Yes, I'm waxing a little bit toward the herbal hued morning sun and crisp air, waiting for the right time to make banana bread and foster a connection between the piping hot goodness of its meat with the blank unwashed palate of a palette in my mouth. I'm immobile, see, or slightly mobile for reasons that I won't even share anonymously, and for that reason will veer off course and away from alcohol, which should be expected anyway.
Back to music quickly. You'll notice that John Fahey experimented with dissonance. Even after producing hugely structured music for many years--and maybe this is a semantic distinction, because people like Fahey don't really break their own structure so much as meta-synthesize previous discordant elements into a jamboree of sorts. Let's see if I can call ye an example. Well, I can, but I can't seem to make my headphones work, so you'll have to go to see some visual examples instead. Like this, at first, for a young Picasso, and then, well, you know all about the crazy three dimensional faces... and all the weird perspective shifts. They're great, or you hate them. Or they're all the same. I'm sure there are links to support those small fragments of advocacy, and you're sure there are too, so let's just link them mentally for now, okay? The point is that we hear all that structure and we get used to it, and we expect an artist to produce what we know already, especially when we take our music and whatnot seriously. There are problems. One is that you kind of have to know all of an artists previous work to get into the current more abstract stuff. As I write that, I realize it isn't true, but it certainly helps.
Because eventually you get into like Marc Ribot covering the Beatles, and some reference points are nice if you want to make sense of it:
No comments:
Post a Comment