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TypeReleasedRecordedRYM RatingRanked category
ArtistBlack Flag
EP
September 1985
March 1985
3.43 / 5.00.5 indigenous 970 ratings
#107 because that 1985, #1,171 overall

instrumental, improvisation, noisy, rhythmic, dissonant, aggressive, anxious, atonal, unusual time signatures, energetic
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spiritof77 january 12 2011 2.00 stars
ns guess that once it comes down to it, ns really to be an impossible-to-please, fickle jerk that no it once hardcore bands challenge TO DREAM and attempt come operate beyond the limits established for them by their first album and also the whim the genre politics. At least 90% of the moment (can't be a finish curmudgeon). Not that i think hardcore bands lack the talent/ambition to execute anything however play 2 minute songs yes, really fast and yell a lot about whatever, but more often then not it just slides appropriate by me and also i'd be way happier listening come their much more conservative sound over, uh, this, i guess. Can't really blame these men for getting influenced a bit by the no tide scene, and also there are civilization out there that actually it seems ~ to destruction this a lot, however this has actually gotta it is in the biggest textbook case of a document falling right into the 'not because that me' stack.this'd probably be way far better if hentry jazz scatted the totality time or something.

You are watching: Black flag the process of weeding out


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kb_208 Nov 30 2010 3.00 stars
This Ep was developed to "weed out" the poser fans from the true fans. Ginn want to try brand-new things, but the crowd just wanted head banging hardcore. It's completely listenable. No my favorite thing from them, however I'm not that large into instrumental, however I give large props come them for doing it. When it's "hardcore" to have a shaved head, thrive it long. Once it's "Hardcore" to develop 2 minute to explode of hard rapid energy, create long drawn out instrumental songs. That's the black Flag Way.
WalterDigsTunes Jul 04 2009 3.50 stars
This is black color Flag? Huh? Yes! now this i like! more interesting than their punk rock skiffle-dee-doo-dah-woe-is-me or your sludgy-doom-heaviness-crush fare. Everyone appears to be comparing it to jazz. Well, Ginn's guitar occupational is kind of prefer a jazz saxophone meets a dive bombing aircraft. The rhythm section is insistent and kinda warped. I intend you can say "jazz" here, but despite the mounting quirkiness, its definitely not the Mahavishnu Orchestra. Nevertheless, that is a hell the a how amazing listen and also certainly the most adventurous thing I've heard from this guys. Ns most absolutely approve!Shame its just an EP, though. I could've gone for a dual LP that this stuff.
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maotse Oct 23 2021 4.00 stars
The procedure of Weeding Out
Il penultimo capitolo dell'epopea black color Flag (l'ultimo LP prima della rottura del gruppo, "My Head", SST, era uscito qualche mese prima) è questo incredibile EP intitolato "The procedure of Weeding Out" (SST, 1985), universalmente considerato come uno dei massimi momenti momenti del gruppo e della creatività compositiva di Greg Ginn, lo storico chitarrista e fondatore del gruppo, che nel 1985 comprendeva Kira Roessler al basso e bill Stevenson alla batteria. In un certo senso è forse l'ultimo "vero" capitolo dei black Flag perché Anthony Martinez e C'el Revuelta, che sostituiscono Roessler (comunque presente con Anthony Martinez nella formazione del live "Who's obtained the 10 1/2", SST, 1986) saranno parte del gruppo every pochissimo tempo prima dello scioglimento del progetto. In quattro-cinque anni Ginn aveva portato avanti il suo processo creativo sviluppandolo in maniera sempre più avanguardista nel corso degli anni e andando oltre quella che era stata la grande partnership con il vocalist Henry Rollins. Non a caso molti fanno un parallelo tra questo EP e il lato B di "Family Man" (SST, 1984) dove praticamente Ginn aveva già proposto lo stesso tipo di sound dove l'avanguardia hardore e post-hardcore veniva portato allo stremo e sconfinava in una forma di free-jazz elettrico marcatamente punk. Virtuoso dello strumento, sostenuto da una sezione ritmica incalzante e da un giri di bassi che in particolare in her Last Affront so not veramente molto importanti, via via Ginn diventa padrone della scena e apre a quelle che appaiono come assolute improvvisazioni fuori da ogni schema toccando vette altissime sul piano dell'eclettismo e della grandissima verve trasmessa all'ascoltatore (es. La title-track, sicuramente dieci minuti "esemplari" sotto ogni aspetto). Tra anarchismo punk e dodecafonia. Copertina al solito di Raymond Pettibon, pseudonimo di Raymond Ginn, fratello di Greg e figura fondamentale nel portare avanti anche l' "iconografia" di un gruppo che ha contenuti e significati che sono rimasti.
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white_cunt Aug 29 2020
quickly their finest album and it's probably since it sounds nothing choose them. Compositionally there isn't much punk below at all in the traditional sense apart from part dissonant noise rock bursts and also perhaps in the method they stitch it all together. I'd much rather recommend this to a King Crimson, Zappa, Berne or can fan than I would to, say, any of the Punk kids from my town's scene. Anyway, 100% jazz phrasing in the licks, repeated noise terror a la the no tide acts and generally an excellent interplay a la the jammier next of prog. Once you reach this point one needs to wonder why Gregg never ever stuck through this sound. It's clear a lot of more complex and thrilling 보다 their Hardcore stuff (which I've personally always found overrated!). Beats me, I'm just glad he in ~ least gave us this one. Recommended.

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Meilleur que loose Nut pis In mine Head. Du vrai bon black Flag jazz zigonneux monster greg ginn sur le faux
Aptly named indeed, because this EP is an extremely much one of those releases which divides black Flag fans right into two camps - typically (and simplistically) speaking, we're talking those who believed that black color Flag got worse and worse the much more they drifted from their original hardcore style, and also those who enthusiastically embraced late Flag's post-hardcore experiments. These 4 instrumentals establish two things. The an initial is that, much as the Minutemen had actually been demonstrating in your own means for years, mashing increase jazz influences and a hardcore punk perspective is huge and clever. The 2nd is that Greg Ginn is a cursed fine guitarist.Depending ~ above whether that sounds unutterably naval-gazey or for sure fascinating, friend probably currently know i m sorry faction of listener you loss into below - but that doesn't make the EP redundant, because and also providing an mountain test for that really enjoys a fat part of trial and error with your hardcore, it's likewise a nifty small listen in its own right, and perhaps the one black color Flag release whereby they monitor this particular direction through the most purity and consistency.