THE TOP 3

which one is your favorite and why?

my favorite is rock bottom. I unironically think its the greatest achievement in rock music.

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tmr is fun
rock bottom is fucking boring as fuck
faust is fun

>THE TOP 3
Of shit?
>I unironically think its the greatest achievement in rock music.
t. I don't know music theory

we are talking about rock, of course it's not going to adhere exactly to music theory
go derail another thread, autist

>rock bottom is fucking boring as fuck
pls

newfag here, what does t. mean?

are you implying that jazz fusion and prog don't require a high level of musicianship?

treat it as "this is coming from"

thank you

everyone has a different idea of what constitutes "boring" or not. i find rock bottom to have much more replay value than the other two

amen

TMR is quite flawed in how its mixed. The roughness and the overly dominant vocals make it so each individual part isn't as optimized in terms of what it offers to the overall sound.

Rock Bottom has a phenomenal second half, but the first half isn't even substandard prog, but more like pop music with a large arrangement. While I understand the dichotomy present on the album, that doesn't mean that half of it still needs to be so straightforward and mediocre in its approach.

Faust I is for sure my favorite of the three.The structures, how each part is done, the techniques, everything is extremely well done. Its unconventional mix of electronic, rock, and jazz though will probably make it tougher to get into for first time listeners.

FUCK OFF

I HATE THIS TRASH

ITS NOT FUCKING MUSIC OR ENJOYABLE

FUCK OFF

sorry u cant enjoy them jesus

>we are talking about rock, of course it's not going to adhere exactly to music theory
I don't think you understand what music theory is
Are you implying TMR or Faust is prog/jazz fusion?

TMR for fun.
Rock Bottom for feels.

Both are avant-garde rock, which parallels prog rock in many ways.

>I don't think you understand what music theory is
i'm going by the definition you type of people use, i.e. "what makes classical and jazz sound good"

obvious all musicians know music theory to a degree, if you know an instrument you know basic theory

stop trying to drive me MAD

youtube.com/watch?v=kTvKaLW5bu8

>The first half of Rock Bottom straightforward
>Has Little Red Riding Hood Hit the Road
Wewest of lads, it's the best song on the album.

>which parallels
Not what I asked. try again
>"what makes classical and jazz sound good"
You definitely don't understand what music theory is

TMR is the best there
Wyatt has better works and Faust is definitely pretty overrated and juvenile

excellent comment

>which IS prog rock in many ways

>Are you implying TMR or Faust is prog/jazz fusion?
yes u dimwit

>in many ways that I arbitrarily assign
Wrong

>Wrong
wrong, and not an argument

>not an argument
That's because I already stated it earlier.

You stated something factually incorrect

Tmr > rock bottom >>>>>>>>>faust

just because you stated something does not mean its correct. prove that what i stated is incorrect

rock music is just the sonic equivalent of fucking, you don't need to theorize it

>you don't need to theorize it
If that were true then those aren't the top 3
just because you stated something does not mean its correct. prove that what you stated is correct

Faust is krautrock, which is under the umbrella term of progressive rock. am i wrong?

what are your top 3 rock albums, and don't just say "rock is shit lol"

>am i wrong?
Yes. It's not a genre, it's a scene.
How is this relevant?

Back In Black
Nevermind
Hybrid Theory

Faust is good.
tmr has like 2 good tracks (Frownland and Moonlight on Vermont) but is otherwise shit
I'll have to give Rock Bottom a listen

it is tho. I don't know what to tell you other than it is.

Absolutely Free
Exile on Main Street
Mule Variations

and I agree with him

Explain why completely different sounding artists are under the same genre

progressive rock is a huge genre with a shitton of sub-genres, meaning it has a lot of diversity in sound.
take how Beyonce and Clarence Clarity are both pop as an example. They belong to different sub-genres of the same genre

P O R T L Y
P O R P O I S E

faust is 9/10
beefheart is shit
rock bottom is mediocre

>Are you implying TMR or Faust is prog/jazz fusion?
no, are you illiterate? work on your fucking reading comprehension you dumb piece of shit

A bit premature of me to split it that way, but you're right. Tracks 1,2, and 4 are the straightforward ones, while 3, 5, 6 have the cool crazy shit on them.

>we are talking about rock
>not going to adhere exactly to music theory
All music adheres exactly to music theory if you take more than Music Theory II you illiterate fuck.

Stop this meme, Sea Song is not pop, it's great.

>implying that pop=bad
stop THAT meme first

But Sea Song is not pop.

But Faust s/t isn't even in the top 5 best krautrock albums, let alone one of the best achievements in music.

>completely different sounding
Sounds like someone doesn't listen to enough krautrock. The genre totally has a specific sound to it as a whole and it employs the same techniques and structures, even between the more different sounding artists. Rather than it being a sub-genre of prog rock, krautrock's more like a separate branching from it.

It's like a singer/songwriter pop track with a weird piano solo thing in between. Not to mention how simple the track is compared to everything else in the prog rock/art rock genre at that time.

>all reality adheres exactly to our theoretical model of it
i sincerely doubt that

please think twice before you say something like "music is perceptive/subjective and therefore not real" like some kind of cartesian dualist

this is better than those tho

Also to actually answer the question all are very good, sorta make sense within the context of "compositionally unique" and advancing rock music, but my enjoyment of each is widely variable.

Sometimes TMR just clicks and I enjoy it all the way through but sometimes it's like I've had enough of his shit and it annoys me, also feel like the dynamic range of this album is limited.

Really like Rock Bottom but it's very subtle I have to make sure to pay attention carefully right from the start or I'll miss the whole album by tuning out.

Faust is the most straightforward. It also is a lot more obvious in a lot of ways than the other two in being a masterpiece of rock? I mean it's the most challenging to listen to at first but it makes a big impression when you get into it.

Superior Beefheart coming through

It's more like drone with avant singing. I can't possibly imagine it being brandished as a pop song.

I can't understand what you're saying here. First you doubt that a very generalized version of me saying that music theory can explain most of rock's compositional nature simply from our studies of music and physics and then you think that I am claiming music isn't real. Wouldn't me suggesting music theory is a viable standard of describing and explaining music suggest that I would believe in music being a quantifiable/qualifiable entity? Too confused by what you mean. All I can assume is that you don't know music theory and want to hold onto the illusion of music as this mystical thing that can't possibly be explained.

>drone
Nah, holding a couple notes doesn't just make it drone. The final track's final bit is drone, not this.

>avant-singing
Some dude crooning at a high pitched voice is considered avant-singing? In the 70s when even goddamn Robert Plant was doing it?

Pretty sure topic's just about discussing Scruffle's top three all time and we think of those particular albums. That being said Lick My Decals, Off Baby is for sure my favorite Beefheart.

But the song's not conventional at all. It's lingeirng notes in a bizarre and unsettling tone with bizarre singing (yes Wyatt's voice is relatively bizarre and is not formally pleasing at all, especially his voicing at the end). You simply cannot put something like Sea Song on the radio, it had no popular sound and it still doesn't.

Just because something doesn't sound automatically pleasing doesn't mean it's necessarily unconventional. The concept of dissonance or how bizarre something sounds, without taking into account visceral abrasiveness, is cultural, and thus a shallow marker for anything at all.

By the mid 70s notes lingering around like that was rarely uncommon, and not unusual to see in singer songwriter pop music's background arrangements (ex. Neil Young's arrangements.) Just because it has a slightly dissonant sound doesn't really make it that much different, only from a shallow perspective maybe.