Similar to the condition of metal are the genres of hip-hop and techno and alternative rock, which are also out of ideas and fragmenting to pander to different audiences. While originally maintaing a strong pro-black-community outlook, hip-hop has now become home to rappers with a range of different skills and outlooks, including those which reduce it to a marketing gimmick designed to sell "extremity" to suburban kids. The positive outlook, PLUR (peace, love, unity, respect) community which techno became in the late 1990s has lost focus as raves have begun catering to an older crowd who seem more serious about drug use than music. Alternative rock? Like other rock genres, it has been absorbed into the generic pop realm and now resembles indie rock more than it did previously. Genres like country and pop punk have suffered the same norming.
Sunday, June 26, 2011
Hardcore
The predominant musical influence during this era was the rise and fall of hardcore, something which was birthed in the late 1970s but expressed its technique and ideas most fully in the 1980s before choking on its own excess. Because it was accessible to both fans and musicians, it was soon flooded with followers; because it took a doctrinaire but identifiable political stance, it was soon flooded with people for whom the art was secondary to mind control; because it had no consensus on its ideology in whole, it pulled itself in too many directions, fragmented and dispersed. Its influence on metal was undeniable, but equally obvious are what happened to hardcore bands. Henry Rollins of Black Flag went on to an alternative metal project, the Henry Rollins Band, and musicians from Amebix put out a metal album ("Monolith"), while ex-personnel ended up in the -sounding Broken Bones.
Hip-hop
Similar to the condition of metal are the genres of hip-hop and techno and alternative rock, which are also out of ideas and fragmenting to pander to different audiences. While originally maintaing a strong pro-black-community outlook, hip-hop has now become home to rappers with a range of different skills and outlooks, including those which reduce it to a marketing gimmick designed to sell "extremity" to suburban kids. The positive outlook, PLUR (peace, love, unity, respect) community which techno became in the late 1990s has lost focus as raves have begun catering to an older crowd who seem more serious about drug use than music. Alternative rock? Like other rock genres, it has been absorbed into the generic pop realm and now resembles indie rock more than it did previously. Genres like country and pop punk have suffered the same norming.
Alternative
Among popular music, three main genres dominated this time: techno, or very simple beat-based electronic music, hip-hop, or beat based rhyming poetry constructed around samples, pop angst industrial, and alternative rock, which is a fusion of 1980s indie rock with punk rock and some of the more appealing techniques of 1980s metal. Clearly Nirvana bursting onto the scene (with the less popular but more archetypal Mudhoney) in 1991 was the inception of alternative rock radio domination, while the early popularity of Nine Inch Nails showcased pop industrial, and too many artists to name dominated hip-hop and techno (examples: The Orb, the Crystal Method, Cypress Hill, Public Enemy). Together these musics seem to have little in common, but when interpreted for their basic artistic direction, all are very similar.
Retro-cumulative
During this time, the movements of black and death metal, having spent their initial impetus, relapsed into a process of searching past influences for a "true" strain of each genre. The result was a reactionary "retro" movement which inspired brief revivals but then flagged. Death metal returned in force, with older bands releasing new albums and newer bands putting out releases that at the time seemed promising, but since none of it was sufficiently distinct from the past (or each other), there was no direction to be had. This is not to espouse some "innovation," as music has been so well-defined that there is no room to innovate, but there is room to create, and apparently, the creativity of these acts lagged behind where their shows of allegiance to past proven styles did not.
Death Metal
Death metal existed without a name for many years, being influenced by both the extremes of speed metal (Destruction) and Thrash, as well as carrying forward influences from hardcore (The Exploited) and Gothic influences to original heavy metal and industrial. In fact, like a genetic profile, the genre is not identifiable by a single trait alone, but by a collection of traits and the common ideas that allow them to be organized as such. Riffs from The Exploited, for example, could be transplanted into modern death metal without being out of place (especially from their "Let's have a war..." album); similarly, distortion and song structures from Destruction can be played "in style" by death metal bands without seeming out of place. However, what unified these concepts, and gave the genre its name, was its literal morbidity: it did not praise death, nor warn of it, but explored it in a strange obsession designed to reinforce the existence of "ultimate reality": the physical, natural, objective world in which we live, and in which we die. In fact, the early death metal especially can be explained almost exclusively by the slogan, "Only death is real."
Metal
Metal began in prototype form with Black Sabbath, whose trademark occultism symbolized life in terms of the eternal and ideal, while their gritty, sensual, lawless guitar gave significance to the immediate and real. The resulting fusion of the bohemian generation with a nihilistic, dark and morbid streak birthed early metal. Those who had rejected the hippies and found no solace in social order embraced this music and lost bohemians everywhere began to find new directions in this sound.
Having been thus born of the rock tradition early metal remained much within that framework, with dual lineages existing in Black Sabbath, the proto-metal architecturalists, and Led Zeppelin, the blues-folk-rock extravagantists. While the 1970s struggled to develop further the innovations in rock between 1965-1969 the influences that hit metal were primarily from European progressive rock. These musicians used classical theory to give narrative context to themes which in the popular music style repeat through cycling short complementary phrases or riffs which center motives. This technique migrated classical styles adapted from acoustic guitar and espoused structure over total improvisation.
Having been thus born of the rock tradition early metal remained much within that framework, with dual lineages existing in Black Sabbath, the proto-metal architecturalists, and Led Zeppelin, the blues-folk-rock extravagantists. While the 1970s struggled to develop further the innovations in rock between 1965-1969 the influences that hit metal were primarily from European progressive rock. These musicians used classical theory to give narrative context to themes which in the popular music style repeat through cycling short complementary phrases or riffs which center motives. This technique migrated classical styles adapted from acoustic guitar and espoused structure over total improvisation.
Heavy Metal
Metal began in prototype form with Black Sabbath, whose trademark occultism symbolized life in terms of the eternal and ideal, while their gritty, sensual, lawless guitar gave significance to the immediate and real. The resulting fusion of the bohemian generation with a nihilistic, dark and morbid streak birthed early metal. Those who had rejected the hippies and found no solace in social order embraced this music and lost bohemians everywhere began to find new directions in this sound.
Having been thus born of the rock tradition early metal remained much within that framework, with dual lineages existing in Black Sabbath, the proto-metal architecturalists, and Led Zeppelin, the blues-folk-rock extravagantists. While the 1970s struggled to develop further the innovations in rock between 1965-1969 the influences that hit metal were primarily from European progressive rock. These musicians used classical theory to give narrative context to themes which in the popular music style repeat through cycling short complementary phrases or riffs which center motives. This technique migrated classical styles adapted from acoustic guitar and espoused structure over total improvisation.
Having been thus born of the rock tradition early metal remained much within that framework, with dual lineages existing in Black Sabbath, the proto-metal architecturalists, and Led Zeppelin, the blues-folk-rock extravagantists. While the 1970s struggled to develop further the innovations in rock between 1965-1969 the influences that hit metal were primarily from European progressive rock. These musicians used classical theory to give narrative context to themes which in the popular music style repeat through cycling short complementary phrases or riffs which center motives. This technique migrated classical styles adapted from acoustic guitar and espoused structure over total improvisation.
Pro Metal
Since 1950s rock had been such whitebread wholesomeness, centered mainly around puppy love and going to the beach or the sock hop, the revenge of those who had been left out focused angrily on dissident and alienated themes, but expressed them to some degree in the civility of the day, leading to forms that in our current time of literal and material thought are tame, but in their time were offensive by the nature of their existence. These came in three forms, one crude, one arty, and one technique-oriented.
The first was the advent of loud, distorted blues, which was pioneered by a mess of a band called Blue Cheer, who made braying, droning, grinding blues rock with the aid of deformed amplifiers and a passion for crudity. They were the vanguard of a range of electric blues bands from Cream to Jimi Hendrix to ZZ Top, and inspired much of the loud rock which followed, including proto-punk-rockers the Kinks and the Who. Much can be said about these bands, but what is most important is that they took the traditions of folk and blues improvisation and turned them into something technically on par with the jazz and big band acts of the day, adding guitar fireworks and lengthy songs to a genre that was otherwise strictly radio-play ditties.
The first was the advent of loud, distorted blues, which was pioneered by a mess of a band called Blue Cheer, who made braying, droning, grinding blues rock with the aid of deformed amplifiers and a passion for crudity. They were the vanguard of a range of electric blues bands from Cream to Jimi Hendrix to ZZ Top, and inspired much of the loud rock which followed, including proto-punk-rockers the Kinks and the Who. Much can be said about these bands, but what is most important is that they took the traditions of folk and blues improvisation and turned them into something technically on par with the jazz and big band acts of the day, adding guitar fireworks and lengthy songs to a genre that was otherwise strictly radio-play ditties.
Rock Music
One cannot contemplate rock music without viewing its roots; that being said, its roots cannot be viewed without analyzing their origins in turn, and the political circumstance which shaped their public image.
Derived from English drinking songs, Celtic folk music, German popular music including waltzes and the proto-gospel singing of Scottish immigrants, "country folk" music had been an aspect of American culture since the early days of the Republic, but as it existed in country and not city was rarely recognized by cultural authorities of the day. Further, once new populations became empowered and replaced the old, most of this history was forgotten.
In part, the reason for this was political: the members of society who advanced American popular music as an artform were not of the original Northern European population, nor were they disposed toward thinking benevolently toward the same; further, they needed to invent something which, like advertising throughough the 1950s, presented itself as an oppositional alternative to the "traditional, boring" way of doing things (early advertising extolled the virtues of its products, while later advertising promoted products as part of a lifestyle which had to demonstrate both novelty and uniqueness to have value as a replacement for the traditional, boring, and otherwise effective way of doing things; this transcendence of function for image has fundamentally shaped American character). As a result, the mythos of blues as a solely African-American artform, and the denial of the Celtic, English and American folk influences on both blues and rock music, was perpetrated as a marketing campaign with highly destructive results for all involved.
Derived from English drinking songs, Celtic folk music, German popular music including waltzes and the proto-gospel singing of Scottish immigrants, "country folk" music had been an aspect of American culture since the early days of the Republic, but as it existed in country and not city was rarely recognized by cultural authorities of the day. Further, once new populations became empowered and replaced the old, most of this history was forgotten.
In part, the reason for this was political: the members of society who advanced American popular music as an artform were not of the original Northern European population, nor were they disposed toward thinking benevolently toward the same; further, they needed to invent something which, like advertising throughough the 1950s, presented itself as an oppositional alternative to the "traditional, boring" way of doing things (early advertising extolled the virtues of its products, while later advertising promoted products as part of a lifestyle which had to demonstrate both novelty and uniqueness to have value as a replacement for the traditional, boring, and otherwise effective way of doing things; this transcendence of function for image has fundamentally shaped American character). As a result, the mythos of blues as a solely African-American artform, and the denial of the Celtic, English and American folk influences on both blues and rock music, was perpetrated as a marketing campaign with highly destructive results for all involved.
Meta Music
Gofish bills itself as "the largest, deepest reaching, and most expansive search platform for digital media in the world". What should hypothetically happen on a Gofish search is that a search for an artist such as returns aggregated results from several different online outlets for audio, video and ringtones/ringtunes. Both digital downloads as well as physical product are included in the search results.
If Gofish can successfully index content from the growing number of providers without overwhelming consumers with search options (keeping it simple is key) it could potentially provide a useful pathway to grow the digital music business, particularly if the platform is simple to deploy on artist websites. How great would it be if every Lenny Kravitz fansite added Gofish so that purchasing the growing array of digital music (and related assets such as phone wallpapers) were just one click away?
If Gofish can successfully index content from the growing number of providers without overwhelming consumers with search options (keeping it simple is key) it could potentially provide a useful pathway to grow the digital music business, particularly if the platform is simple to deploy on artist websites. How great would it be if every Lenny Kravitz fansite added Gofish so that purchasing the growing array of digital music (and related assets such as phone wallpapers) were just one click away?
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