
Other than that it's mostly from litterature. Some snippets can be found on the killuglyradio wiki if you google "zappa talks about trout mask replica", without the quotations.
What Zappa said of the album and working with Beefheart;
"...The high point of our relationship (according to Rolling Stone -- and aren't they some kind of authority on these matters?) was making the Trout Mask Replica album together in 1969. Don [van Vliet] is not technically oriented, so, first I had to help him figure out what he wanted to do, and then, from a practical standpoint, how to execute his demands. I wanted to do the album as if it were an anthropological field recording -- in his house. The whole band was living in a small house in the San Fernando Valley (we could use the word cult in here). I was working with Dick Kunc, the recording engineer on Uncle Meat and Cruising with Ruben & the Jets. To make remote recordings in those days, Dick had a Shure eight-channel mixer remounted in a briefcase. He could sit in a corner at a live gig with earphones on and adjust the levels, and have the outputs of the briefcase mixer feeding a Uher portable tape recorder. I had been using that technique with the M.O.I. for road tapes. I thought it would be great to go to Don's house with this portable rig and put the drums in the bedroom, the bass clarinet in the kitchen and the vocals in the bathroom: complete isolation, just like in a studio -- except that the band members probably would feel more at home, since they were at home. We taped a few selections that way, and I thought they sounded terrific, but Don got paranoid, accused me of trying to do the album on the cheap, and demanded to go into a real recording studio. So we moved the whole operation to Glendale, into a place called Whitney, the studio I was using at that time -- owned by the Mormon church.
I've listened to it a few times and its chaos, but because of that it is an interesting album. Of course the history behind the group and album is also interesting to say the least. Its cacophony, but that was its intention. Beefheart was a mad control freak from what I've read.
The basic tracks were cut -- now it was time for Don's vocals. Ordinarily a singer goes in the studio, puts earphones on, listens to the track, tries to sing in time with it and away you go. Don couldn't tolerate the earphones. He wanted to stand in the studio and sing as loud as he could -- singing along with the audio leakage coming through the three panes of glass which comprised the control-room window. The chances of him staying in sync were nil -- but that's the way the vocals were done. Usually, when you record a drum set, the cymbals provide part of the 'air' at the top end of the mix. Without a certain amount of this frequency information, mixes tend to sound claustrophobic. Don demanded that the cymbals have pieces of corrugated cardboard mounted on them (like mutes), and that circular pieces of cardboard be laid over the drum heads, so Drumbo [ John French ] wound up flogging stuff that went "thump! boomph! doof!" After it was mixed, I did the editing and assembly in my basement. I finished at approximately 6:00 A.M. on Easter Sunday, 1969. I called them up and said, "Come on over; your album is done." They dressed up like they were going to Easter church and came over. They listened to the record and said they loved it. The last time I saw Don was 1980 or '81. He stopped by one of our rehearsals. He looked pretty beat. He had gone back and forth with some contracts at Warner Bros., and it just hadn't worked out. I suppose he is still living in Northern California, but not recording anymore. He bought some property up there -- someplace where he could see whales swim by.
-Frank Zappa, The Real Frank Zappa Book
I love how musicians seem to know fuck all about mixing. Like that story about how iggy pop gave Bowie three tracks for raw power: The entire rhythm section, the lead guitar and his vocal track, and expected him to "mix it". Lovingly Bowie didn't even call him a chucklefuck, he just told him "Jim, there's nothing to mix".
when your shitpost turns into a semi decent conversation
I'm terribly sorry if I sound like an uncultured twat here, but I've always wondered how exactly do you listen to something ironically? If you enjoy a sound, listen to it, right? Is there something I'm missing here?
This goes for doing anything "ironically". It's just insecure, opinionless, (dickless?) idiots who does anything ironically. If you're going to listen to something shitty, like a Scooter album, own up to liking it, or use "I was cuious" as a safety net instead.