>listens to tago mago
>proceeds to rate 5/5 on RYM
>gets called out for being pretentious by /mu/tants
>walks away from PC to go to the bathroom
>spaghetti falls out of pocket
>slips on spaghetti
The second half is inspired from free jazz dumbdumb not musique concrete!
I like both sides of Tago. I fucks with krautrock. I fucks with musique concrete. I fucks with Free Jazz.
Yea i agree with this. I even like stupid Frank Zappa's stupid musique concrete but that was too much. But hey, weird people like Lester Bangs loved that shit.
Great album, close to perfection in that A side.
Not him but Tago Mago and Future Days were/are way more influential, original and experimental from an artistic viewpoint, so they're """"" objectively """" """" better """". Whereas Monster Movie wasn't something really new or grounbreaking but for some it's definitely more enjoyable as a whole.
Sorry I'm far from articulate when discussing music. I guess what I'm trying to say is Tago Mago is far more complex and technically varied than Monster Movie, therefore more important for the innovation of art music. Monster Movie, though still technically impressive, is basically a collection of great tracks with really fun lyrics.
Sorry again for this awful explanation.
literally i'm white and i dont know what free jazz is nor am i able to recognize music that is influenced by it: the post
faggot stick to entry level music concrete you listen to to make it seem like it's not that you don't get it brah xD
cuck pussy bitch
Tfw someone doesn't understand how good your taste is
>that transition from Paperhouse into Mushroom
Makes me smile every time
>I'm a fan of Faust and other musique concrete
Thanks for mentioning this, it really validates your opinion. I'll stop liking the second half now, because a fan of Faust and musique concrète on /mu/ told me it was bad (even though Stockhausen praised it).
>weird clanging noise in Mushroom
>ending of Oh Yeah
>5:54 minutes into Halleluhwah
This is the worst post I've ever seen on mu
>explains the confusion of the second half of the album being akin to free jazz instead of musique concrete, then mocks the original person's post, then posts the kind of free jazz that the music comes from
>worst post of mu
...this place would be so much better if people weren't so retarded they couldn't read
Why is Stockhausen's praise relevant then? I never said it was musique concrete I just said I enjoyed musique concrete. I think there's a lot of crossover between free jazz and musique concrete.
That anon was clearly trying to illegitimise Aumgn's stance as a good example of electronic sound art under the pretense that he knows what he's talking about since he listens to Faust and "other musique concrete", and is therefore in a position to dismiss any works he deems as inferior. I'm just pointing out that, since one of the leading figures in 20th century electronic avant-garde music praised Aumgn (without knowing two of his students were involved in its composition), he isn't really in any such position at all.
If anything, the fact that Schmidt and Czukay studied under Stockhausen only furthers my point.
I don't see that much free jazz influence in Aumgn. Peking O, definitely.
Obviously neither of them are musique concrète.
what do people like so much about halleluwah? not even trying to bait, i'm genuinely curious cause i just don't get it. don't mind augmn though it's a little long, peking o is cool
just work your way back, everything from monster movie to ege bamyasi is worth listening to