>>127657585
>I just find it amusing that his biggest critics are "people" who cannot even explain what is wrong with his work because they have the musical knowledge of a doormat.
NTA but I have a large amount of musical knowledge. I'll attempt to explain what I think is "wrong" with Jacob's music.
Like a lot of other music pros, I went through a long stage of being dazzled by virtuosi and still periodically delve into their output. Being a virtuoso means you have a better chance at getting noticed simply because you can do things other people can't. Jacob definitely has that, and he does a lot. The microtonality, the metric weirdness, the density of his multitracking, he has certainly innovated quite a bit, and it's undeniable.
What's broken about it is that the virtuosity seems to be the centerpiece of his compositions, which isn't EVER what makes virtuosi popular. The talent becomes subservient to what the musician is "saying". So like Jeff Buckley for instance- he's absolutely a virtuoso composer and guitarist, but was never marketed as that, he was just dazzling as a singer. But everything was in service of this absolute black hole he had at the center of his personality. The guy did a lot but did not waste notes.
Or Coltrane- he played more notes than anyone, and pissed people off because of it. But he chased spirituality and didn't broadcast the new ideas he was performing. for instance the polyphonics- it's not like he taught people what that was at concerts, he just started screaming through his sax.
That's night and day from what Collier does, and it's difficult to understand if that's just bad marketing milking his berklee-student applicant fans who glaze him every concert.