Customer Reviews

The Process of Weeding Out

5 star:		(8)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This instrumental album is so good that I am speechless. It bears repeated listens and careful study. The songs unfold in a unique manner. Ginn is the master of riff, repetition, and variance. Who else would or have attempted the punk/free jazz fusion? Zorn? The great thing about Ginn (I focus on him but the rhythm section's phenomenal) is that he come to the freejazz thing from the punk side, not the reverse. He is one of the few people who is doing something innovative within the rock music structure. And, of course, he has so much to say musically he doesn't let words get in the way. It really doesn't get any better than this. On one cut for example (cut 3? I write from memory), he spends 5 minutes working up to one riff--the riff that is the basic of the cut, plays it once through and immediately transmutes it and moves on . . . . Long live Ginn!

EP by the Flag.Often critizised for being a departure from the 2 minutes blasts the band had us used to,this are lenghty (by HC standarts at least) atonal excercises in mind bending music.Gregg Ginn SHINES here and every minute in here is worth every penny.Ignore comments on that this is ¨boring¨or any other derogatives.If you have an open mind and you like changes in your music (opposed to people who want their favorite bands to play exactly the same style for 25 years) you will be blown away by this,guaranteed.

When I first got this record in 1985, I'll admit I didn't know what to think, but I'd spin it once in a while and I found parts of it captivating, others tedious or bizarre. 19 years later I can safely say this was ahead of it's time, if only because the rest of the underground music scene has run out of other ideas and came over to this one.

I find this exciting and listenable now, bravo.

The most experimental album released by Black Flag, this work stretches from avant-garde noise to metal to jazz, always retaining a solid base in Ginn's signature guitar sound. Most of the music consists of a repeated bass line covered by intense, harmolodic guitar work and haphazard, jerky drum lines. However, all the tracks are intriguing and enjoyable, especially the title track and Screw The Law. A challenging listen, but very rewarding.

My only complaint regarding this disc is pretty much the same as others have voiced: why only an EP! A double album of this kinda stuff woulda hit the spot just as well. At this point ('85), 'Flag had already released some instrumental work ('84's "Family Man"), but whilst that gem was pretty tight and focused in its execution, sounding somewhat like a punked up mid '70s King Crimson, they let it all loose for this subsequent classic. Ginn and the band let their free jazz roots run wild with this one, his playing on occasion bordering on some sort of Derek Bailey/Sonny Sharrock ecstacy, whilst Kira and Bill keep a steady, disciplined, yet free backdrop to the proceedings. All four tracks are exceptional, and truly show Black Flag as the innovators they were, always ahead of the pack, and always willing to try something new. A real highlight from one of the most important and influential bands of the last 20 years. Dig the ace liner notes, too...

This album is probably the best instrumental album I've ever heard. The music is a lot like the instrumental tracks from "Family Man" but more complex. The music is exciting, tight, and extremely innovative. It helped blow away any expectations and misconceptions I had about instrumental music. Trust me, the rhythms and grooves on this album when combined with Ginn's incredible guitar work creates a unique listening experience. A must have for all Black Flag fans. If you don't own "Family Man" or this one, go out and give them a try, I'm really glad I did. Leave it to Ginn to name an album "The Process of Weeding Out" when he was in the midst of getting rid of the two other people who play on this album. I guess when you've got his ability and such musical originality and style you can pull that stuff off. If you get the CD check out the paragraph on the inside cover, its worth a reading.

This was one of the first punk/hardcore albums I ever bought. I knew nothing more about Black Flag other than that they were punk. I bought this at Newbury Comics on cassette tape, took it home and I just didn't get it. It didn't wasn't blazing fast, there were no lyrics - it wasn't what I was expecting at all. I went back the next day and tried to return it (and not feeling very punk myself) but they wouldn't let me. So I kept it. And over the years it grew on me and now I see it as one of the most unique punk albums of all time. Very catchy. Fusion-y. Gritty. And still punk. I love this album.

THEN BREAKING IT! Black Flag was the first punk rock band to wad up musicianship and throw it out with the trash while still sounding original. This small collection of songs takes the cake. While a challenge to listen to, once you get the hang of what Greg and co. are doing, you'll be impressed. Definitely an album to be listened to by players of music. Oh yeah-- and no Hank singing and gumming up the works!

Why did I give this only three stars? Not enough tracks. 'Screw' is my favorite on this one. 'Southern' and 'Your Last' are ok. The first recording of the title track, which was on Live '84, sounds much heavier, and believe it or not, more polished. If you like Ginn's instrumentals, get Family Man first, and some of the early Gone material if you can find it. Those two and this one are his best.

Hooray for weeed! Greg was blazing through crops around this time. I've always wanted to like this more that I actually do. There's some great stuff here (and on the instrumental side of Family Man) but can't help but feeling that maybe some of jams could have been tightened up a little bit. Still, we're lucky this stuff even exists and is still in print.