The Batlord

I meant that you were describing individual parts in much the same way that prog fans go on about "crazy time signature changes that nobody ever played before OMG!" and whatnot. I don't have the ear to pick up on little specifics like that TBH, so if the music doesn't make sense to me as a whole, then pointing out the "minutiae" isn't going to sway me.

I listen to plenty(ish) out there music, but not because of the little experimental things that I just am not equipped to notice. For example, I love (some) no wave, because of how it perverts rock music (like the Contortions or Teenage Jesus and the Jerks) or how it uses rock elements for its own nefarious purposes (Glenn Branca and early Sonic Youth) but while still having something to latch onto. I'm not necessarily concerned with the fine details, just the finished product.



See, this is where we are at an impasse. This might seem out there to you because you're versed in the avant garde, but to me whatever details are revolutionary just kind of pass me by, and it only sounds unimpressively random.

Also, not being a poetry/lyrics guy, spoken word doesn't really resonate with me in any way unless there's some element to catch my ear (such as the menacing voice of Attila in "Agartha" on Sunn O)))'s Monoliths and Dimensions.

I can get down with this. Obviously it's a much more traditional song, so even if I am missing some weirdness under the surface, I don't need to appreciate it to get into the simple rhythm, just like how I can dig the Talking Heads accessible-but-still-unique sound without having to be amazed at Brian Eno's tape loops.

As obtuse as some elements of this are, they are much more alien than anything I've heard from Primus, so I find it more fun to listen to than something more orthodox, like the former. Hence, why I find Primus to be boring: they're kind of weird, but not weird enough to make me feel like I'm listening to the results of a collection of personality disorders.

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