Monday, May 22, 2006
Hello everybody! This is the inaugural post of my new blog, which will focus on the politics of music, the music of politics, the fetishism of commodities, the negation of the negation, and possibly the all-new negation of the negation of the negation, which could, on a sad note, cause your computer to explode, or worse, fill your toolbar with dancing GWF Hegel smiley faces. My intention is to update this puppy on a fairly regular basis, but we will see how it goes. Failing all else, I will try to upload some new writing every weekend...
I have borrowed my title from Joe Meek and The Blue Men's 1960 recording of the same name. This remarkable document, sometimes called the first concept album, combines just about every fathomable class of discrepancy from classical norms-- out of tune melodies, massive overcompression, errant rhythms, all manner of noises and odd effects-- in order to manifest Meek's powerfully singular musical vision. This affirmation of difference, not Meek's kitschy but nevertheless appealing conjuring of alien civilizations, is the lesson I wish to draw from "I Hear A New World," and the rationale for taking its title as our moniker.
I have borrowed my title from Joe Meek and The Blue Men's 1960 recording of the same name. This remarkable document, sometimes called the first concept album, combines just about every fathomable class of discrepancy from classical norms-- out of tune melodies, massive overcompression, errant rhythms, all manner of noises and odd effects-- in order to manifest Meek's powerfully singular musical vision. This affirmation of difference, not Meek's kitschy but nevertheless appealing conjuring of alien civilizations, is the lesson I wish to draw from "I Hear A New World," and the rationale for taking its title as our moniker.
// posted by the sad billionaire @ 12:48 PM 
