If you can run with polytonality and orchestra-sized late modernist dissonance, Charles Ives is a really good antidote/validation for when capitalism is pulling you in multiple directions.

https://www.youtube.com/watch?v=aMT_EGXQwyk

I had a roommate that would chill out listening to hardcore, that''s what Ives is like for me

He really seemed to get how everything blends into everything in the U.S., in both good and bad ways.

Like the constant demand to relax, self-improve and compete, if not all three at once

@shoutcacophony I can appreciate Ives' craft and innovation, but personally? Just not a fan.

And yes, for the record: I call those times when you're between rooms and getting two clashing audio inputs "a Charles Ives moment".

@Qwyrdo Listening to Ives and Bartok growing up shaped my ear, and tbh, sort of saved me. Late John Coltrane, and all of Alice Coltrane, too. Pure atonality never really did it for me, though.

It's definitely not everybody's preferred listening, granted

@shoutcacophony Bartók I can get behind, to a point, but (as far as 20th century classical music goes) I'm more into Hindemith, early to mid Stravinsky, and Glass.

Was never a fan of the Schönberg/Webern bunch. (Is that called Vienna School or am I mixing it up with the *early* Classical stuff? Or a decorative arts movement?)

Besides my parents' Big Band and other Jazz stuff, I teethed primarily on Bach and Mannheim Steamroller. So it makes sense that I would lean towards Neoclassical work. 🙃

@Qwyrdo For me, Hindemith and Stravinsky, for sure. Glass not so much, although I like his incidental work for film and his opera. Minimalists-wise, I prefer Steve Reich and Terry Riley.

Vienna School? Not sure. *goes to check*

Close, Second Viennese School https://en.wikipedia.org/wiki/Second_Viennese_School