Category Archives: music

Introducing “Uncertain Times”

[Youtube=http://www.youtube.com/watch?v=w2KvM2T40RQ]

“Cristo Redentor” by Donald Byrd

The omnologist anglophone blog Uncertain Times[3] brings American voice actor and spoken word artist Ken Nordine[4] to my attention[5], from there it is a small step to American Space Age musician Fred Katz (one-time soundtrack maker for Roger Corman[6]) and American sound artist and humorist Henry Jacobs[7]. From there we go to Donald Byrd‘s interpretation of Duke Pearson‘s “Cristo Redentor“[8] via Harvey Mandel‘s 1968 version[9].

John J. McNulty, the author of “Uncertain Times”, calls himself an omnologist; omnology is a neologism by Howard Bloom, which he defines as:

If one omnologist is able to perceive the relationship between pop songs, ancient Egyptian graffiti, Shirley MacLaine‘s mysticism, neurobiology, and the origins of the cosmos, so be it. If another uses mathematics to probe traffic patterns, the behavior of insect colonies, and the manner in which galaxies cluster in swarms, wonderful. And if another uses introspection to uncover hidden passions and relate them to research in chemistry, anthropology, psychology, history, and the arts, she, too, has a treasured place on the wild frontiers of scientific truth-the terra incognita in the heartland of omnology. —Howard Bloom[10]

In this sense, omnology is very much related to my adagium on connections:

“Wanting connections, we found connections — always, everywhere, and between everything.” Umberto Eco, Foucault’s Pendulum.

Think intertextuality, interconnectedness, nexus, six degrees of separation and my favourite metaphor: the rhizome.

“Cristo Redentor” is WMC #62.

Vertere and WMC #59, 60 and 61

https://www.youtube.com/watch?v=qutX_w-QLZM

“Don’t Turn Around” (1970) by Black Ivory.

The other day, while I was explaining my interest in etymology (recently rekindled by buying and reading Giambattista Vico‘s The New Science) and the way I bring it to my students, I took the word vertere as an example. From vertere is derived transverse, diverse, perverse, universe, subversion, etc…

I studied Latin for four years in high school, but the above example is the way I would have liked to have studied Latin, with relevancy to current living languages. Start with the prefixes and suffixes and then the verbs.

Prompted by the word “turn” (as in vertere) I make Black Ivory‘s (one of Patrick Adams‘s earliest productions with vocals by Leroy Burgess) “Don’t Turn Around” World Music Classic # 59. All good things come in three, so I give you two more tracks (WMC #60 and 61) from the same period by Skull Snaps, “My Hangup Is You“[1] and the super-breaky “It’s a New Day“[2].

More Jahsonic YouTube faves are here[3].

Also, while researching these tunes, I found Wanda Robinson‘s [4], a WMC in the making?.

Hauntology’s preoccupation with the aesthetics of death in a post-9/11 world

Both Sam Shackleton‘s “Hypno Angel”[1] and Kode9 and Spaceape‘s “9 Samurai”[2] feature references to Chopin‘s Funeral March[3]. The first quite literally at 3:12 in the track, the latter throughout the recording.

Both tracks are in the dubstep genre, dubstep is related to hauntology. Both these two recording exemplify hauntology’s preoccupation with the aesthetics of death in a post-9/11 world. Musical hauntologists are advised to read the music sections in the as of yet untranslated French book Principles of an aesthetics of death, with its references to the “Funereal” outings of Mozart, Beethoven, Chopin (“Funeral March“) and Schubert (Death and the Maiden [4]).

In the hauntosphere, Esotika has a post on hauntology and John Maus.[5]

Beyond the critical theory babble, “Hypno Angel” and “9 Samurai” are excellent dub music recordings.

The golden age of television

[Youtube=http://www.youtube.com/watch?v=OdX9IcpG8wg]

27 years ago today was the day of the first video clip every broadcast on MTV. The clip was “Video Killed the Radio Star,” directed by Russell Mulcahy, and it marked the debut of the channel on 1 August 1981, at 12:10 A.M. The single, a Trevor Horn (Frankie Goes to Hollywood) production, was already two years old, released in September 1979. The song celebrated the golden days of radio, talking of a singer whose career is cut short by television. Group member Trevor Horn has said that his lyrics were inspired by the J.G. Ballard short story The Sound-Sweep, in which the title character, a mute boy vacuuming up stray music in a world without it, comes upon an opera singer hiding in a sewer.

Up until today, MTV remains my favorite television station, along with Arte.

See Golden Age of Television and Ode to MTV and the contemporary grotesque

One can’t argue with popular

Internet nostalgia.

Around 2002 I discovered Tom Ewing‘s I Love Music (ILM). The forum featured posts by bloggers and writers such as Simon Reynolds, Philip Sherburne, Mark Fisher, Scott Plagenhoef, Momus, Stevie Nixed and Sasha Frere-Jones. ILM represented the first batch of serious music writing in the blogosphere, and was notable because of its non-rockist approach.

I stayed around for a year or two, lurked more than I contributed and moved on, starting my own domain in that same year.

The reason I go back to these days is a blog I found by Tom Ewing on popular music[1] over at Freaky Trigger, a site/blog he has as a follow-up to NYLPM [2]. Tom means popular music in the literal sense, reviewing every UK number one single since 1952[3]. As of now, he has arrived in 1978.

The reviews are funny and well-informed. Consider this recent entry on Kate Bush‘s Wuthering Heights[4]:

“I’ve never read Wuthering Heights, though I like to imagine its heroine does a pushy-arm dance at some point. Looking it up on Wikipedia, however, I was shocked to realise that Kate Bush is singing this song as a ghost, but really that’s just another oddness on a teetering pile of them: in a really excellent article on Bush for the late Stylus magazine[5], Marcello Carlin (hi dere!) points out that she is “the last musician to be allowed to do what she likes, as and when she likes”, and the precocious, precious “Wuthering Heights” is both evidence and justification for this indulgence.” —Tom Ewing at Freaky Trigger[6]

After viewing the list of 1977 number one hits one must come to the conclusion that a lot of interesting things can be said about what I like to call guilty pleasures[7], and secondly, that one can’t argue with popular.

Happy b’day, Steve Albini

Don’t Call Me a Producer (posted to YouTube by TheShippingYard

Steve Albini  (°1962) turns 46 today. In my book he is best-known as the producer and member of Big Black. He is also the writer of a hilarious pamphlet on the music industry: “The problem with music”.

Above is an excellent documentary by The Shipping Yard, a pseudonym of Travis Campbell.

Everything feels fucked up. The environment, the economy, war, terrorism, …

It is time for WMC #54

[Youtube=http://www.youtube.com/watch?v=pDCm5A5FTe0]

“You Can’t Always Get What You Want“by Soulwax

I may have dismissed Philip Sherburne‘s piece on the current state of beats too quickly in my recent comment.[1]

The piece came my way via Simon Reynolds[2] a couple of days back:

“Philip Sherburne addresses the malaise in electronic dance culture (i didn’t know the economic side of it had gotten that parlous) and convenes a kind of brain trust to come up with remedies.” —Simon Reynolds

And thus starts Sherburne’s piece:

“Everything feels fucked up. The environment, the economy, war, terrorism, …” —Philip Sherburne [3]

Regarding the economic side Sherburne says:

“Still, dance music is suffering from some very real maladies, many of them economic. Record sales are declining– labels that once could confidently move 1,000 copies of a 12″ single now struggle to sell 250– and legal downloads, while presumably growing, aren’t taking up the slack.”

As I said in my comment I find it hard to imagine that beats are going out of fashion.

Witness these beats set to The Stones‘s “You Can’t Always Get What You Want“[4] remix[5] by Belgian dance-punkers Soulwax. Listen for the choral arrangements by Jack Nitzsche.

Regarding beats going out of fashion from a theoretical point of view.

The beat is a celebration of dance, dance is a celebration of hedonism. Hedonism flourishes in economic booms. Today is an era of poverty. Beats do not fit in poverty. Perhaps. But. Counter example one: the beats of Lindy Hop during Depression America. So evidence inconclusive, but if I had to investigate I would follow the economic boom/malaise route.

“You Can’t Always Get What You Want” in its original Stones version is WMC #54

The Prince copyright controversy and WMC #54

At the 2008 Coachella Music Festival, Prince performed a cover of Radiohead‘s “Creep” but immediately after he forced YouTube and other sites to remove footage that fans had taken of the performance. Thom Yorke of Radiohead, upon hearing about the removal of the video, asked Prince to unblock the song stating “Well, tell him to unblock it. It’s our … song.” –The Prince (TAFKAP) and copyright controversy.

Look around on YouTube, how many TAFKAP clips do you find? That’s right, none. TAFKAP is convinced that if you want to be entertained by him, you have to pay him. He is right of course, even if it does not make him very likable.

Why is he right?

Companies such as YouTube (a Google owned company) are making millions of dollars on the backs of “minor” artists (the long tail) who do not have the funds to employ an army of lawyers to police YouTube in search of their content.

These minor artists should be paid for their work. Tafkap may set a precedent for this to happen.

Take an artist such as Loleatta Holloway[1] (who may be a bad example since she didn’t actually write many compositions herself, but it will do for the sake of the argument). About 124 clips with her voice are featured on YouTube, providing thousands of pageviews for YouTube. Pageviews generate ad revenue. Does Loleatta get paid? No. Does she gain in extra record sales? No, record sales are virtually non-existent since the advent of the internet, everyone downloads1.

The solution?

Micropayments, subscription based YouTubes (one for the the big four, the major record companies who control 70% of the world music market; one for all the independents who control the other 30%); and YouTube setting up a fund for the artists who are missing out on revenue right now.

P.S. It may sound contradictory (especially in regard to my post on The Cult of the Amateur [2], but I enjoy YouTube and its ability to bring unknown artists to my attention immensely, it’s just that I would not mind paying an annual fee to be able to discover them (and not pay to view the majors’ work). I wouldn’t even subscribe to TAFKAP, for that matter, he’s become to MSM to me.

As a bonus, and to extend the contradiction, it’s time for WMC #54.

[Youtube=http://youtube.com/watch?v=0qX-G-PUwvg]

“Cry to Me” (1975) by Loleatta Holloway.

1) For the record, I never download. I did it for a period of a month back in 2003/2004, lost the 200 songs I had gathered (I hadn’t burned them on cd, in fact I’ve yet to burn my first cd) and have not repeated the experience since I find YouTube satisfactory.

Channeling, hauntology and corporate cannibals

[Youtube=http://www.youtube.com/watch?v=FgMn2OJmx3w]

“Corporate Cannibal” (2008) by Grace Jones

Hurricane is the upcoming tenth studio album by singer Grace Jones and is to be released on 27 October 2008.

Producer Ivor Guest has confirmed that Jones has completed recording her new album, due out in 2008. Participants on the new album are include Island Records usual suspects Sly and Robbie, Brian Eno, Wally Badarou, Tricky, Uzziah ‘Sticky’ Thompson, Mikey ‘Mao’ Chung, Tony Allen, but also new collaborators such as her son Paulo Goude and the Londoner Don-E.