READ & DOWNLOAD Totally Wired: Postpunk Interviews and Overviews î PDF eBook or Kindle ePUB

DOWNLOAD Þ PDF, eBook or Kindle ePUB ↠ Simon Reynolds

And proto postpunkers Brian Eno and Malcolm McLaren Reynolds follows these exceptional often eccentric characters from their beginnings through the highs and lows of postpunk’s heydayCrackling with argument and anecdote Totally Wired paints a vivid portrait of individuals struggling against the odds to make their world as interesting as possible in the process leaving a legacy of artistic ambition and provocation that reverberates to this da. Excellent companion piece to Rip It Up and Start Again with a bunch of extra information that couldn't fit naturally into the narratives of the previous book I wish every book I liked had an accompanying 'miscellaneous extras' follow up like this for the super nerds

READ & DOWNLOAD Totally Wired: Postpunk Interviews and Overviews

Totally Wired Postpunk Interviews and OverviewsWith his critically acclaimed Rip It Up and Start Again renowned music journalist Simon Reynolds applied a uniue understanding to an entire generation of musicians working in the wake of punk rock Spawning artists as singular as Talking Heads Joy Division The Specials Siouxsie and the Banshees Gang of Four and Devo postpunk achieved new relevance in the first decade of the twenty first century through its profound influence on bands such as Rad. This collection of interviews and selected essays about postpunk is incredibly informative and insightful Simon Reynolds knows and loves his subject which makes him a successful interviewer It’s a great companion piece to his similarly excellent Rip it Up and Start AgainPostpunk was truly fertile ground drawing from 70’s white proto punk and interacting with contemporary black music sonically disco beats emphasis on drum and bass instead of guitar incorporation of saxophone etc while drawing do it yourself ethos from punk itself A major insight is that artists and bands associated with postpunk particularly from the UK were consuming Iggy the Velvets and Beefheart from the States and Neu Can Amon Düul from Germany Domestically they were raised on a diet of glam Bowie Bolan and especially Eno and RoxyI wouldn’t have necessarily thought this given that UK postpunk bands didn’t sound much like these groups But it makes sense when you consider the chronology this is simply what was going on in the post 60s early 70s before punk While US and UK punk bands were principally drawing inspiration from Eddie Cochran and Chuck Berry musically and 60s American garage in terms of attitude and style the postpunk bands looked to early 70s groups instead and shared their avant garde intellectualism and sonic experimentalism Even though the pre punk 70s was the primary source punk itself was a necessary event for postpunk to happen; primarily for spreading the DIY work ethic Many of those interviewed here cite the Pistols album for giving them the realization and confidence that they could start bands Many cited the Buzzcocks’ self released Spiral Scratch EP for the inspiration that they could then also release their own bands’ records Thinking again about the UK bands Reynolds shows how a lot of the mainstream glam of the 70s fueled the later postpunk artists in the UK but not in the States“in America people who are into alternative culture want to situate themselves outside the commercial mainstream They see that as the domain of the phoney the kitsch—the showbiz But in Britain ‘pop’ has never been a dirty word There’s always of a feeling that you can get into the charts and weird them up Glam was huge in Britain but Bowie and Roxy didn’t make much impression in America Look at Sparks who are American but vastly successful in Britain than in the US We have this tradition of odd people becoming pop stars strange and uirky records being hits So the pop mainstream doesn’t feel oppressive to British youth like it does to their American counterparts Pop is seen as an arena for mischief and infiltration” 424 425 Typical is Martin Bramah guitarist for The Fall’s response to Reynold’s uestion of how he got into music “The first singles I bought were Slade and T Rex Bowie was a big influence on everybody in 1972 3 and then he introduced us through his interviews to Iggy Pop and Lou Reed From there we got into Krautrock Can and Neu and Beefheart and Velvet Underground At the time it seemed very underground; no one seemed to know about it but us That’s what drew those elements of what became The Fall together” 203Conversely in the US David Thomas of Pere Ubu places his band in the American 60s rock tradition while also showing how it joined with the European avant garde “I was Midwestern oriented—I liked MC5 Stooges and all that sixties garage stuff like uestion Mark The Music MachineBeefheart is very close to that sort of approach At that time if you were looking for electronic sounds there was Terry Riley Beaver Krause Silver Apples and all the German stuff All of that was a component of bands like MC5 There’s always been a relationship between hard Midwest groove rock and pure sound So it was natural for us to do that” 58Developing the same point about American postpunk operating out of the mainstream Thomas explains why they didn’t become popular “We were on the edge of being popular but we were fundamentally incapable of being popular because we were fundamentally perverse and uninterested This is the strength of our upbringing This is why all adventurous art is done by middle class people Because middle class people don’t care ‘I’m going to do what I want because I can do something else better and make money than this’ If you sit down and make a list of the people you consider to be adventurous in pop music I’d bet you lots that the vast majority of them are middle class” 64Thomas introduces an provocative point about countercultural music’s class origins This jives with Reynold’s point of how much of UK postpunk and punk as well was made by art students In fact it is astonishing how intellectualized so much of post punk was Here is a member of the in my opinion musically uninteresting Scritti Politti “There was also a lot of that Gramscian talk around at that time talking about culture and ideology in a straightforward Marxist y way And finally there was the whole punk thing about control of production and distribution getting up and doing it yourself So these were all separate but seamlessly contiguous areas” 182Indeed most of the interviewees discussed with Reynolds socialist politics andor theory in the vein of situationism or dada While not political Eno is perhaps the arch example of this highly conceptual music approach and theorized musical practice Reynolds’ essays including the fantastically titled “Ono Eno Arto” are some of the most spot on and succinct explanations of that artist “Eno’s approach was markedly different to Ono’s however in that he didn’t have her political and feminist commitments nor her belief in expressionism which in the spirit of the sixties tends to euate ‘truth’ with the pre socialised the child like or animalistic Ideas Eno argued counted for far than craft But they also counted for than passion emotional content expressive intent If Ono was a proto punk angry and anguished Eno was proto post punk his critiue of rock’s fixation with authenticity and passion anticipated the post punk interrogation of ‘rockism’ But in another sense Eno’s impulse wasn’t anti rock so much as an attempt to liberate certain potentials in the music Eno aimed to bypass rock’s ego drama its ‘adolescent’ as he saw it theatre of rebellion and to focus instead on its noise and its mechanistic insistence ‘idiot energy’ he called it along with its infringements of taste logic and proportion the ‘insanityclumsiness and grotesueness’ he valued in Roxy Music“ 370 And “The essence of record production for Eno was its departure from real time instead of recording an musical event you built up a phantasmagorical pseudo event that could never have happened as a discrete performance in time 371“Eno’s sensibility came from the plastic arts rather than literature; indeed he rejected ‘rockist’ ideas of expression torn from the heart and soul often forming his lyrics out of nonsense babble 371 Reynolds uses this explanation for how he differed so greatly from the literary New York punks Tom Verlaine Richard Hell and Patti SmithReynolds is also in top form when analyzing Black Flag evidenced by the following passages“Formed in 1977 Black Flag started from the most pared down of existential stances—self as cell body as cage—and then tried to blast their way to freedom Greg Ginn the group’s guitarist and leader described what they did as modern blues” 382“Postpunk isn’t really the right word for this music Black Flag not when that word refers to bands like PiL or Cabaret Voltaire The SST bands were too rooted in the hard riffs and heavy rhythms of pre punk rock The term ‘progressive punk’ fits better As they developed the SST bands shook loose of hardcore’s stylistic straitjacket through exploring hybrid genres writing longer songs introducing elements of freeform jamming and extended solos and recording instrumentals and even concept albums Unlike the UK postpunk groups though the SST groups had almost no interest in the studio as instrument approach Their innovations all took place within the context of the band as performing nit Essentially live in the studio documents their records were made with staggering speed and cheapness Songs were typically captured in a single take without overdubs or embellishments Another SST hallmark was its groups’ unpunk belief in virtuosity Black Flag set the tone here Ginn was a sort of guitar anti hero specializing in strange stunted and mutilated solos Propelled by a monstrous work ethic Ginn drove Black Flag ‘like Patton on steroids’ according to singer Henry Rollins enforcing a punishing regime of daily practice sessions ‘New redneck’ is the term Joe Carducci the label’s head of marketing and promotion invented to describe the SST sweat hog ethos” 383“1969 the year of the Sharon Tate murders and Altamont was the foundation of Black Flag’s worldview Musically too it was the ignition point for the group’s two biggest influences Black Sabbath and the Stooges whose ‘1969’ seemed to take perverse glee in the ‘war across the USA’ The germ of punk can be traced to that year 1969 saw the death of the hippie dream Unlike the other punk bands though Black Flag and its SST cohorts didn’t give up on hippie music Ginn was a Grateful Dead diehard or its musical concerns progression artistic growth fusion chops They kept those pre punk values and combined them with Black Sabbath songs like ‘War Pigs’ as much as the Stooges’ ‘No Fun’ 385 Meanwhile Black Flag’s labelmates Minutemen were tuned into the postpunk UK “Unlike Black Flag who disdained the postpunk coming out of England The Minutemen loved Wire’s compression ‘really small songs no solos’ says Watt the Pop Group’s mashup of ‘Beefheart and Funkadelic’ and The Fall’s half sunghalf spoken rants In classic postpunk fashion the group conceieved of their sound as a democracy Bass and drums were on eual footing with the guitar which definitely wasn’t the lead instrumentThe paradox of the Minutemen is that they’re a groove band but the songs are so short and delivered so fast that the effect isn’t exactly groovy it’s haywire—an uncontainable explosion of ideas musical and lyrical” 387

Simon Reynolds ↠ 6 READ & DOWNLOAD

READ & DOWNLOAD Totally Wired: Postpunk Interviews and Overviews î PDF, eBook or Kindle ePUB É With his critically acclaimed Rip It Up and Start Again renowned music journalist Simon Reynolds applied a uniue understanding to an entire generation of musicians working in the wake of punk rocIohead Franz Ferdinand and Vampire WeekendWith Totally Wired the conversation continues The book features thirty two interviews with postpunk’s most innovative personalities such as Ari Up Jah Wobble David Byrne and Lydia Lunch alongside an “overview” section of further reflections from Reynolds on postpunk’s key icons and crucial scenes Included among them are John Lydon and PIL Ian Curtis and Joy Division and art school conceptualists. So it took me a while to get through this Honestly I skimmed a lot of it I appreciate this as a reference book for any punkmusic collection but since it’s a an oral history; b doesn’t cover my favorite parts of punk history; c I’ve done a ton of other reading covering this section of music history; and d some of the narrators are very full of themselves dudes I found it to be a difficult through read But like I said I stand by it as a reference book for any music person who skews toward building a library of books on the topic