What are some good mentally taxing, abrasive, and or challenging albums...

what are some good mentally taxing, abrasive, and or challenging albums? I'm primarily looking for growers that aren't listener friendly.

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theres a dichotomy between noise albums that use noise as a gimmick to be abrasive and off putting and noise that uses it to explore new sonic territory and make music that actually sounds good

uh i fucking forget what it is but solve the noise music dichotomy and you will find what you seek

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>theres a dichotomy between noise albums that use noise as a gimmick to be abrasive and off putting and noise that uses it to explore new sonic territory and make music that actually sounds good

I've been struggling w/ this for years desu

thanks, user

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here's some personal favorites
the rita/bone awl - split
>if you like this check out the rest of the rita's discog, I'm mostly reccing this because it doesn't get enough love from the rita fans I've talked to
dual action - nightmare angel of the expressways
>probably the most accessible here aside from its length, it's an excellent release regardless
francisco lopez - untitled #104
>most of his stuff borders on inaudible, this is a rather unusual one in his discog. I'd recommend checking out his website it has descriptions of loads of his releases
aube - throb in manic red
>every aube album based on the sounds of the body is good but this is my most recent favorite of them, cardiac strain is his most popular album and its amazing. read up on the concepts behind his works
neoandertals - ebu gogo gutting the child
>I know this is a /metal/ meme but under the layers of muddy bass the drums are doing some really interesting shit in the context of death metal

there's more interesting difficult music out there than noise

Smile from the streets you hold

Ruins
youtube.com/watch?v=1_-XDDPCu28

Lots of avant prog really but Ruins are one of the weirdest and most off-putting bands

this is a fascinating exploration of the various sounds a double bass can make. most of the structure comes from remixing the sounds after recording them to create a soundscape-y album occasionally centered around rhythmic sounds. if this kind of structure ends up appealing to you check out pretty much everything else released on subtext records, some of the later emptyset EPs and paul jebanasam - music for the church of st john the baptist will be the closest things to this album released there

this is a fucking weird album. I've heard it called technical doom metal and that's not a terrible description but unlike a lot of techwank it's not just empty showmanship there's a lot of unusual and interesting melodic ideas that contain loads of detail to pick apart across repeated listens. Many of the people I've talked to about this album are turned off by the weird, unnatural falsetto vocals so try not to let them throw you cause once you get past them this is quite a rewarding listen.

Swans - filth

youtube.com/watch?v=BV1SLw6FXRw

youtube.com/watch?v=CKq8DkBk_GA

that's really pretty accessible

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My friend hated it because he thinks that microtones are just detuned 12 tones.

Most people on this board have probably already listened to this, but if you havent you definitely should

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Yeah but as far as microtonal music goes that's the light end of it.

youtube.com/watch?v=wF50so3nWJk

They are

>memeandertals - ebu gogo memeing the meme
Discount store Cause For Effect

If you liked you should try pic related. Although I feel going for insane-sounding extreme metal is cheating a bit

no dumbass, the point is to use entirely distinct intervals that are in tune

The best works of the four industrial greats (Throbbing Gristle, Cabaret Voltaire, Nurse With Wound and Coil) managed that, I think.

also if you like that kind of timbre exploration you should check out much of gaspar claus' work. He's the son of a famous flamenco guitarist and has been classically trained on chello from a young age but had something of a crisis about the limits of a classical education, i believe in his 20s. from that point on he studied improv and a variety of folk musics. pic related is one of his collabs with a variety of japanese experimental musicians. this has an interesting structure that puts a lot of focus on punctuated silence and the slow addition of various elements.

Yes, and those intervals are detuned 12 tones

youtube.com/watch?v=qIu2nAnOKZw

That album is fun as fuck, are you kidding?

this has to be the single handed greatest album cover of all time

no, comparing it to 12 equal is nonsensical; if you're using 31 equal or 11 limit just intonation or whatever it has nothing to do with 12 equal

Pretty much all major works by Stockhausen 1955 - 1975. Mikrophonie I & II (1964/65), Hymnen - Elektronische Und Konkrete Musik (1966) and Aus Den Sieben Tagen (1968) are particularly taxing.

The point is that any note outside of the 12 tone is just slightly above or below a 12 tone note. I can say that western standard 12 note is detuned with respect to 12 notes that are a quarter tone below or above each of the western standard 12 notes, and I can say the opposite: Neither is really correct, but then again neither is really wrong.

Not for people who are new to metal, nevermind experimental/overtly technical metal.
Oh it's up there for sure

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Its well-known, but this album took so many different tries for me. Absolute fucking nonsense the first listen.

Être Dieu - Opéra-Poème Audiovisuel Et Cathare En Six Pparties, by Igor Wakhévitch and Salvador Dalí

You can play it that way on a normal keyboard (provided you don't need more than 12 notes per octave), but from a theoretical perspective it makes no sense at all to think of intervals like that. And moreover thinking of it that way just implies that it's normal music only out of tune.

you need to really widen your perception of what music can mean and what can be done with a guitar to appreciate this

maximalist, dramatic, baroque, dynamic, unpredictable, heterogeneous; I've never been able to find an album that sounds like this one

Fred Frith too
youtube.com/watch?v=1ZpZXDzSqkw

Anton Webern's Ops. 5, 6, 7, 9 &10, Schönberg's Ops. 15, 16, 21, 24, 26 and 30, and Alban Berg's Ops. 3, 5, 6, his opera Wozzeck and his Chamber Concerto For Piano And Violin With 13 Wind Instruments are some of the most challenging music of the frist half of the XXth century

Yeah, but even with all his amazing prepared pyrotechnics, he always has a way of subtly introducing rhythm and melody into his improvs. His instinctive use of harmonics and his ability to actually repeat the sounds he makes (live) makes him much less hermetic and alien than Bailey.

Galina Ustvolskaya
youtube.com/watch?v=Gw9ni9zXc7A

That is one angry woman

I can't believe all these years I have been able to play Galina Ustvolskaya's piano sonatas without even knowing who she was

The original master

After Obscura and Fas... this is the most hermetic piece of extreme metal