Scaruffi on, "Yanqui U.X.O"

>Yanqui U.X.O was a collection of glacial, colorless holograms with no dramatic content, massive black holes that emitted dense, buzzing radiations.
>no dramatic content

How the hell did he get that from Yanqui U.X.O? That makes literally no sense.

he just makes it all up. probably doesn't even listen to the music

He probably doesn't care about Godspeed, so he listens to each record once, and then bases it off of that. Which is why all of their albums get a 7/10, because he doesn't care.

If you think Scaruffi is anything but a really euphoric narcissist who thinks he knows everything about anything when he really makes shit up, whether it's music or fucking philosophy, you're not very intelligent. How he managed to trick so many people into thinking he actually knows what he's talking about is beyond me.

Say what you will about Fantano but he's a much better reviewer.

A 7/10 is a pretty generous review for Scaruffi.

scaruffi is such a fucking pleb
he's just a dadrocker who's taken his meme taste to the most autistic lengths possible

t. Beatles fan

If you honestly think Fantano is better than Scaruffi you are honestly as pleb as possible.

>Say what you will about Fantano but he's a much better reviewer.
kill yourself redditor

I actually think this observation is spot on and it's my favourite godspeed album. Honestly I don't see how what he described is a bad thing, i'd even say it's the opposite since we're talking about a gy!be record

if he didn't care it would be a 5 or a 6. A 7 is a really good score

plebs

i mean his favourite album is TMR so that says a lot about his music taste

its fucking shit

well, i don't care which one is a better review but death grips sucks balls

Like bruh how the fuck you stuck on an island with Trout Mask Replica and enjoy that shit past 1 play?

How to write like scaruffi:
Album 1 - 6/10
Album 2 - 8/10
Album 3 - 4/10
Album 4 - 3/10
Album 5 - 3/10

Album 1 (year, label) was juvenilia that contained nothing particularly revolutionary. Album 2 (year, label) was a masterpiece worth of Beethoven. Artist's effulgent miniatures provided a staggering tribute to the history of rock music. Their effervescent rhythms interwove with band member's tragic melodies, which transcended the era to create a timeless work of art. Band member's violin soars to stratospheric heights on track 3, almost touching the edge of heaven. Track 6 is a cacophony of light and sound that serves as a primer for the dreamlike, amaranthine ambience of track 7. Album 2 was one of the most important albums of the decade. Album 4 (year, label) reached for the heights of Album 2, yet unfortunately fell well short. Album 5 (year, label) was not particularly revolutionary.

>Defending Godspeed and insulting Beefheart
God damn kids 24/7.

How about posting the whole review you fucking jackass.

Despite the agit-prop emphasis, Godspeed's Yanqui UXO is an album of instrumental music for relaxation, a parade of still images that tells no story, a collection of delicate holograms that have no dramatic content (new age music for aspiring suicide bombers?) Each of the five lengthy instrumental tracks (no processed vocals this time) of this 74-minute disc engages in a process of self-replication that displays little interest in development. There is only one notable exception: Rockets Fall on Rocket Falls, one of the few pieces to match the intensity of Gordon Mumma's nightmarish war requiem, Dresden Interleaf (1965). But the rest is glacial, reflective, restrained, static. Colorless, anemic. Massive black holes that emit a dense, buzzing radiation. Not implacable (like the political premises would entail) but indifferent. Sure, the first part of 09-15-00 is shaken by a sinister crescendo. Sure, Motherfucker= Redeemer begins with a wall of distortions. But they quickly descend into an artistic torpor that resembles narcotic stupor (particularly the second part of 09-15-00). The second part of Motherfucker= Redeemer is rarified and dissonant like a Pierre Boulez piece without the sharp tones and the tempo changes. Previous Godspeed compositions would ebb and flow, and eventually explode via a dramatic sequence of volume shifts: now they simply catalog their own existence.
It is not difficult to imagine how this works. The band meets in the studio with a database of sound effects and arrangements that they want to introduce in the song. The song is shaped not based on a concept of what the song should be but on the database of sounds. In order to fit all the ideas, the song has to stretch over several minutes. There is no "song": there is only a container of sounds.
This is no longer a rock band in search of a sensational effect: this is a chamber ensemble in search of transcendental counterpoint.

it's not dramatic, no, it's slow growing and always eerie
like there's no calm part and then a big explosion: it's always eerie
that's his point

this is pretty good

scaroooofi is for pseudo-patricians

kys, all of you

so this is what Sup Forums is now

filtered

scarooofi is for pseudo-patricians

that's better

You tried...