Blog Critics Timeout

Daniel Dilling
9-24-11
Blog Critics Timeout

      The best point was said by Donna Seaman: “Yes. One must also have the urge to share one’s enthusiasms. To advocate. To be clear about what it is that matters in a work of art.” This came early into the dialogue, it was an answer asked by Kris Vile, which he advocated “Is passion more important than education?” Of course it is, though they are interweaving tools of the critic. Both passion and education come in different mediums. Passion allows the critic to have a honed perception of their field; that they research into their desired field, gaining background and insight of previous entries made by artists or performers. The point is re-asserted by Donna that “Ongoing self-education is essential.” This is derived by passion, that a good music critic will look back into the past, and research the past genres that evolved into a current trend. Critiquing the past genres combined with Ebert’s little black book: that the reader ‘should be informed’ but not lectured. Same rule applies to any other critic, be it theater, food, books, whatever the subject may be, is scrutinized by prior inspirations or fusions. Passion is the drive that motivates any expressive person to do anything, perform, review, or simply enjoy. Anne Holub said it best, that “You have to have a passion for it; otherwise, you’re simply not going to bother.” It would be a tough sale to ask a mechanic to paint a picture; even if money was involved it would lack inspiration, though there would be a sort of motivation.

              Another provoking question was asked by Kurt Vire: “Let’s talk about the difference between “amateurs” and ‘professionals.’ Don, for instance, reviews theater on his own blog. Anne doesn’t get paid for her work on Transmission. Should they be given less credence than critics who’ve been hired by some print publication?” Establishing an air between the amateur or the professional, Sam Jones’ answer “I think the difference is often just accidental.” A humble answer, for it is such a philosophical question, ‘Is a professional paid?’ seems to be the main dam separating the two. Difficult answer, any good writer simply remains dedicated, reviewed, and enjoyed. It has nothing to with having being extremely rich or having a high profile. In the case of Stephen King, he makes more than anybody working at Columbia by writing ‘Boo!’ on a cocktail napkin and signing it. The concern in the forum regarding professionalism speculates payment, but the consensus rejects that platform on the aforementioned reasons. Lastly, insight from Sam Jones: “The question is whether the market appreciates the editorial function enough to pay for it.” In a world where as Donna Seaman says “We want everything for free.” Like newspapers, ads are indeed dominating revenue for creative content and forums. To be paid would require a fellowship of readers, however, this again does not define any sort of difference between the professional or amateur still. Some write for the love of writing, payment not required and the question of writing quality is not in peril.

Review of: A Review

Sunday, September 11, 2011 by Daniel Dilling
Review of: A Review

So with this, comes my first post, a review of a review, and I'd like to take the time to say hello, this indeed Dilling, and I'm more than happy to give constructive criticism when needed. So here we go.

This review by Alec A. Head of "Satan Stole My Teddy Bear" is on Christian Death's "Atrocities", which of course not only kicked off the goth/darkwave movement, but is also of a very ambient nature which one can still dance too. Love it, hate it, everybody gets along with this album. The Review itself makes no haste as Alec claims that the album itself is dismal: "Now, one would think that this would be prime fodder for a post-punk/death rock album, but the problem here is that the music is simply nothing to write home about." He makes no haste into delving into how the album is simply boring, dull, lacking, and otherwise trying to live up to the glory that once was the original Christian Death. Also, stating that the songs on the album could at times be intuitive, yet on the tracks that most of them were simply going for a "creepy" effect. From what I can surmise, this is a very handy and otherwise useful review due to the fact that it's reviewed quite well. It's quick and concise, he explains why the music isn't bad, but it isn't good either, and that's just the point he wanted to come out with. The idea is to not avoid the album, but to listen to it if it is indeed your cup of tea. Suddenly I'm interested in listening to it simply agree with the review. Now the only thing that I feel is missing from this review is the actual timbre of the sound, IE how the song actually sounds, or should I say how the music actually flows, or at least is made up to be. He does well describing the creep out part, but then again, I wouldn't know by the sound of the album unless dealing with the prior reviews. Not that I dislike Christian Death, let alone how they sound already with the name implying a darkish undertone. Alas, tis quite a well roundup of an album review.

Original:

Atrocities
 ©1986 Cleopatra
1. Will-o-the-Wisp
2. Tales of Innocence
3. Strapping Me Down
4. The Danzig Waltz
5. Chimere De-ci De-la
6. Silent Thunder
7. Strange Fortune
8. Ventriloquist
9. Gloomy Sunday
10. The Death of Josef
The first Christian Death album to be released after the departure of Rozz Williams (or, depending on your view, the usurpation of the band by guitarist Valor Kand) saw the band treading the murky death rock waters, clearly unable to shake the spectre of their prior, far superior albums with Williams at the helm.
While Christian Death was no stranger to controversial or "naughty" subjects in their lyrics and artwork, Atrocities presents a shift in the more esoteric elements of the band's Rozz-era material and dives head-long into shock-rock tactics via a concept album dealing exclusively with The Holocaust. Now, one would think that this would be prime fodder for a post-punk/death rock album, but the problem here is that the music is simply nothing to write home about. While no one can fault Valor Kand in his abilities to come up with characteristically high-end post-punk riffs, his vocals, though arguably more tuneful than his predecessor, simply lack the character and haunting sense of evocation that Williams showed so beautifully on Ashes and Catastrophe Ballet. On top of that, he tries so hard to sound like Rozz that one can almost imagine that he never left the band at all. On the plus side, David Glass' inventive drumming is still a prime anchor for Kand's discordant riffs, and Gitane Demone is allowed to come into her own on "Tales of Innocence" and "Gloomy Sunday", a haunting rendition of the song infamously associated with a string of suicides in the 1930s. "The Death of Josef" is an appropriately creepy closing ambient number, as well. The rest of the songs just plod along without identity or any purpose beyond trying to creep the listener out with forced vocal mannerisms and riffs that were seemingly lifted from the two prior releases.
While I am sure that both eras of this band have their detractors and followers, it is pretty evident that Rozz Williams was the definitive frontman for this group, and that the albums that followed his departure, while admirable in their near-prog rock attempts at conceptualization and ambition, simply fall flat in terms of songwriting and atmosphere. One would be best served by sticking with the first three Christian Death albums and avoiding the Valor-fronted albums save for anything more than a cursory listen.
Review by Alec A. Head
Review date: 07/2011