Friday, September 26, 2008

The Problem With Obama



Interesting take on the Obama campaign by Matt Taibbi:


"What's confusing about Obama is that he's so successful at projecting an air of genuineness and honesty, even as he navigates the veritable Mount Everest of fakery and onerous bullshit that is our modern electoral system. And the reason it's confusing is that we've grown so used to presidential candidates who fall short of the images they present in public, we don't even know anymore what a man worth the office would look like. Is this him? Or is this just a guy with a gift for concealing the ugliness of the system he represents?"


In part, it seems like what America has at stake in this election is more than just the issues, which are dire enough to make the decision about the incoming commander-in-chief absolutely vital. The promise of Barack Obama (who i obviously, though sometimes reluctantly, support) is as much about a contract with reality as it is about any evaluative criteria for a governing body. The people's hope in his candidacy correlates to that old religious stalemate; faith. But rather than a superstitious kind of faith (though perhaps some could justifiably dismiss it as such), Obama's supporters' faith is a belief in the power of iconoclasty to come alive, and simultaneously self-destruct. The hope is that Obama, by gaining the most title of perhaps the most artifice, will become a symbol of the death of artifice.

Obaama's campaign may use "Hope" as a kind of PR shorthand to huddle the masses behind him, but the emotions behind it, even if exploited for political gain, are real. In the broadness of the theme, Obama and his campaign have allowed for a multiplicity of meanings, all of which can be genuine and empowering. You almost get the sense that Obama's kind of adept at the game. As an insider, he knows he can never overthrow the machinery. But since only insiders can get elected, he can still empower the populace to become the changes they want to see in the world and swing politics out of their current, and perhaps perpetual, corrosiveness.


"The challenges we face will not be solved with one meeting in one night... change will not come if we wait for some other person or if we wait for some other time. We are the ones we've been waiting for. WE are the change that we seek."

What is perhaps most remarkable about this election is the hubris with which Obama (or candidate Obama, the hope simulacrum- take your pick) acknowledges his inconsequentiality. What he represents is far more important than what he is. In an age where cynicism is not so much a choice as a prerequisite, Obama's campaign represents a desire to one day become a civilization that actually is who it says it is.



Of course, the saccharine music in the above video betrays the politicking involved in this election, the ways in which it is working within the superstructure of a hyperreal culture. However, the very message of the video is about transcending the noise of the political climate and becoming something more than just perception. It's ten shades or irony, of course, but that doesn't mean that it's not working.

Martin Luther King Jr's call to "keep hope alive" swept through the 1960s like a mad rush, exploding throughout the civil rights, antiwar, and free speech movements and beyond. It was a note struck in the midst of apocalyptically tumultuous times. Nations were collapsing, atomic war loomed large, assassination was commonplace, riots were omnipresent. It took a while, but the power structure eventually collapsed that hope. It embedded in us a notion that the system would never change, that we should always vote for the lesser of two evils, that the best we can hope for in minor incremental improves which dull and damage the momentum of hope. Obama's compromised policy initiatives don't promise a severe change from that political disconnection (though his platform's the most progressive that the democrats have run on since the 1970's), but his rhetoric is undeniably populist and people-powered. You really do get the sense that he believes America is a land for all people, where masses can rises and mold government. Whereas with most politicians, you only get the sense that democratic government for them is whatever they say it is (witness John McCain's behavior during this whole bailout fiasco).

You get a lot of senses with Barack Obama. The sheath of political ambivalence and falsehood looms so large its hard to tell what's if any public statement all could be anything but a mirage. It's perhaps the cold-hearted skeptic, the one whose consummate distrust has colonized all but a small margin of my being, that wants Obama to succeed the most. It's a suicide plea for him to at least be granted the possibility of becoming who he says he is.

Because oh sweet lord almighty, I'd love to be wrong about America. I'd love to believe that all the horrible shit we've done to ourselves and to the rest of the world stems from some deep-seeded cynicism, from a belief that the best we can do is grab at straws while the almighty oligarchical overlords decide our fates, that we're not really so cold, shallow, individualistic, materialistic, that deep down we're more than just the products we buy, the color of our skin, the presidential candidates we pick. Because if Barack Obama can really turn us into the ones we've been waiting for, maybe it is possible that he is the light that shines through. Because if not, we are truly fucked.

Wednesday, September 24, 2008

Spooky Mixology



My review of DJ Spooky's new audiologue of the Sub Rosa archives, released in tandem with his new book (which I haven't read yet) is up over at PopMatters.
Unbeknownst to me, the editorial board decided to turn the review into a feature under the headline "Why Does the Mix CD Still Exist?" Had I known about this, I probably would have changed the wording slightly. I think the question is misleading. It's not a matter of why the mix CD exists. I think the mix CD is a robust form, one that's deeply ingrained into DJ culture and has every right to exist. My question is what does the mix CD still have to offer in a commercial format? Pirate copy and bootleg mix tapes are abound and you're more likely to see a widespread dissemination of material on the internet both in the form of mixes and podcasts than you would with a physical CD, something that most can agree no one seems to be buying any more.

It's a question I'm not really sure I can answer, because I do think they offer something more than just the material artifice of possession and the quasi-mystical allure of intimacy associated with private ownership. But I also agree with Spooky's thesis that the Sound is unbound. It's part of culture that any of us can and should freely remix, making the latter point about possession and intimacy moot.

Saturday, September 20, 2008

RIP


Richard Wright, Pink Floyd


Norman Whitfield, song writer and producer extraordinaire.

For an incredible article of what Whitfield did with the Temptations, check out this archived one at Stylus

Tuesday, September 16, 2008

Sunday, September 14, 2008

The Problem With Obama



Interesting take on the Obama campaign by Matt Taibbi:


"What's confusing about Obama is that he's so successful at projecting an air of genuineness and honesty, even as he navigates the veritable Mount Everest of fakery and onerous bullshit that is our modern electoral system. And the reason it's confusing is that we've grown so used to presidential candidates who fall short of the images they present in public, we don't even know anymore what a man worth the office would look like. Is this him? Or is this just a guy with a gift for concealing the ugliness of the system he represents?"


In part, it seems like what America has at stake in this election is more than just the issues, which are dire enough to make the decision about the incoming commander-in-chief absolutely vital. The promise of Barack Obama is as much about a contract with reality as it is about any evaluative criteria for a governing body. The people's hope in his candidacy correlates to that old religious stalemate; faith. But rather than a superstitious kind of faith (though perhaps some could justifiably dismiss it as such), theirs is a faith in the power of iconoclasty to come alive, and simultaneously self-destruct. The hope is that Obama, by gaining the most title of perhaps the most artifice, will become a symbol of the death of artifice.

"The challenges we face will not be solved with one meeting in one night... change will not come if we wait for some other person or if we wait for some other time. We are the ones we've been waiting for. WE are the change that we seek."

What is perhaps most remarkable is the hubris with which Obama (or candidate Obama, the hope simulacrum- take your pick) acknowledges his inconsequentiality. What he represents is far more important than what he is. In an age where cynicism is not so much a choice as a prerequisite, Obama's campaign represents a desire to one day become a civilization that actually is who it says it is.



Of course, the saccharine music in the above video betrays the politicking involved in this election, the ways in which it is working within the superstructure of a hyperreal culture. However, the very message of the video is about transcending the noise of the political climate and becoming something more than just perception.

Apparently....



We're living in the 1930's....

Wednesday, September 10, 2008

The State of Pluxembourg


There's a review of Solid State over at theme there PopMatters, that was written by me. Their name, which has a history that long precedes them (they used to make bubbly analogue music- the kind that got them on Suction Records' excellent Snow Robots comps), sounds a bit like a portmanteau of PLUR and Fluxus, though their music hardly sounds like what you'd expect from a name like that (come to think of it, what would a band like that sound like?).

Here's some interesting news:

As if the noise community wasn't alienating enough to the rest of the country, a new group has emerged :Noise for Obama. It's thus far a modest effort- very basic HTML, statements from members of Lightning Bolt, No Age, Deerhoof, etc. , and calls to get involved.

In a related story, No Age and Deerhoof are now considered noise music.

Seems kind of micro in scope, but wouldn't it be great if Obama made a surprise appearance at the No Fun Fest (I know that was several months ago, shhh) like his infamous Wilco appearance? "I love Macronympha..." Imagine what kind of ammunition an association with noise music would give Republicans?

Tuesday, September 9, 2008

Some Things Just Can't Stay Buried



I've got a feature article over at PopMatters about the bloke pictured above. Who he is and why not knowing who he was mattered.

You can read it here: Some Things Just Can't Stay Buried



Univers Zero


I also have a review on the rerelease of the incredible French Chamber prog group Univers Zero's debut LP. It's probably not as overall solid or conceptually taught as the followup, Heresie, but this stuff sounds amazingly forward-thinking in the age of Zorn.

Tuesday, September 2, 2008

Just to be fair and balanced....

Let's see what Barack Obama's military escalation in Afghanistan might entail....

RIP

Democracy

The RNC continues martial law and its "preemptive riot" arrests. This time around, they've arrested an AP photographer, a NY Post Photographer, and three crew members of Democracy Now including host Amy Goodman. Luckily, their footage survived, but something tells me you won't see it on CNN.





Of course these are just tiny infractions, little pieces of the abuse that's happened so far. And this is only day two of the convention. I think the straight talk express just hit a busload of kids...

Friday, August 29, 2008

RIP



Adam Nodelman (Sunburned Hand of the Man, Borbetomagus)

Tuesday, August 26, 2008

More Soft Rock Tunes



We're entering a weird phase of history where music is running out of elements to recycle and endless combinations to miscegenate. It's nothing new, or perhaps even fantastic, but much of the music of the last year seems to be about taking all the coolest parts of really lame music- the blunted electronics in prog/fusion outros, the mellifluous plastic soul croons of dentist-chair soft rock, the really cheesy moog histrionics of italo-disco- and combining it with traditional elements of more socially acceptable/groovy music (disco basslines, acidic techno stabs, dub echodrones). Call it the curse of "Digital Love". Or better yet, call it Balearic, because that's the blanket term everybody has been throwing on all the vaguely downtempo potpourri lately. The term makes no sense in a geographical/historical sense, but that's generally how these things go, eh?

What I wonder is- what will happen when the mainsteam finally latches onto this thing in a few year and waters it down? Will it just sound like the original soft-rock schlock? Or has "Balaeric" music already come pre-sanitized for air play? If that's the case, how much shelf life can it really expect in hip circles?

Whatever the case; here's my pick of the week and the review on it to boot: Studio- Yearbook 2 (review at Edge), which actually features no new music- only remixes.

Also, a followup on the Business Week Story I linked to way back when I first started this blog. A rare happy ending, seems Tanya Anderson has won her case...

Brief update on things I haven't reviewed that'll I'll probably have more to say about when I'm not exhausted:

2008 Things I'm Digging:

Burning Star Core- Challenger (Hospital Recordings)
I only just now thought of how pretentious the title of this record is when thought of in terms of "challenging" music, but fuck it. This is easily best of Yeh's I've heard to date (though I sincerely doubt anybody can listen to everything a noise band puts out). I'm looking forward to the day when more noise-heads drop the sweaty scary guy act and put out albums of real dynamic capacity.

Thomas Brinkmann- When Horses Die(Max Ernst)
Admittedly, there's a lot of Nick Cave in here. From what I've heard of Cave's latest "return to form" though ("Dig, Lazarus,Dig"- also not a fan of "No Pussy Blues"), he could stand to listen in on his imitators (who in turn happen to be minimalist innovators).

MGMT- "Time to Pretend" (Sony/Columbia)
A band I guess I was unfair to in that I had no interest in hearing anything they had to say (too many indie rock bands out there for one lifetime, I suppose, particularly ones on major labels), but I do quite like this song and it sounded kind of poignant (perhaps moreso than originally intended) being played over war footage on Democracy Now (of all places!).

Zomby- "Liquid Dancehall" (Ramp)
The name in itself seems to warrant a new sub-subgenre. How about it? Great tracks too. Almost a cartoon version of dubstep.


Non-2008 Things I'm Digging:

Tim Buckley- Goodbye/ Hello on through Lorca
I don't think this really bears explanation. Anybody who owns any of these knows how fantastic this whole run is. However, it did take me long enough to finally check it out. As a side note, I've been alphabetizing my CDs in what promises to be an arduous year-long endeavor and stopped at the Buckleys to give another listen to Songs for My Sweetheart, the Drunk and... it's still pretty dreadful. Sorry, younger Buckley!

Peter Shelley- "Homosapien"/"Yesterday's Not Here"
I recall hearing the former on MTV2 and being amazed that people could listen to songs like that and "Relax" and not think they were the gayest songs on the planet. These first two songs from Peter Shelley's Homosapien album definitely sound good enough to abandon the Buzzcocks for, even during some the Buzzcocks' more adventurous sonic stages (though when this came out they were pretty much dead weight). The rest of the album, unfortunately doesn't hold up as well.

Cabaret Voltaire- Methodology '74-'78 Attic Tapes (Mute)
I downloaded this because I was a little hesitant one what it might yield (some of the same Sheffieldian wankery found on the more boring parts of that The Future (pre-Human League/Heaven 17) release?), but the quality is actually pretty amazingly consistently high, especially considering I only really like about half of the Original Sound of Sheffield 78/82 compilation.

Britney Spears- "Freakshow"
Holy shit, really?

The Alan Parsons Project- "Eye in the Sky"
There's probably something wrong with me, but I can't stop listening to this song.

Magma- Kohntarkosz
Was this band some kind of secret? They're fucking amazing. Goddamnit for being born 7 years after this stuff came out.

Various Artists- Satan's Sermons and Other Electronic Fantasies Pt. 1
Can't remember which blog I got this off of, but it's more fantastic avant-garde electronics from the 70's, part of which sounds rather strangely like a pair of longform Forcefeel pieces I'd almost forgotten about.

Sidenote: Glad to see Grouper's Dragging a Dead Deer Up a Hill made it onto Pitchfork's recommended list. It's shaping up to be my favorite disc of the year. The reviewer seems to have flown a little off the deep end with the references though. Vivid Scene? Lida Husik? Vashti? I had to look half of them up and none of them sounded even remotely like what's on the album.

Stuff I'm on the fence/ Not that into:

Basic Channel- BCD2
Call it heresy, but I haven't been able to get into this as much. I've heard some great Chain Reaction records and am deeply into the Pole/ DeepChord post-BC stuff, but there's just something about this that doesn't strike me the same way.

Nas- Untitled
Lyrically, I was quite impressed by some of the lyrics, but (of what I've heard) the music and flow just seem mediocre at best.

Hercules and Love Affair
The new Clap Your Hand Say Yeah in that both have beyond-shitty names and make unfathomable drek that somehow gets lauded by every major publication. Actual, HALA are much much better than CYHSY, but that's really not saying much.

Thursday, August 21, 2008

Axolotl Eyes

Here's another review from last week I never got to posting. It's on the newest collaboration between Can keyboardist Irmin Schmidt & producer Kumo. I've always found most of the post-Can solo outings to be a bit yawn-inducing, but this one's actually quite decent in parts.

For other listening habits and reading materials, Fact Magazine has a pretty decent list of the 20 Best Ambient albums, which is a pretty broad category. Though overrepresented by Eno (they probably should have capped it at one release per artist), it's a pretty all-encompassing selection.