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Originally Posted by wufwugy
This.
I will fight to the death defending the view that lyrics are anti-music. Music is sound. Lyrics are abstractions. Music is a combination of sound that gives a feeling that can't be explained, it can only be rocked to. Lyrics are an intellectual argument. The two are antithetical.
It's a little tiring when people extoll the greatness of some music by talking about the lyrics. They could have just said they're bad at music and save us the time.
That said, everything I just said is at least 30% dogshit.
(warning: what follows is a really insufferable and poorly written iphone post, basically me being a huge ass wanker, but it got me through a long subway ride.)
This is definitely seeped in some Grade A bullshit. lyrics are most definitely not anti-music. (Edit: not innately anyway, but a lot of actual lyrics definitely feel anti music lol) Nonetheless I get why you would say that because I can relate to this sentiment.
I've never been a lyrics person. That isn't to say I wasn't interested in lyrics, or that I didn't appreciate good lyrics, or that I had any conscious aversion to them. But im usually only dimly cognizant of lyrics and I was never the one who could bust out into a top notch rendition of a song because lyrics just never made an imprint on me. I guess because of my musical upbringing and just how I innately am, I'm hard wired to focus on what's strictly musical - tone, harmony, melody, timbre, etc. - and lyrics are, like you said, cerebral.
That being said there are exceptions, but it takes someone truly musical to make lyrics part of that paradigm. Tool is the only band where the lyrics were a hugely integral part of the experience for me. Not only are they articulate and poetic and incisive, but they're implemented with the same consideration as any of the other musical elements are. One of the things that made me fall in love with Tool was the fact that Maynard was the anti-rockstar, intentionally self-effacing, and his vocals were like instrumentation. Ofc I could listen to Tool sans lyrics and still have my jaw hanging at the brilliance of it.
The thing with lyrics is that they're poetry. And poetry is about the musicality of language. Joseph Conrad's preface to nigger of narcissus talks about literature and prose beig a means to evoke vision, to make you "see," and he says music is the art of arts because of its magic suggestiveness. Words are laden with symbol and meaning but they are also phenomes and morphemes that have their own aesthetic nature, like texture and timbre and rhythm. To appeal to the senses, to evoke an image or a sensation, the form and structure of language should be considered in the same way music notes or colors are.
Because language is the basis of our reality and how cultures and civilizations progress, we tend to view it in a purely utilitarian sense, something we need. But like Oscar Wilde says "all art is quite useless." Conrad says In the beginning of his preface that unlike with the scientist or the thinker, who appeal to our common sense and intelligence with facts and ideas, to the parts of us invested in the business of living and surviving in a favorable way the artist isn't about that. Art appeals to something more mysterious in us, less rational.
Poetry is the threshold where music and language meet, which is why a lot of the time it's best read aloud, to really appreciate the sound of it. It's kind of like the literary version of musical Impressionism in that sound and texture is used to paint an image (so rolling legato arpeggios in debussy may suggest the rippling sea, in a poem or novel the sound of the letters themselves, syntax, repetition, etc could suggest a wave like motion, or a sea storm, whatever - that's a super basic example). Allen Ginsberg is so fucking electric because his diction is spot on and he never uses a superfluous word (in fact Paul mccartney once came to Allen with poems he wrote and wanted his feedback, Allen ended up cutting out most of the words, Paul said it was no longer his poetry but a Ginsberg poem, hah. Anyway..) like if you read howl it's like, the images just pop up in neon succession in my mind). Poetry is still tethered to the abstract meanings of words so there is the unique challenge of blending the sensory with the cerebral. But there is poetry that completely eschews meaning and is basically nonsense poetry, using words in a way that's entirely divorced from what's signified.
SooOOOoo my point is that some super talented artistic folks understand this and know how to write lyrics that are suggestive and sensory in and of themselves. They also know how to tell a story and have the music synergize with it and color it. So it's a full, integrated aesthetic experience. I still am never going to be as instinctively drawn to lyrics but they can earn my deeper attention.
Rap is also a really interesting part of this convo that I won't fully get into now but rap is like heightened speech, like an incantation or something. rap is word play, it's percussive, each syllable and collocation of syllables are like the rudiments that make up a drum solo.
Here's a quote from the Conrad if anyone is interested. It's a very good preface, easy to find online, just google it:
Fiction--if it at all aspires to be art--appeals to temperament. And in truth it must be, like painting, like music, like all art, the appeal of one temperament to all the other innumerable temperaments whose subtle and resistless power endows passing events with their true meaning, and creates the moral, the emotional atmosphere of the place and time. Such an appeal to be effective must be an impression conveyed through the senses; and, in fact, it cannot be made in any other way, because temperament, whether individual or collective, is not amenable to persuasion. All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its high desire is to reach the secret spring of responsive emotions. It must strenuously aspire to the plasticity of sculpture, to the color of painting, and to the magic suggestiveness of music--which is the art of arts. And it is only through complete, unswerving devotion to the perfect blending of form and substance; it is only through an unremitting never-discouraged care for the shape and ring of sentences that an approach can be made to plasticity, to color, and that the light of magic suggestiveness may be brought to play for an evanescent instant over the commonplace surface of words: of the old, old words, worn thin, defaced by ages of careless usage.
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