moments before the wind.

May 3, 2007

some day he will live to regret me

Filed under: folk, indie, music, recording, reviews, rock, writing — alimarcus @ 1:49 pm

Aimee Mann’s Bachelor No. 2 is playing at Victrola. I happened to be walking by and could not stop myself from coming in to listen to the rest of it. Whatta great record. I think it’s her best one. Perfect thing to hear on this sunny/windy/freezing in the cold Seattle spring day. WHen you can get sunburn and goosebumps at the same time.

Me and my friend Hanon have reconnected. Oh, it’s been so long, and such a joyous double return.

Advertisements

April 23, 2007

EMP Pop Conference #16 – End Bits

One thing that I continually find entertaning is the feedback loop at the conference, presenters quoting writers to help support their point, and those writers are literally sitting in the audience listening to their own words spoken back to them. This kind of validation (or cancellation?) is a kind of black hole, a weird moment in time when the reasoning behind an argument starts to sound circular. For some reason the fact that the original writer is in the room listening sort of serves to render the intellectual capacity of the argument null and void. Like anything that is circular, you have to wonder whether it’s useful to end up where you started. Of course it can be. And of course it can’t be.

Also.

There seemed to be an exceptional amount of political commentaries built into the arguments I saw. The theme of the conference, “Waking Up From History,” propelled many writers to arrive at the concusion that we should actually wake up TO history, to learn from history, and to draw conclusions between the cultural sphere that our work covers and the political sphere of which we are citizens.

Some examples:

-Robert Bennett on the Jazz Diplomacy program and the things we should learn from it.
-Scott Nelson’s timely mention of “abortive gun policies” in the paper about John Henry’s exhumation – I’m not sure how he managed to reference the VA. Tech shootings in that conversation but at the time it made perfect sense.
-Brendan Greaves’ talk of Terry Allen’s border politics and the ways in which the Texas/Mexico border is treated by the government versus the inhabitants. 
-There was also an entire panel about New Orleans, as well as a smattering of other related papers throughout the weekend, all of which contained a fervent expression of the power of music and solidarity and the essential character of the city.

In general, as there seems to be in more and more things these days, there was a real sense of urgency that was more palpable than in previous conferences. It may have been the effect of the theme, but in general people’s research was very much rooted in the grim realities of life and music’s ability to help maintain and even create hope where all seems quite hopeless.

EMP Pop Conference #15 – Analog as Analogy

Filed under: architecture, authenticity, digital, distribution, folk, indie, marketing, music, recording, writing — alimarcus @ 2:18 pm

Erik Davis brought a decidedly esoteric (in a good way) perspective to the issue of the analog/digital divide. He quotes Joanna Newsom speaking of her analog aesthetic as a reaction to the “crispy mosquito of digital sound boring into your brain.” Fantastic, in both ways.

Enlarging the divide into a debate about Analog Ethics (could be the name of the best graduate seminar EVER), Davis proceeded to codify the opposing notions of analog and digital in a larger framework, ultimately reducing it to the phenomenological difference between the wave and the particle. If you are me, then this is incredibly interesting considering that you believe the ultimate meaning in paradox is that they collapse each other into one and the same thing, though you don’t know what to name that thing or whether to liken it to religion, existence, life, or anything more mundane like music.

Also, if you are me, you will find yourself up against a kind of wall, because if digital and analog are all part of it, whatever it is, then what the hell is real and what is fake and what is worth arguing about anyways?

Well, here’s a thought. Davis spoke of the freak folk genre (boy, I dislike that term!) as a crowd that generally seeks authenticity in their musical experience. But I have to wonder about seeking authenticity. Is seeking authenticity akin to seeking good karma? I always thought that someone seeking good karma is totally missing the point, because then they are acting in complete self-interest. So if one is seeking authenticity, then are they truly false as a result of their hyper-conscious (postmodern) decisions?

But gah, authenticity!

EMP Pop Conference #14 – Van the Man

Filed under: architecture, authenticity, country, distribution, folk, music, recording, rock, writing — alimarcus @ 1:51 pm

A note about a song. Charles Hughes said that “Dark End of the Street” (1967) should be America’s national anthem. I didn’t previously know the song, but the part of it he played was beautiful. It made me think of Van Morrison’s “Bright Side of the Road,” released in 1979 on Into the Music, because of the obvious lyrical relationship.

Where writers Dan Penn and Chips Moman write:

I know time’s gonna take its toll
We have to pay for the love we stole
It’s a sin and we know it’s wrong
Oh, our love keeps going on strong
Steal away to the dark end of the street
You and me

Van says:

Little darlin, come with me
Wont you help me share my load
From the dark end of the street
To the bright side of the road

In my mind, there’s no other possibility except that Van is responding to this hugely popular song of the previous decade. It’s just too explicit. I wonder what Hughes would say about the racial politics surrounding Van and his music, with the mixture of a serious anglo-saxon background and a decidedly soul, R&B musical influence. Maybe he would say that the exact kind of hybrid that Van exemplifies is a direct product of the mishmash love triangle in the south. See this for more on that.

EMP Pop Conference #13 – What You See Is What You Get

Filed under: authenticity, country, distribution, folk, live shows, music, radio, recording, writing — alimarcus @ 1:32 pm

Michael Bertrand spoke of the radio barndance on WLS in the 20’s and specifically on the minstrelsy aspect of the shows.

Without getting into the details, I just want to post this quote from his presentation. It’s a wonderful thought and is applicable to most everything in today’s world as well:

“When listeners heard dialect through their radio transmitters, what exactly did they see?”

I mention this because I think we all conjure up visual images in the absence of being provided one. Especially when we read books, there’s an imaginary space in our minds that we situate stories within. On the radio, especially the kind of radio that is pre-television, serial soap operas and variety shows, it’s just the same. And of course every listener conjures a different image. What an idea, that every perspective is completely relative. Maybe it’s the same even when we are provided with visuals.

Another barndance based out of Nashville in the 20’s is still running today; it’s called the Grand Ole Opry.

EMP Pop Conference #11 – County Lines

Filed under: architecture, authenticity, business, country, folk, music, producers, recording, writing — alimarcus @ 11:28 am

A recurrent topic at the conference is the black reclamation of a southern identity, namely, southern hip hop. Countless papers brought this up in conversations about racial politics and pop culture, which makes sense due to the huge and growing popularity of african-american musicians re-forging their southern roots and identities.

To talk about Leadbelly here would be going in the wrong direction, because the idea is that this new generation of hip hop is fueled by a kind of empowerment and self-conscious purpose. But to talk about Cowboy Troy might be entirely appropriate? Or maybe just bizarre. Jon Caramanica was so giddy to get to be talking about Cowboy Troy, I can only imagine the sorts of things that might be going on at Vibe Magazine.

But I think there is something else to this element of absurdity. Charles Hughes gave a fantastic presentation on the love triangle of Nashville, Memphis, and Muscle Shoals – namely, the particular symbiosis of country and soul (and disco?), black and white, that largely determined the mainstream sounds of both genres in the 70’s. And when someone asked him what contemporary artists could be compared to the genre benders Billy Sherrill, George Jones, Ray Charles, etc etc…he said Bubba Sparxx’s album Deliverance. Now that to me is absurd. Not that Hughes is wrong, but that I never took Sparxxx seriously – I think one too many frat parties may have tipped the scales for me in that respect (one?! okay, maybe 20). And then Hughes himself addressed this, as if he’d read my mind, bringing up artists like Solomon Burke and Allen Toussaint, lamenting that “they’re all so damn serious.”

Lightbulb! I get the “too damn serious” comment a LOT, so I get what he means here, though I may be on the other side of the coin. Bubba Sparxxx? Definitely not. Fans of Bubba Sparxxx too – POPISTS! Which is the whole reason why we’re at the Pop Conference in the first place.

We all draw our own lines between what’s pop and what’s serious. Different for every person. This makes me think of a little tibit that Meghan Askins taught us yesterday, that Nevada County, CA, drew their county lines in the shape of a pistol aimed at Nevada State, angry for stealing their name. The way that we all draw our lines tends to have a kind of larger metaphysical purpose as well, aimed with a certain discourse in our sights.

EMP Pop Conference #10 – The Pure Land

Filed under: architecture, authenticity, digital, distribution, folk, indie, live shows, music, recording, writing — alimarcus @ 10:46 am

Phil Ford quoted an old professor of mine, Scott DeVeaux – so much UVA love this weekend. DeVeaux taught a really wonderful class, Music and WWII, where I thought about many things for the first time and will never forget. The quote he read, I wish I had been able to record it, was so typical of the way DeVeaux spoke – it was perfect.

Ford’s presentation was about some obscure acetate recordings that the Beats made. I sort of lost track of the talk, just a personal ambivalence about the Beats – it’s hard for me to really pay attention to it. He made a general point about the purity of experience though, which is what they were striving for, and all of a sudden the quality of the recordings became an issue, then extrapolated to the larger circumstance of all recorded music. Ford talked about the expression of a particular kind of inability to attain this purity, which he then likened to “the melancholy of recorded sound itself,” a loaded and entirely plausible statement.

Recording brings a kind of distance to the musical experience. Yes, OK, well, this is an obvious point, however existential you’d like to make it. The physical distance between the room in which the sound was made and the room in which it is heard cannot be stressed enough. Is this distance detrimental to the musical experience? On both ends, for the musican and the listener, I think something is lost. Other things stand to be gained, of course, but some people may never be able to reclaim the visceral experience of proximity.

I learned about a different kind of music that seems to be entirely about the visceral experience of proximity in Lorriane Plourde’s talk about a kind of Japanese experiemental music mainly performed at a gallery called Off Site. I can’t remember the Japanese term for the genre, but it involved cramming a bunch of listeners into a typically small Tokyo apartment space, where they listen to a performance that consists mainly of sounds that you must strain to be able to hear. These performances are so quiet (made up mostly of sine waves and feedback noise from a mixer), that apparently you must strain to stay awake as well. What Plourde took away from her study of this music was the sense of physical tension, explaining the palpable sense of stress and, well, strain, among the audience members and their relation to the performing artist. More of a happening than a concert, it illustrates a lot about what remains to be sought out in a lot of American commercial recording. Conceptually, this experiemental form seemed to me to be sort of a reactionary form of art, forcing the kind of particiption and recipriocation that hardly any popular music asks of us anymore.

EMP Pop Conference #7 – Too Much Analysis?

Filed under: architecture, authenticity, folk, live shows, music, recording, reviews, rock, writing — alimarcus @ 8:57 am

John Shaw has a really nice take on his experience at the conference this weekend. Mainly centered around Jonathan Lethem’s keynote, which I skipped, he repeatedly brings up something that I think about often, in music and also in life. “We should exult that such secrets live among us,” he writes, referring to the seemingly endless attempts my music writers to analyze, unpack, and deconstruct what exactly it is that makes this or that do a particular thing inside our bodies and minds.

A (perhaps the) central conflict in my professional life (see Quality) is between what I think as a critic and what I think as a musician. I am constantly looking to more experienced people in this situation for advice or for something that helps ease the tension, but more often than not, I have to make little decisions here and there choosing one over the other and weighing the results over time. But in general, I find that I am unable to truly separate. Either my writing about music becomes increasingly lyrical and personal, or my songs or promotional strategies have these highly analytical tics that come off as inappropriately intellectual in the wrong circumstances.

Bob Christgau would call me a bad critic. But would he also call me a bad songwriter? I don’t know.

At any write, Shaw thinks that “Maybe the ubiquity of music has masked its mystery, like a drug to which our tolerance has grown,” and I absolutely agree. I could go on forever about the ways in which recorded music has changed our relationship to music in general. In fact, I probably already have, somewhere on this blog, if you’re willing to search for something about mp3’s and albums and live performance.  

So it might be the hybrid nature of my music appreciation that both feels exactly what John is saying (exults, if you will), but also just as equally feels the necessity of critical analysis. It’s just as important. Living too much in one world or another would seem like missing out on some things.

Is this an extension of the wrap-up panel about Academia vs. Journalism?  If so, then Journalism all of a sudden just became the heart instead of the brains, as far as binaries are concerned. Interesting. More on this later.

Older Posts »

Create a free website or blog at WordPress.com.