I would say that that's the case, not to disrespect you of course, because everybody enjoys copycat bands from time to time. I know of some hip-hop heads who've listened to the stuff so much (or just respect it so much) that they've developed a sort of 'immunity' to anything generic that lies within the genre's boundaries. Not that they go out of their way to listen to Soulja Boi, but more often than not they'll jam to any hip-hop you throw on. The aesthetic of the genre has sort of become something they like on contact. I'm not that way with a genre yet, but give me time and I assume that'll end up happening to me and free jazz, or whatever I listen to constantly these days.

The problem with these new punk bands is that the good ones who continue with the regular hardcore punk aesthetic generally sell so few copies that it's hard to find them. Although, there is a website I used to use where a guy was essentially known for uploading various stuff like that. Albeit it's not anything 'new' (aside from tackling new issues in their songs), so I guess you win out there, but their music is still worth hearing, so I wouldn't say their anger has yet died, so to speak.

Personally, when it comes to punk these days, I would much rather listen to hardcore-punk/'jazz' hybrids. It's more enjoyable for me because I prefer anger to come from the voice and the overall intensity of the performance, and not just the words. The japanese band Midori is probably my favorite example of this. You definitely pick up on the angry punk-esque vibe, but it's also fairly 'arty' and jazzy at times, and the musicianship is nuts. While some argue that it's not even 'punk' anymore, just a deviation of its raw energy, I like to think otherwise. It still comes off as the sound of anarchy with the passion that's put into it.

Win.

And Coltrane never ever worked with Miles Davis or Thelonious Monk or any other of the right people? Zorn's ability to assemble amazing musicians together is part of his contributions.

Metal is probably the most maligned genre outside of general pop music but many bands have been going for decades and can still fill arenas and sell their music, whatever the musical climate out there.

It's one of the most fan orientated genres out there and is one of the most enduring genres too.

Metal music is cliche ridden and laughable in many respects but it has a durability that HAS to be commended.

Yeah but some of the cliche laughable stuff is impossible to beat. I don't think anything can get me more stoked than a bad power metal song about slaying dragons with a wanky guitar solo.

I'm checking out their myspace and it sounds fantastic. I already go in for a lot of Japanese experimental, and other J-stuff from like Puffy and other pop stuff, old punk stuff (the vinyl comp my meat is your poison impressed me a lot when it came out) and naturally I like the black metal band Sigh.

Are you familiar with Miya Masaoka?


Coltrane jammed with anybody and everybody and took ideas off many as well. It was amazing for me to learn that not only did Ayler borrow from Coltrane but that Coltrane took a lot from Ayler. Modesty and humility add even more to Coltrane's legacy. It's like for him climbing Everest wasn't enough. When he got there he built a tower to take him even higher. I'm not trying to hate on Zorn but when people are TOO enthisiastic about him I suspect they've found a little fool's gold.


Amen.

I'm not sure what you mean by that. Zorn does have his misses, and releases he very obviously spends very little time on. Sometimes I feel he does just release things to release things, and that gets a little annoying.

However, Masada, Naked City(and all Eye really did for Naked City is scream over it. He did a very excellent job, but I don't really think you can give him that much credit), Moonchild, The Art Of Memory(Even if it's just guitar solos with sax), The Big Gun Down, Magick, Spillane/Goddard, etc. I feel are indispensable works. A statement like this completely misses out on the brilliance presented in Zorn's better work. As for a lot of it being with other people(Patton, Kronos Quartet, etc.), I think Zorn's ability to bring out the best in who he works with is why he's great. Moonchild, for example, I think by far is one of Patton's best projects, and by far trumps anything Patton has done on his own. Why? Zorn knows how to get the best out of him, like most people he works with.

As for comparing him to Coltrane, I don't get that. I remember a thread a few days ago where people were arguing about Coltrane vs Zorn. Which I feel is kind of pointless because they're both legends for drastically different reasons.

Glad to see you like it. And no, I'm not familiar with Miya Masaoka. Anything of theirs you'd recommend in particular?

Amazon.com: Miya Masaoka: Songs, Albums, Pictures, Bios

All I have myself is what's available from amazon in MP3 format.

The first one there is over 50 minutes long and only 99 cents. I have it and think it's cool.

The best I have is Compositions/Improvisations.

I saw Compositions/Improvisations and it looks interesting, so I'll look into that, thanks.