Wednesday, June 17, 2009

still tittering over the title of this Zone Styx post on doomcore and its parallels with various stripes of terminal metal

doesn't the original Black Sabbath Greatest Hits have a Hieronymus B picture on the front? (answer: no -- see end)

i wonder why i so vastly prefer the gloomocore to black metal? must be its residual, negative-image relationship to E culture, the cold rush

talking of which the Mover seems to have returned from his long exile in the land of dairylea


and another interesting post from Styx, drawing a parallel between writers workshops as mutual inhibition milieux with the way that mnml keeps itself on a leash

it probably works this way in lots of music micro-cultures: a sort of collective self-policing system where subtle administerings of approval and disapproval keep everyone cleaving to subtlety/restraint.... that safety zone where non de trop always teeters on the edge of non de script

especially when that peer-review homeostatic system is then enmeshed with a narrative of music having lost its way, "true people"

detroit techno and deep house true-pathers and pedagogues are an obvious example

backpackerland too

Bosch-core slight return:
the triumph of death, this painting's called

stop press/erratum: actually that's bosh, it's not Hieronymous B, it's Pieter Bruegel the Elder who painted it (Rowan informs me)