The first ("male") half of Front 242's crowning moment.By Serdar Yegulalp on 2013/06/19 10:00
Murray Roman once made an album entitled A Blind Man's Movie, which was shipped in an all-black sleeve long before Spinal Tap twigged to the idea. I laughed, but like all jokes the gag had a serious undertone: isn't the radio play that comes out of the speakers more vivid for the fact that it takes place inside our minds, and not up there on a screen somewhere?
There has always been something, for lack of a better word, cinematic about the albums I came to treasure. They aren't just collections of songs but stories, or at least the soundtracks for stories. The story may not be something spelled out in the lyrics or even in the liner notes, and it may not even have been placed there consciously by the creators -- but it announces itself all the same. Peter Gabriel's Melt album was like that; Skinny Puppy's Last Rights was like that.
06:21:03:11 UP EVIL is, no surprise, very much like that, and one of the signs of its staying power is how it has been telling me different stories in the twenty-odd years since its release. It didn't feel like an album of its moment when it came out, and in the intervening time it has proceeded straight into a kind of timelessness. The story UP EVIL has told me has waxed and waned in the specificity of its details over these past two decades, its emotions have not. They were there before the beginning and they'll be there after the end.
Israel's best-known contribution to "post-punk" takes the bad taste out of my mouth left by the term.By Serdar Yegulalp on 2013/06/12 10:00
It didn’t take long for me to develop a severe allergy to the term post-punk. For the most part it ended up meaning “bands just good enough to attract attention from critics in a period of general musical malaise while not actually being all that good”. It meant, all too often, the worst of punk—musical incompetence and rejection for rejection’s sake—fused with the crass commercialism of mainstream rock.
It took Minimal Compact to take the bad taste of post-punk out of my mouth. If a big part of that is simply the fact that Minimal Compact is a great band, so be it: like all great bands, they sound pleasantly dissimilar to the music that surrounds them and which they draw on. They built a new sound on the foundations of a few other basic ones, and it's a sound I would dearly like to have heard serve as an inspiration to a broader number of bands.
One of free music's cornerstones, an album of heedless challenges and curious pleasures.By Serdar Yegulalp on 2013/06/09 10:00
Even for the most stalwartly adventurous ears, music is largely anchored in how it refers back to everything that's not music. Most of us hear a love song and don't pay attention to the music itself, but rather the emotional connotations we've built around it: didn't I hear that song back when I was in that crummy little diner, right when we held hands and almost spilled our coffees all over each other? And isn't that, by and large, what we want from it?
Like John Cage, Derek Bailey made music that wasn't about anything but itself, and over the years I've had a difficult relationship to both Bailey's work and everything else like it. I admire the adventure, but I also question my emotional responses to it: how can my feelings about it be communicated to others without seeming like I'm asking them to swallow scrap metal? Most people hear a record like Improvisation and wince: to them it doesn't sound like anything but the kind of skronk you'd get if you dropped a guitar down a flight of stairs.
But then I remembered Cage talking with Richard Kostelanetz about how most conventional music sounded to him: like the notes were a bunch of little children that had been forced to dress up in school uniforms and line up, all neat and orderly and dull. The emotional reactions we have to music are as much social as they are personal -- hence the way African natives responded with almost total indifference to Beethoven (as Philip Ball described in The Music Instinct). Derek Bailey's music -- and Cage's before him, and so on -- is only possible to create, and take seriously, in a society where we have developed some idea of music as a social construct in the first place. Just as there is music for romance as well as dance, this is music for those who have an emotional involvement in the very idea of music. If that's too many steps removed from what you're comfortable with, no fault lies with you.
Science fiction, rebooted.
New York City
Other Lives Of The Mind