I NEEDS Me A LiveJournal Enema!!!
After having actually taken the requisite time to post on this site about the death of Anna Nicole Smith, which seems a bit to me like someone raping THEMSELVES, figuratively-speaking, AND having nothing of substance to wax UN-retarded about in the meantime, here’s a quickie that I’m rationalizing to myself as being dedicated toward the end of cleansing my LiveJournal palate-rather than the more OBVIOUS explanations of A) pure laziness, and/or B) disenfranchisement with an expressive outlet, the “expressive” element of which is nullified by the fact that no one ever visits this site.
So! In the interests of well-manicured states of denial, I at LEAST endeavored to choose some media that I felt a certain actual kinship with. And, being that my professional ladyfriend and I have been more and more getting into the scenic rejuvenation mode (aka the “Let’s get the fuck out of hippie Dodge!” mode), and our tentative moving plans seem to be aimed Seattle-way, the thought of finally getting back into musical performance struck me. Hence! Here are two sources of pretty constant musical admiration from myself: Andrés Segovia and The Jesus Lizard.
While I enjoy both thoroughly, I must admit their mutually-enjoyed status is quite disparate. Andrés Segovia is a certifiable INFLUENCE on my own guitar stylistics, while I simply discovered (somewhat past my “ingestive prime,” technique-wise) The Jesus Lizard after-the-fact, and very strongly agree with their aural approach. It’s ALMOST like I heard a whole slew of their songs in some unconsciously-rendered condition, appreciated it but took no conscious notice during parallel technical study of similar OTHER groups, and RE-ingratiated myself into them at a later date. Either way, both acts represent core constituencies of what I would, one day, like my own musical offering to sound like.
If I were forced, upon pain of reading further Anna Nicole Smith developments, to throw a preliminary guesstimate out into the ether as to what said future “project” might aurally sound like, in its most distilled and generic description (for those who are interested), I’d probably say the following:
Segovia The Jesus Lizard TOOL (when they DIDN’T suck) Hendrix (...plus “Angel Dust”-era Faith No More, Primus, Enya, The Dillinger Escape Plan [sans the vocals, naturally], and DannyElfmanTheatricalScoresPanteraFrankZappaAnd16thCenturyACappellaPolyphonicMadrigals)
Fairly generic… Regardless! Here, in their elementally-disparate presentations, is half-give or take-of said future über-group’s signature sound. Until I get the motivation back to begin tweaking the evermore-static nature of this anti-blog, I hope this will be entry enough to allay the creeping apathy those two-to-four of you diehard Cunninglinguyst readers must be experiencing, lo’ these last few lean weeks of non-updatage. And if it DOESN’T? Blame Anna Nicole. A societally-dystopic retardation critic is nothing without his foil…
Boner petite!
So! In the interests of well-manicured states of denial, I at LEAST endeavored to choose some media that I felt a certain actual kinship with. And, being that my professional ladyfriend and I have been more and more getting into the scenic rejuvenation mode (aka the “Let’s get the fuck out of hippie Dodge!” mode), and our tentative moving plans seem to be aimed Seattle-way, the thought of finally getting back into musical performance struck me. Hence! Here are two sources of pretty constant musical admiration from myself: Andrés Segovia and The Jesus Lizard.
While I enjoy both thoroughly, I must admit their mutually-enjoyed status is quite disparate. Andrés Segovia is a certifiable INFLUENCE on my own guitar stylistics, while I simply discovered (somewhat past my “ingestive prime,” technique-wise) The Jesus Lizard after-the-fact, and very strongly agree with their aural approach. It’s ALMOST like I heard a whole slew of their songs in some unconsciously-rendered condition, appreciated it but took no conscious notice during parallel technical study of similar OTHER groups, and RE-ingratiated myself into them at a later date. Either way, both acts represent core constituencies of what I would, one day, like my own musical offering to sound like.
If I were forced, upon pain of reading further Anna Nicole Smith developments, to throw a preliminary guesstimate out into the ether as to what said future “project” might aurally sound like, in its most distilled and generic description (for those who are interested), I’d probably say the following:
Segovia The Jesus Lizard TOOL (when they DIDN’T suck) Hendrix (...plus “Angel Dust”-era Faith No More, Primus, Enya, The Dillinger Escape Plan [sans the vocals, naturally], and DannyElfmanTheatricalScoresPanteraFrankZappaAnd16thCenturyACappellaPolyphonicMadrigals)
Fairly generic… Regardless! Here, in their elementally-disparate presentations, is half-give or take-of said future über-group’s signature sound. Until I get the motivation back to begin tweaking the evermore-static nature of this anti-blog, I hope this will be entry enough to allay the creeping apathy those two-to-four of you diehard Cunninglinguyst readers must be experiencing, lo’ these last few lean weeks of non-updatage. And if it DOESN’T? Blame Anna Nicole. A societally-dystopic retardation critic is nothing without his foil…
Boner petite!