Listenable – Zola Jesus, the low-fi band that doesn’t exist
Posted by Mat | Filed under Music
“Zola Jesus didn’t need to clean up to stand apart from the Lo-fi horde– they already had Nika Danilova’s voice”
In the very first sentence of their review of Zola Jesus’ new EP Stridulum, Pitchfork presents the reader with a clear image of the music – great female vocals and Lo-fi sound. The expectations are set – early Liz Phair, or maybe the garage sounds of No Age or Vivian girls.
Nope, no Lo-fi here.
Buzzing guitars, scratchy vocals, pervasive noise, and other Lo-fi staples have been supplanted by dron, martial percussion, and a sole, powerful and echoing, voice. This is downright goth.
A look over at Zola Jesus’ site confirms the thought:
What are your musical influences? – Singers with big voices, like Diamanda Galas and Tina Turner. Divas. Film scores from the ’70s and ’80s. Industrial and power electronics. BBC Radiophonic Workshop, Opera, Philip K. Dick.
Bizarre female vocalist? Really avant garde electronic music? Dystopian science fiction?
Congrats to you, Zola Christ, you’ve managed to break the vicious cycle – you’re beyond the scene and have a much more relevant genre tag. I have found my post-goth figure to rally behind.
Tags: elitism, industrial, listenable, low-fi, post-goth, scene, zola jesus
PONDERED: Taxonomy and manifesto; identity in digital media
Posted by Mat | Filed under Music
or “is it historically significant to make shit up in order to get my music noticed”
Call this a mashup between two objects of my adoration – historical analysis of century old art and interweb pop-satire.
The talk of the day comes from a post on HRO discussing sub-genre, namely the author, Carles, branded a smattering on contemporary artists with a mock-genre tag. Now these artists don’t know each other, don’t talk, and really have nothing in all in common…
…aside from sounding really, really similar.
Within the coming months, the name catches on around the online music masses, then the big name music mavens pick up on, and finally, the anti-Google, stuffed shirt, big ass deal of print media discusses it in detail.
The online mob has been co-opted and is none to happy about it.
Taxonomy
If the manifesto is the expression of “hey world, this is who I am,” than the world responds by placing us into taxonomic categories, or in the case of music, genres and sub-genres.
Named lots of “things that are like other things,” allow the listener to identify what they like in broad strokes or tow name drop at a part to sound smart – You don’t enjoy the musique concrete styles of so-and-so? such a shame. More importantly, they allow the listener to be marketed to.
Major labels have made a living for the past 30 years by lumping the sounds of relevant and unrelated artists in massive umbrella genres.
New-wave, Alternative, and Electronica add less definition to an artist than New Weird America, and yet is far more recognizable and has pushed far many more units. It would seem that useless genres have some serious worth.
Manifesto
Before social media allowed us to succinctly present our view of the world in an About Me section, artists had to work hard to convey the intent of their art.
Manifestos set the direction for an artist/collective work – when the Marinetti published the Futurist Manifesto 100 years ago, he was making it clear, “THIS is what we’re about: what we do and why we do it.” If a like minded fellow came along, he would say “me too,” and that would be the end of that.
In the modern era, apparently this notion of manifesto has been perverted. The artists who strive to make something new work actively to defy definition and to create solely to create. The artists that say, “THIS is what we’re about: how why sound and why we do it” are usually just attaching themselves to an established sub-genre – a phenomenon that can lead to a sound becoming a scene.
With artists ducking out of the race to define a sound, they lose the opportunity to control their perceived image and the direction of their identity and audience.
Who Cares
You’re reading this on the internet.
In 20 years, the web has been full of more single-minded pundits than either of the big American political parties. As the ability to find and reach an ever growing audience grows easier, the power of the online pundit to distribute a thought as fact also grows easier.
As such, it only takes a single blog post can unwillingly redefine an artist. If you have a problem with a semi-anonymous poster on the internet taking control of your art, pony up and define yourself.
Tags: alternative, electronica, elitism, manifesto, music nerds, new wave, pondered, scene, taxonomy
Listenable – L.A.’s post-goth looking glass
Posted by Mat | Filed under Music
Apparently, somewhere between the Highland and Havenhurst exits, I crossed through the looking glass.
Perhaps I’ve fallen prey to a very grassroots, viral marketing scheme for a new Jack Sparrow + the guy that boned Planet of the Apes flick. Or, maybe I shouldn’t have given Jerry O’Connell a buck when I saw him outside of 7-11.
All I know is that I’m in a world in which Los Angeles post-goth duo, She Wants Revenge exists, but doesn’t suck. Maybe suck is a bit strong of a word. How about ‘but doesn’t bring anything new to the table.’
They also have a new name – The Delta Mirror.
Whereas in my side of the looking glass, I had Bauhaus rips and songs about jilling and popsickles, The Delta Mirror Brings depth (rabbit hole deep). Yes, we get the post-goth sounds – brooding music and properly laid beats, but we also get piano, vocal textures, and fluttering IDM touches.
Instead of a weak Blade Runner concept album, there are the Vangelis-like flows of electronics that only M83 seem to be able to pull off.
Most importantly, we get the droning and flawed voice, but it has a sense of emotion that leaks into the rest of the layer tracks, rather than just talking over them.
Really, instead of traveling through the looking glass, it would seem that I was lucky enough to have instead discovered the long hidden, secret love child of Idioteque and Atmosphere. While they might never be cooler than their parents, as long as they don’t grow up to be accountants, their pedigree is secure.
The Delta Mirror have an album out this month along with a residency at The Echo, in Los Angeles – I plan to give them money, you should too
Tags: listenable, los angeles, M83, post-goth, scene, she wants revenge, the delta mirror
PONDERED: Why your scene doesn’t matter
Posted by Mat | Filed under Music
It’s 1996. Nine Inch Nails is in constant rotation and take up half of the t-shirt wall at your local Warehouse Music. Down the isle is the the Escape from L.A. soundtrack, that featuring Stabbing Westward, Gravity Kills, and effin’ Ministry - talk about bang/smash/book for your buck.
Skinny Puppy and Front 242 were on MTV (midnight on a Sunday, but still they were on). The music you love has a pedigree dating back to Throbbing Gristle in the 70s. Your musical forefathers have mucho music cred, and the newest crop is rebellious and yet relevant.
Take in the sites and smells – this is the last time anyone else in the world will care about Industrial music.
We can file the numbers off and protect that names of the innocent in this scenario. It’s ‘97 and you like Ska. ‘04 and cardigan styled Emo. Two ill-spent months in ‘89 with baggy….
ad. infinitum
The truth of the matter is that while the music, your music, continues to spawn merch, tour, and inspire new bands, they don’t matter. They’re not the black sheep of the musical sub-genre family, they’re the fish head eating mutant that lives in the attic.
Why the pariah status?
Back in the early 90’s, a music critic referred to the London Shoegaze Scene as “the scene that celebrates itself,” and subsequently, the rest of the critics stopped caring. Despite birthing some musical landmarks, the Shoegaze scene got kneecapped, and went from being a sound to a scene.
The criticism was totally valid. When a sound is codified and becomes a sub-genre, the rules are set – attire, attitude, and others are standardized. With the rules set, the old fans become die-hards or drop out and the new fans come in already knowing the rules. Most importantly, with the look, the sound, and the crowd predefined, the artist stop creating and begin producing for the fan base.
Bands in the _________ scene make _________ music for _________ fans.
And this is why your scene doesn’t matter, at least outside of your scene.
Tags: baggy, emo, industrial, mainstream, pondered, scene, ska, Slowdive, sucks
