Communist music reviews
- Thread starter luka
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yup.
I want to be in control of the shit you're controlling. I'm the better master. let's thrash it out and blood and corpse
s will tell.Right. their antagonism with the proletariat is i wanna make you work more (be that in terms of time or introducing a better machine) but pay you less. I need to outgun my *bourgeois* competetors, rather than necessarily have malice against you. you're just a convenient mule. sorry about that.
This is different to saying that unlimited progress is either good or desirable. it does not necessarily mean fetishising technology but reflecting an environment. something like late 90s eurotrance would be a fetishisation of technology aesthetically to me, as would 00s whiteboy disco pop house.
I reject them in terms of a desirable state of affairs, in the same way that I reject the enterprising system, but I don't reject them in terms of an accrued development. We can't turn back time. I think I worded the ben watson stuff a bit ham-fistedly. Ben watson's musical values were radical in the 70s, an assault on the values of the rock concert and even punk, but today it's just a form of cultural cachet or superiority. So actually free improv does fit into my proletarian aesthetic, but more as history than presentism.
New in a mathematical sense of x amount of revolutions per minute rather than new in terms of a repackaged idea. so UK afroswing doesn't quite do it for me as I've heard those ideas in trap and UK drill expressed better. similarly I was not hugely into deep tech not because there weren't (new) package ideas but not a mathematical or architectural revolution.
Escapism that knows that all it's going to get out of it is bugs crawling under the skin and headache. it's like having a fuck buddy right. it's not supposed to be meaningful or spiritual materialism. it's just about the temporary or the constant, but never the permanent.
or if not the genre then the value set of the scenes/subcultures.
broadly accurate. though in terms of Miles or art blakey it's using the sound world or drums beyond their intended use. part of what's great about blakey's hardbop is he's drumming in an Egyptian/Tunisian way but using a western drum kit, which was never intended as the conductor of the music. But I value 90s nyc hip hop in terms of lyric poetry but not sound poetry. that was the 80s and 90s/00s south.
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sadmanbarty
Well-known member
8/10?
sadmanbarty
Well-known member
this complies with a bourgeois tendency then third?
it expresses a tranquility and lushness that is escapist. it is clearly a fantasy. a distraction.
is has no grit. nobody has a dirty asshole in the world this song presents.
the instruments are all familiar, we know what they signify. nothing that feels simultaneously novel and tangible.
no metal. no concrete. no aggression.
it doesn't overpower you. it gives space for the ego to exist. it is music of the individual not a collective consciousness.
yeah go on then.
Though I'd say the social fact i was talking about was that the proletariat are a fact of capitalism. however they are only a class proper when they are organised against the bourg. otherwise they are subject to the whims of the market, I.E: some leftist rhetoric of immigrants depressing wages, which is by the by because that's not how wages work.
Though I'd say the social fact i was talking about was that the proletariat are a fact of capitalism. however they are only a class proper when they are organised against the bourg. otherwise they are subject to the whims of the market, I.E: some leftist rhetoric of immigrants depressing wages, which is by the by because that's not how wages work.
well, does music have an ideal function for a muslim archetype? clearly it doesn't. some communists like old 1940s woody gouthry. i think they are substituting party politics for the politics of daily life which are far more multivarious and contradictory. but who am i to say that's not valid for them on an individual level? of course I think they've got it all wrong but so do many muslims, so do many junglists, grime heads etc etc...
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sadmanbarty
Well-known member
It’s a mistake to appraise Ardkore in terms of individual tracks, because this music only really takes effect as total flow. Its meta-music pulse is closer to electricity than anything else. Ardkore has abandoned the remnants of the verse-chorus structure retained by commercial rave music. At the Castlemorton Common mega-rave in May, MCs chanted “we’ve lost the plot”. Ardcore abolishes narrative: instead of tension/climax/release, it offers a thousand plateaux of crescendo, an endless successions of NOWs. It’s an apocalyptic now, for sure: Ardkore fits only too well the model of terminal culture that Paul Virilio prophesies in The Aesthetics Of Disappearance: “a switch from the extensive time of history to the intensive time of momentariness without history”. This emergent anti-culture of instantaneity will be inhabited by a new breed of schizophrenic subject, whose ego is “made up of a series of little deaths and partial identities”.
No narrative, no destination: Ardkore is an intransitive acceleration, an intensity without object. That’s why the MC patter sounds more appropriate for a rollercoaster than music – “hold tight”, “let’s go”, “hold it down” – and why Techno is all you’ll hear at fairgrounds these days. Does this disappearance of the object of desire, this intransitive intensity, make Ardkore a culture of autistic bliss? Certainly, sex as the central metaphor of dancing seems remoter than ever. Rave dancing doesn’t bump and grind from the hip; it’s abandoned the model of genital sexuality altogether for a kind of polymorphous perverse frenzy. It’s a dance of tics and twitches, jerks and spasms, the agitation of a body broken down into individual components, then re-integrated at the level of the entire dancefloor. Each sub-individual part (a limb, a hand cocked like a pistol) is a cog in a collective desiring machine. Which is why dancers so readily pick up moves from each other. The dancefloor’s like a primal DNA soup. It’s pagan too, this digital Dionysian derangement whose goal is to find asylum in MADNESS.
that woodblock tapping is interesting could be made chicago jack but it's let down by the melodic synths and as you say the fantasy vocals.
luka
Well-known member
I feel we are making some headway but I'm still trying to work out how the communist theory which is very cool and interesting relates to music. Any time I ask Eden he mumbles something about treating dinner ladies with respect then disappears in a cloud of old swp newspapers
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All of the French currents put at center stage a text of Marx which, in the long run, may be more important than all the other new material that started to come to light in the 1950′s and 1960′s: the so-called “Unpublished Sixth Chapter” of Vol. I of Capital.36 It is not known why Marx removed it from the original version of Vol. I. But it is a materialist Phenomenology of Mind. Ten pages suffice to refute the Althusserian claims that Marx forgot Hegel in his “late period”. But the affirmation of the continuity with Hegel’s method is the least of it; the fundamental categories elaborated in the text are the distinctions between absolute and relative surplus value and what Marx calls the “extensive” and “intensive” phases of accumulation, corresponding to the “formal” and “real” domination of capital over labor. These are introduced in a very theoretical way; Marx doesn’t attempt to apply them to history generally. But the French ultra-left started to periodize capitalist history around exactly these distinctions. “Extensive” and “intensive” phases of capitalist history are not unique to Marxists; they have also been used by bourgeois economic historians as descriptive devices. One current summarized the distinction in its essence as “the phase which de-substantiates the worker to leave only the proletarian“.37 In that sentence is the condemnation of the whole Gutman school of the new labor history. The transition to “intensive” accumulation in the 6th chapter, is presented to the “reduction of labor to the most general capitalist form of abstract labor”, the concise definition of the mass production labor process of the 20th century in the advanced capitalist world. The new labor history is one long nostalgia song for the phase of formal domination.
luka
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U should get that published mate
luka
Well-known member
sadmanbarty
Well-known member
john plays this out of a speaker on his bike while he goes to canned foods to the local food bank in his camouflage two piece
luka
Well-known member
Undoubtedly the most important 20th century book influencing Marxist views on the agrarian question, within the revolutionary anti-Stalinist milieu, is Preobrazhensky's "New Economics", which, whatever its flaws, is essential to understanding the fate of the international left opposition. (4) Preobrazhenskys concept of "socialist accumulation" off the peasantry is in turn heavily indebted to Rosa Luxemburg's "Accumulation of Capital"; Preobrazhensky posits that the "workers' state" can consciously and humanely realize what, historically, the capitalist state had realized blindly and bloodily- the transformation of the agrarian petty producers into factory workers. (It was left to Stalin to realize this transformation consciously and bloodily.)
On the margins of this discussion, where most of the Western left is concerned, have been the ideas of the fascinating character of Amadeo Bordiga. First General Secretary of the PCI, and, with Gramsci, its most important founder, Bordiga was the last Western revolutionary who told off Stalin to his face (in 1926) as the gravedigger of the revolution and lived to tell the tale. He was ousted from the PCI in the same year an
On the margins of this discussion, where most of the Western left is concerned, have been the ideas of the fascinating character of Amadeo Bordiga. First General Secretary of the PCI, and, with Gramsci, its most important founder, Bordiga was the last Western revolutionary who told off Stalin to his face (in 1926) as the gravedigger of the revolution and lived to tell the tale. He was ousted from the PCI in the same year an