pakled wrote:
If it's just to add a flavor to it, mebbe some, but if it's 'I'm trying to offend, repel, or fight with you, If you love me I've failed' sorta mentality, then I'll just change the channel...
![Wink ;)](./images/smilies/icon_wink.gif)
That sounds about right for what Trent Reznor had in mind for the Broken cd; don't know if it was rumor but he supposedly set out to make something unlistenable and it took off bigtime.
I think far more often though people don't take consonance to that end - if they do it just sounds horridly dry, geeky in all the wrong and unrefreshing ways, and yeah, I can't listen to it either. Most of the time I think when people use dissonance its mostly in terms of affecting both texture and mood. The texture aspect gives it something far more earthy, metallic, glassy, organic, gives breadth to the track, makes it feel much more real in a tactile and mental/visual kind of sense. Also with moods, I think when you want to convey something very deep, surreal, sublime, it carries a lot of suspense type chords and suspense chords themselves are by nature dissonant; as in they pull you in emotionally in the same manner that really well written action/drama or suspense/horror movie would.
What really determines the quality of the outcome IMO is what sort of vision they had and how authentic it seems. Yeah, there are a lot of bands I just can't get into just because the emotional style and angles just aren't my kind of thing, but all the same whether a tune really gives you chills or whether its so infectiously funky that you can't get it out of your head; it takes a lot of vision and it takes artists really knowing themselves as artists.