quoted 3 lines Of David.Seruyange@bubbs.biola.edu
>> Of David.Seruyange@bubbs.biola.edu
>> I guess this works for Spooky, who I think sometimes wants to weed the
>> weak out in the beginning by playing really challenging shite... [snip]
This happened when Spooky played in Boston a couple of months ago.
Unfortunately, whoever booked the evening scheduled him in between a pair of
very formulaic guitar rock/industrial acts; Spooky assaulted the audience
with extremely painful shotgun-blast speedsnare and high-end feedback. After
about an hour, the soundman turned him off (the club had a schedule to
keep). It was a bummer, but there was a lot of intellectual fat to chew on
in what he did play.
Luckily, Spooky's returning to Boston in late April as a headliner, so
hopefully the venue will make for a more friendly atmosphere (once he's done
"weeding out").
As far as what Chris Fahey said about Spooky wanting to sound "more
intelligent than you", I'd agree, though I think there's a place for that.
Compare: Would you learn anything from a teacher who didn't (at least
provisionally, or temporarily) seem to be more intelligent than you? And the
overdetermination of the musical technique through his use of postmodern
criticism, while it can get irritating (and Spooky's grasp of the
philosophical tenets seems shaky), shows to me that you can't really analyze
the music without also treating the literature; pomo crit is a sufficiently
large part of Spooky's intellectual landscape that it would be a disservice
to avoid the issue. Of course, a strong dollop of pretentiousness goes along
with the crit, and unavoidably so, I believe.
chris tweney cat@pobox.com
--
Boston low-end theory: drum 'n' bass, illbient, dub, abstract breaks, and
more at
http://www.tiac.net/users/ctweney/lowend