qualification when talking about anything aesthetic is a huge no no. never do it.

everything has to be the greatest thing that ever happened or the shittest.  nothing inbetween

i once believed in that as an article of faith (when i was reviews editor at Spin for a year, i tried to make it so that review grades were either 10s and 9s or and 1s and 0s- ie. just like in the UK music press - my thinking being that if something is a 6 it might as well be a 0 really if you think about it - although the editor in chief was initially attracted by the idea of bipolar reviewing, a dynamic range from gush to snark-sneer.... ultimately this didn't go down well with my employers, who favored the measured New Yorker-aspiring tone. Things got tense and in the end I quit - second-best decision of my life)

however in reality, the truth is there's lots of things in music or whatever that are neither amazing nor reprehensible... there's the aesthetic equivalent of mixed emotions in terms of response to them - movies or records that have some things going for them, but major failings or flaws, wonderful aspects but also off-putting elements

art, like life, is not necessarily black-and-white

so nowadays i quite like the ambivalent, conflicted, attracted-yet-repelled, weighing-it-up approach to criticism 

but perhaps i've just mellowed with age. succumbed to stolidity... 

"Properly, we should read for power. Man reading should be man intensely alive. The book should be a ball of light in one's hands."

- Ezra Pound

 Nowadays, the whale-fishery furnishes an asylum for many romantic, melancholy, and absent-minded young men, disgusted with the carking cares of earth, and seeking sentiment in tar and blubber. Childe Harold not unfrequently perches himself upon the mast-head of some luckless disappointed whale-ship, and in moody phrase ejaculates:—

Roll on, thou deep and dark blue ocean, roll!

Ten thousand blubber-hunters sweep over thee in vain. 

Very often do the captains of such ships take those absent-minded young philosophers to task, upbraiding them with not feeling sufficient “interest” in the voyage; half-hinting that they are so hopelessly lost to all honorable ambition, as that in their secret souls they would rather not see whales than otherwise. But all in vain; those young Platonists have a notion that their vision is imperfect; they are short-sighted; what use, then, to strain the visual nerve? They have left their opera-glasses at home.

“Why, thou monkey,” said a harpooneer to one of these lads, “we’ve been cruising now hard upon three years, and thou hast not raised a whale yet. Whales are scarce as hen’s teeth whenever thou art up here.” Perhaps they were; or perhaps there might have been shoals of them in the far horizon; but lulled into such an opium-like listlessness of vacant, unconscious reverie is this absent-minded youth by the blending cadence of waves with thoughts, that at last he loses his identity; takes the mystic ocean at his feet for the visible image of that deep, blue, bottomless soul, pervading mankind and nature; and every strange, half-seen, gliding, beautiful thing that eludes him; every dimly-discovered, uprising fin of some undiscernible form, seems to him the embodiment of those elusive thoughts that only people the soul by continually flitting through it. In this enchanted mood, thy spirit ebbs away to whence it came; becomes diffused through time and space; like Cranmer’s sprinkled Pantheistic ashes, forming at last a part of every shore the round globe over.

There is no life in thee, now, except that rocking life imparted by a gently rolling ship; by her, borrowed from the sea; by the sea, from the inscrutable tides of God. But while this sleep, this dream is on ye, move your foot or hand an inch; slip your hold at all; and your identity comes back in horror. Over Descartian vortices you hover. And perhaps, at mid-day, in the fairest weather, with one half-throttled shriek you drop through that transparent air into the summer sea, no more to rise for ever. Heed it well, ye Pantheists! 

- Herman Melville, Moby Dick. 

 "As I looked out into the night sky, across all those infinite stars, it made me realise how insignificant they are." - Peter Cook.

(via David Stubbs)

 "There is not a single case in musical history of a composer being a century ahead of his time: the greatest composers have been perfectly comprehensible to the average instructed music-lover of their day" 

- Sir Ernest Newman, 1925

In partial reinforcement of my thought-probe in the previous post....

Although that said 

a/ a century is long time to be in advance .... how about someone who's five years ahead of their time?

b/ greatest composers being comprehensible to the average music-lover of their day .... how about a not-so-great composer who is incomprehensible to most everybody?

 a lot of stuff that gets retroactively adjudged to be ahead of its time, or farsighted...  it isn't really. it's completely abreast of its time

... there is this corruption of sensibility that sets in after the first few decades as a music nut, where you get more of a buzz from contemplating shit music than good music. 

Not so much actually listening, but the idea of trying to understand it, work out what its appeal is, how on earth the creator thought it was a good idea to bring into the world. 

Shit music can be better food for thought than good music, which somehow explains its existence more simply. 

I say "not so much actually listening to shit" - but there is a stimulus from the sharp tang of something really rank and abject.... it's like an aural palate cleanser.... or a reset (or even 'rest; which is how mistyped it first) of sensibility

You get bored with your own likes and preferences.... the predictability of the reactions, how you're wired 

It's interesting to wonder, what if I was a person who loved extreme metal and only wanted to listen to that.... and had consequently developed finely tuned discrimination for the different shades of aural offal.... what would it be like be like that? 

It's a kind of decadence maybe.... like Des Esseintes in A Rebours, the lengths he has to go, to get off... 

Well, of course, Eno said it first , said it punchiest:

"Really awful is more interesting to listen to than pretty good"

Which is the epigraph at Hardly Baked 2, whose output is largely if not wholly based on this approach (ShitBrit, the Bad Music Era, etc).