2 ms·

I don't know The Dillinger Escape Plan too well, but I like that! It's funny, but I've noticed that as my musical tastes have broadened over the years, the lin

I don't know The Dillinger Escape Plan too well, but I like that! It's funny, but I've noticed that as my musical tastes have broadened over the years, the line between what sounds "beautiful" and "ugly" has become considerably more blurry. I can still recognize particular harmonies as consonant or dissonant, but that mapping in my brain where consonant -> beautiful and dissonant -> ugly has started to really break down. One of the first times I noticed this was happening was probably 15 years ago, listening to Salomé by Richard Strauss. The last scene has this incredible dissonance, a polychord that's an A7 with an F# stacked on top: two chords that absolutely do not belong together in any diatonic piece of music.[1] When I first heard that I thought it sounded awful. Now it has a kind of strange beauty to my ears and is one of those musical moments that always sends a shiver up my spine. [1] Give a listen here if you like: https://youtu.be/Op1VoQXXARs?t=431 https://youtu.be/Op1VoQXXARs?t=431 I started the clip at 7:15, the chord comes in around 8:53 but that whole section is shot through which these ugly/beautiful sonorities.

squeaky-clean 10y ago
That chord! I remember it from when I went down a long Wikipedia/internet rabbit hole reading about polychords. It's absolutely amazing how composers will use the chords to represent emotions or the personality of their characters. I think the line between beautiful and ugly has gotten blurrier for me too. Artistically, I don't actually think they're opposites anymore. One needs the other to be fully realized, otherwise it just sounds too plastic. I first got into really dissonant music around high school, I think mostly just in an attempt to be "edgy" and different. There's a lot of music that just tries too hard to sound heavy (I can't listen to like 99% of grindcore anymore. It just sounds like trying to piss of my parents). But I started finding things that used dissonance artistically and not just for shock, and I love it. Now the music that hits hardest and sounds "heaviest" to me aren't the songs that just shove abrasive sounds in your face as quickly and loudly as possible. But the ones with lots of contrast and empty space, and slowly building tension before slamming into something. You know what they say, if everything is loud, then nothing is loud. I'm listening to Strauss now because of your examples. I think I might have to go on a classical binge for the next week or so just because of this conversation!

squeaky-clean 10y ago

That chord! I remember it from when I went down a long Wikipedia/internet rabbit hole reading about polychords. It's absolutely amazing how composers will use the chords to represent emotions or the personality of their characters. I think the line between beautiful and ugly has gotten blurrier for me too. Artistically, I don't actually think they're opposites anymore. One needs the other to be fully realized, otherwise it just sounds too plastic. I first got into really dissonant music around high school, I think mostly just in an attempt to be "edgy" and different. There's a lot of music that just tries too hard to sound heavy (I can't listen to like 99% of grindcore anymore. It just sounds like trying to piss of my parents). But I started finding things that used dissonance artistically and not just for shock, and I love it. Now the music that hits hardest and sounds "heaviest" to me aren't the songs that just shove abrasive sounds in your face as quickly and loudly as possible. But the ones with lots of contrast and empty space, and slowly building tension before slamming into something. You know what they say, if everything is loud, then nothing is loud. I'm listening to Strauss now because of your examples. I think I might have to go on a classical binge for the next week or so just because of this conversation!