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In Reply to: Futurism and the Cult of Violence, Power & Speed posted by Neward T on February 28, 2001 at 11:34:32:

But honestly, if you want to know a bit of historical background on this piece, the liner notes are quite ample. Yes, there was quite a move for mechanism in this period (including some nice progress in recording technology, which led to early experiments in musique concrete, and that wonderful French instrument the Ondes Martinot, which became the staple of every Class B SciFi soundtrack in the 1950s). Honneger was writing Pacific 231 and Varese was doing his stuff in Paris at the time, and the Dada-ists were flourishing. So, you're spot on with your facts...
... but we're talking music here, not taking a history class. I was just mentioning the imagery the piece evoked in me as I listened to it. Wrapped up in all that quasi-mechanical noise was an incessant, neverending hyperactive energy mixed with kaleidoscopic orchestral colors and linear threads of movement that blend one scene into the next. It produced the kind of dizzying effect one would normally associate with an hallucinogenic drug (if, that is, one were to have had any experience with said hallucinogens, or at least read The Electric Kool-Aid Acid Test). At least, that was my reaction to this particular recording at the time, and I thought I'd come here and share it with my friends, since such a personal description is generally NOT to be found in liner notes. And, of course, it gave Zheeem an excuse to post another BRITNEY pic...

Music Lane

Sorry you find it deplorable, Neward ...