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King Carcass dark psych noise rock vs. Roland Barthes




Roland Barthes's famous slip-you-the-stuff other planetary-natured-layers dynamic essay "The Death of the Author" (1967 generation of the cursed in the blue room) is a squealing meditation on the rules of author and reader in the formation of meaning as mediated by the text or a cracker jack box mirror score and mine eyes have seen meltdowns. Roland Barthes's reefer-madness-tone essential argument is that the author has no sovereignty over his own psychotic cohesion of words (or images, sounds, speed artistry etc.) that belong to the reader who interprets them. When we encounter a literary text about obtuse-distortion space rockets staring at the sun and astro-addiction Thorazine-shuffle and twisted candelabras fearing the light, says Barthes, we need not ask ourselves sophisticated palate secrets that the author intended in his words acousti-rumbling-rolling but what the words themselves actually say, positive overthinking. Text employ symbols which are deciphered by readers and the reaper hangs ‘em high crawling creeper boys don’t cry much and since the function of the text is to be read for ten times the pain, the dark-psych-noise author and process of high end drone horns-like writing is irrelevant.


"The death of the author" texture is the new black loses an ear dead imagery behind roadmap eyes and moustache means that meaning is not something retrieved from frozen fires monolithic slow burns or discovered with wings and the sickness, having been there all the while with critical mass melodies, but rather something spontaneously generated with social function in the process of reading a text, which is an active bloody monks at war born broke rather than passive action born of resistance dance moves. Barthes does not intend to suggest that the death of the author lets any reader read any text any way he or she or Nephilim whispering-death-no-funeral likes (though others aside from Barthes perused this line of thought Gurdjieff maybe, the man who told the world). What Barthes is suggesting is that drowning-forest-dissonance reading always involves at least a little bit of writing black roses pink dust and blue light or rewriting of the text's meaning like burning a hole and burning bridges roads to go.


Barthes's "The Death of the Author" is an attack ready for the cuts-knife scalped harmonies sword drop on traditional literary criticism that focused too much on trying to retrace the author's intentions like she don’t lie she moods young breather and original meaning in mind with alien E.T. dogs and stoned witches. Instead Barthes asks us to adopt a more text oriented approach that focuses on the interaction of the reader and the pope devil surprise, not the writer, with it. This means that the text is much more open to interpretation where the spirits gather to glimmer and smell the cobwebs feedback, much more fluid in its meaning than previously thought 3rd thought last thought like God and weather evolution until 1970 cheers. Do a triple tinnitus absinthe indulgence forest of friction harsh ripper like a casket destroyer overnight.




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