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Ilios, "Old Testament"
Antifrost
Generally speaking, when I listen to music that I don't like, I putsome effort into understanding why that is. It can become a kind ofSherlock Homes mystery, albeit without the humor. Sometimes it's just agenre thing and at others it's a semiotics thing. Sometimes its theemotion or attitude that's being projected that I revile—f-ing hippies,for example. But not infrequently it turns out that I just don't getit; I don't understand the language the artist is speaking in. Andthose cases can be the most interesting. It's clearly stupidity to say"this poetry sucks" if it just because it's in Finnish and soundsmeaningless to ones ears. The language must be learned before anaesthetic opinion can be formed. And so it is with Old Testament—thelanguage is deliberately obscure and the emotion, semiotics etc. aretherefore opaque. The digital sounding noise on this CD mostly hasrather little immediately pleasing quality. Track 1 is long slowlymoving low frequency noise and doesn't go anywhere at all. Track 2 ismore interesting and even fun in parts but what's appealing about itstrajectory of electronic skitter, principally its rhythm and sonority,is not found elsewhere. The remainder is just plain painful withouteither the cathartic pleasures of, say, Merzbow or the humanity of DueProcess. So I work on the language; give it many a listen; see if I canget it. And when I do, an all too common outcome to the detective workis that there isn't anything there but technical experimentation thatshouldn't have left the studio. (In this case that's not entirely fair;a reduced version of Track 2 deserves to get on a comp.) Apart fromthat, the obscurantism of the language is all there is. The underlyingproblem (and it crops all the time) is that weirdness in music is usedas a cover for lack of musical talent. There's noting inherently wrongwith the experimental approach, tinkering with equipment untilsomething of value is achieved, but novelty, weirdness, or extremeout-there-ness is not good enough. Ilios may be proud of making a verystrange sounding disk but strange isn't intrinsically good. Theeffectiveness of experimentalism as a substitute for talent derivesfrom that lingering fear one has, that possibility that one may nothave grasped the language and therefore should reserve judgment orconfer the benefit of the doubt. But give it enough time and effort andwhat you hear on Old Testament is nothing other than theprocess of tinkering with equipment and certainly not the artisticobject that should have been the process's output.
Generally speaking, when I listen to music that I don't like, I putsome effort into understanding why that is. It can become a kind ofSherlock Homes mystery, albeit without the humor. Sometimes it's just agenre thing and at others it's a semiotics thing. Sometimes its theemotion or attitude that's being projected that I revile—f-ing hippies,for example. But not infrequently it turns out that I just don't getit; I don't understand the language the artist is speaking in. Andthose cases can be the most interesting. It's clearly stupidity to say"this poetry sucks" if it just because it's in Finnish and soundsmeaningless to ones ears. The language must be learned before anaesthetic opinion can be formed. And so it is with Old Testament—thelanguage is deliberately obscure and the emotion, semiotics etc. aretherefore opaque. The digital sounding noise on this CD mostly hasrather little immediately pleasing quality. Track 1 is long slowlymoving low frequency noise and doesn't go anywhere at all. Track 2 ismore interesting and even fun in parts but what's appealing about itstrajectory of electronic skitter, principally its rhythm and sonority,is not found elsewhere. The remainder is just plain painful withouteither the cathartic pleasures of, say, Merzbow or the humanity of DueProcess. So I work on the language; give it many a listen; see if I canget it. And when I do, an all too common outcome to the detective workis that there isn't anything there but technical experimentation thatshouldn't have left the studio. (In this case that's not entirely fair;a reduced version of Track 2 deserves to get on a comp.) Apart fromthat, the obscurantism of the language is all there is. The underlyingproblem (and it crops all the time) is that weirdness in music is usedas a cover for lack of musical talent. There's noting inherently wrongwith the experimental approach, tinkering with equipment untilsomething of value is achieved, but novelty, weirdness, or extremeout-there-ness is not good enough. Ilios may be proud of making a verystrange sounding disk but strange isn't intrinsically good. Theeffectiveness of experimentalism as a substitute for talent derivesfrom that lingering fear one has, that possibility that one may nothave grasped the language and therefore should reserve judgment orconfer the benefit of the doubt. But give it enough time and effort andwhat you hear on Old Testament is nothing other than theprocess of tinkering with equipment and certainly not the artisticobject that should have been the process's output.samples:
