Hyperbole descriptions

[Zeno Marx]

That's the trouble with initial enthusiasm, it does wear away.

That's a good life lesson in general.  Of things that matter, it is almost always a good idea to step away from them for a period to let them rest and ferment.  If they hold true when you come back to them, then send them on their way.  Personally, I've found that rest period to be a top-level tool, for whatever it was that I thought, felt, wrote, or needed to express has since changed.  One of the greatest ways to edit isn't to keep to the grindstone, but to step away and forget about it for a while.

[Brad]

There's a kind of negative-as-positive hyperbole one often encounters in the marketing/reviews of this scene, "This is the most unpleasant, depressing, joyless industrial noise album you will ever hear..."  Are we really supposed to take this sincerely, and still want to send them money?

[hsv]

There's a kind of negative-as-positive hyperbole one often encounters in the marketing/reviews of this scene, "This is the most unpleasant, depressing, joyless industrial noise album you will ever hear..."  Are we really supposed to take this sincerely, and still want to send them money?

Peter Henning (Sprachlos guy, interviewed in Fördämning) delivers a real classic take on this subject in an interview me & some friends did a while back... it's pretty funny but it's unfortunately only available in Swedish so far.
The discussion is something like, you always develop a language and a way to discuss these things and that litterary quality of reviews etc. is maybe often overlooked. A lot of noise is described in these terms, like "This is really dirty, piss-stained and depraved, I felt really shat on while listening to this", which is in fact a positive description. It's a style of music that thematizes these negative emotions and aspects of society, it's only natural to use such a language, but at the same time, it can get very ridiculous if taken at face value and written uncritically.

[GEWALTMONOPOL]

Writing descriptions/blurbs for releases is probably the hardest and least rewarding aspect of running a label. I've been guilty of hyperbolic descriptions in the past and probably will be in the future.

"Like planets burning down or the day ten million tons of filthy black shit rained down on the heads of a beaten species".

I didn't come up with that one myself. It was a friends comment on the Bulk CD after he'd heard it for the first time. Relevant to the sound or not, I loved it. In the realm of hyperbolics it's a fucking gem!

[Levas]

I guess for reviewing, almost all have done this. As for me, I'll confess that I was doing such things on two occassions:
1. when I truly don't have anything else to say, but somehow should fill the missing space up to what's my minimum limit. I'm not that professional writer about HNW let's say as is Roger Batty, so when there is HNW album to review, if I see that I have nothing else to say, then here we go with a story that is associated with the release, the context, the idea and so on - "black tunnels to China" etc.
2. when I was rather new in reviewing all that industrial stuff and this was overmystified for myself. And thus these were attempts to describe the "evil" or something like that, that should be felt.
But over time this habit is almost gone. But I sincerely hate reading such stuff... IF I remember correctly, it was sewer election's sex & death review from heathen harvest that seemed the most retarded one ever. it was like listing some random words "desert, vomit, sand, darkness, ghosts" etc. for the whole review! that's not hyperbole I guess. that's just plain silliness so this should be kept in mind i think about everything - label descriptions etc.

[FreakAnimalFinland]

I would think there are certain terms or phrases you can identify to specific mood. So would it qualify as worst examples of hyperbole?
Thinking of something in lines of cosmic swirls echoing from distant galaxy -type, and you basically (should) know what it probably sounds like. Even if you could say modular synth jam with lots of reverb, the former option does the job. I would guess problem is when text means nothing and has absolutely no connection to sound or composition style.

[hsv]

I would think there are certain terms or phrases you can identify to specific mood. So would it qualify as worst examples of hyperbole?

Like "filthy"? Seems like a current buzzword

[FreakAnimalFinland]

Well, it can be useful to try understand meaning of words.
According to dictionary:
"Hyperbole is the use of exaggeration as a rhetorical device or figure of speech"

Rhetorical device = for example using exaggerated metaphors ("comic swirls...").
Does metaphors work out, is entirely different case. And that do we seek scientific and rational language, or language that awakes ideas and feelings - like material it describes?

Using regular adjective (like filthy) is hardly "exaggeration" of any type.
Filthy, according to dictionary:

1. Covered or smeared with filth; disgustingly dirty.
2. Obscene; scatological.
3. Vile; nasty

In context of noise or PE, this word simply carries plenty of meaning what sums up certain type of stuff - it's sonic quality or presentation - very well.

Word I often refer with certain type of noise is crude. And what's that?

1. Being in an unrefined or natural state; raw.
2. Lacking tact or taste; blunt or offensive: a crude, mannerless oaf; a crude remark.
3. Characterized by uncultured simplicity; lacking in sophistication or subtlety
4. Not carefully or skillfully made; rough: a quick, crude sketch.
5. Undisguised or unadorned; plain: must face the crude truth.
6. Statistics In an unanalyzed form; not adjusted to allow for related circumstances or data.
7. Archaic Unripe or immature.

And that again covering great deal of works out there.  One simple word, and it covers plenty from aesthetic choices to technical qualities.

Of course, as writer, one would have to consider, does reader know what you try to say, if you gather load of information in one word. Lets say, what exactly is "menacing" noise? I know what word means, and I know how I would use it - and in what purpose, but I see it used basically attached to any type of stuff.

I have been thinking of resurrecting that old "language of noise" topic - and this kind of nerd talk probably fits there better, hah!

[Andrew McIntosh]

One case of hyperbole that I think can actually work as describing a new release is this -
http://www.youtube.com/watch?v=j0IucMOOc5A
"...a miraculous outrage!...tumbling crazy saxophone!...fuckin' roaring guitar!!....screaming and shouting!!!...amazing electronic instruments!!!!...indomitable drumming!!!!!..." - and then two gentlemen calmly describing the albums, politely and concisely yet with genuine enthusiasm. Combined with the actual sounds of the recording session, this clip has to win some kind of award for how to get over-the-top description right.

[RyanWreck]

That's the trouble with initial enthusiasm, it does wear away.

That's a good life lesson in general.  Of things that matter, it is almost always a good idea to step away from them for a period to let them rest and ferment.  If they hold true when you come back to them, then send them on their way.  Personally, I've found that rest period to be a top-level tool, for whatever it was that I thought, felt, wrote, or needed to express has since changed.  One of the greatest ways to edit isn't to keep to the grindstone, but to step away and forget about it for a while.

May I ask which Magazine this may had been?

[Unit 731]

Personally I believe if an artist or label goes overboard with a desicription then whats to judge for ones self?Why not offer something simplistic,something that gives a bit of detail but not to the point were one feels like there reading a review rather then a basic discription of an album?Sure some albums deserve a little hype but when it goes on and on and then there is really no need to buy the album as we already know and expect what we are purchasing?Marketing overkill...The feeling of something new is gone,replaced with words and depictions that make little if any since regarding the actual product.Nothing is wrong with letting the music itself have a voice,full streaming on bandcamp or any other site is not a bad thing,honestly,if people like it and a label and the artist have confidence then people will notice it,regardless if a sample is posted or not,comes down to brief discriptions or full samples,everything else just dilutes the experience the album may have given its potential listiners ...

[Zeno Marx]

That's the trouble with initial enthusiasm, it does wear away.

That's a good life lesson in general.  Of things that matter, it is almost always a good idea to step away from them for a period to let them rest and ferment.  If they hold true when you come back to them, then send them on their way.  Personally, I've found that rest period to be a top-level tool, for whatever it was that I thought, felt, wrote, or needed to express has since changed.  One of the greatest ways to edit isn't to keep to the grindstone, but to step away and forget about it for a while.

May I ask which Magazine this may had been?

Magazine?

[bitewerksMTB]

Best hyperbole ever written were the reviews by Pushead in Thrasher magazine. What's-his-name in Forced Exposure were pretty entertaining- Byron Coley?

[Andrew McIntosh]

May I ask which Magazine this may had been?

Did you mean which magazine I've done reviews for? There was this professionally done glossy thing from the US called Mouthy which was put out by Ian C Stewart, who used to do a great home taping 'zine called AUTOreverse, which at the end of the 90's and beginning of the 00's pretty much featured everyone who ever recorded at home. Mouthy was a more up-market version, and was pretty good in it's own right, very eclectic. It lasted, I think, three issues.

[influencing machine]

I have written numerous descriptions for labels and numerous reviews. For release descriptions, I frequently employ some amount of hyperbole. One label I write for usually posts the entire albums on a soundcloud page so a description of the music is often pointless. I still attempt to do so, but occasionally just add descriptive filler. Occasionally I dont even like the work that I am describing, but writing copy doesnt always mean that the writer likes the product. For reviews I always give an honest assessment and generally try to stick to describing the music.

I agree though that balance is ideal, but achieving balance is an incredibly difficult task. Writing about music in general is quite difficult. It is near impossible to write descriptions of music that are themselves intriguing to read while also serving the function of conveying information. I have occasionally succeeded and often failed miserably. But that is the goal. Honestly, I do not think I would ever buy or investigate a release based solely upon a description like "fast paced harsh noise with industrial elements" or anything so vague.

Finally, if a label likes a release enough to put it out it sort of goes without saying that the label owner is usually enthusiastic. In many cases, it may not actually be hyperbole for that individual. It may be a genuine belief in the quality of the music that the label is attempting to articulate, although that may be difficult to believe considering the dearth of quality music these days.