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Posts Tagged ‘Josh Kortbein’

Josh Kortbein on music burnout

Friday, December 1st, 2000

Josh says:

As quiet as my room seems to be lately, you’d think that my stereo was broken. But I just haven’t been happy listening to anything for a long period of time. I’ll throw on a CD for one or two plays at most, then get sick of music and decide to just play nothing. I’m still listening to a lot of music, but there’s a quite noticeable drop.

This sounds very familiar to me - since Thanksgiving break started a couple weeks ago I haven’t been listening to much music at all, compared to before. I’ll sit and stare at my collection for five minutes trying to find something I think I’d be able to get into at that given moment, and I won’t find anything. Last night I tried a random disc, ended up with A Piedi Nudi’s Creazione, and sat there with the music going in one ear and out the other. I’ve been having a bit more success with those gybe! bootleg MP3s, and now even more success with A Silver Mt. Zion’s album. About damn time - I don’t like not being able to get into my music.

Oh man

Friday, August 18th, 2000

Josh always comes up with the fucking greatest links ever: Britney Spears’ Guide to Semiconductor Physics. Ha!

Various things including a little Progression hatin’

Tuesday, July 11th, 2000

After Crying seems to have a new official homepage.

The July 10 entry in josh blog sees Josh musing on prog, prog metal, prog fans, and King Crimson (I wonder if he has or has heard The Great Deceiver?). He writes somewhat negatively about, among other things, Dream Theater: “…all technical ability and nothing else really to speak of, except for the tepid compositions…” I find his criticism mostly on the mark — and I wonder how guilty I am, myself — but it leaves me thinking about how subjective the phrase “tepid compositions” is, or perhaps about what exactly it means.

There’s a fairly interesting Adrian Belew interview over at, in which Belew talks about how difficult the ConstruKction of Light material is to pull off live. An excerpt:

“I really tricked myself, because the lyrics on the choruses of ‘ConstruKction Of Light’ are random words, but each word is assigned to a specific note. The way I wrote the words was I went through and said, okay, every time I sing a G I’m gonna say the word ‘pain,’ every time I sing an E I’m gonna say ‘passion.’ And where there was a note that was repeated a lot, I gave it a second and third word. I wanted it to have a certain internal architecture, and that was fun. But now, of course, trying to remember words that have absolutely no meaning together, while you sing them in five and seven and play in 4/4…that’s gonna give me a headache for a while…”

Jon Fry sent me a couple reviews under the heading “Reviews of Stuff You’d Hate”. He then commented,

I was surprised at the jab at you in the editorial in Progression magazine, and also noticed the lack of mention of Ground and Sky in the “Prog on the Internet” or whatever article. If you ever start a “Ground and Sky in the News” section, you should wear the former as a badge of pride in it. Good day!

More on creativity in old age

Monday, February 21st, 2000

Josh Kortbein cites Miles DavisBitches Brew, completed when Davis was at a relatively “old” age, as an example of great innovation late in a career. Also some Charles Mingus. I henceforth revise the question to: “are there any composers/instrumentalists who began their work at relatively older ages?” And the associated question (thanks Josh), are such late bloomers at a disadvantage?

Incidentally, the post I cited on 2-19 was a Howard Peirce post on