New Music Thread
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Now from a band — Horse Lords — that style themselves marxists or radicals of some sort. This quote is from a review of their music:
‘May ’68 surfaces again on the new album via “dead time,” the notion of human consciousness numbed by the capitalist enterprise that was part of a Situationists’ slogan during that spring. That cheeky Marxism is reinforced by the outright “Communist Manifesto” allusion ‘All That is Solid.’ […] That Horse Lords obliquely incorporates such thoughts into its music begs the question: Can instrumental music convey political ideas?’
Here is their ‘Wildcat Strike’. A bit boring at the start; by the end it isn’t.
(Musically it is both microtonal and in just intonation. (Though with my bad hearing I can never tell the difference between just intonation and equal temperament.))
https://horselords.bandcamp.com/track/wildcat-strike
If you want more, all their music is on bandcamp.
YMS-
Drone is an acquired taste, I figure, and I haven’t, so listen to it only once in a blue moon, and just the same very limited range of stuff over and over without exploring further. That being so, I’d never heard of Eliane Radigue. She seems to have put out an awful lot of material over a long period of time. What are one or two pieces by her you’d recommend for the to-be-initiated?
That Coil Time Machines is nice.
New Year’s Day by U2
This has the memorable lyric: ‘And so we’re told this is the golden age
‘And gold is the reason for the wars we wage
‘Though I want to be with you
‘Be with you night and day
‘Nothing changes
‘On New Year’s Day’I found her through Occam Oceans, and the only other piece of hers I’ve listened too much is Trilogie de la morte, but I’m sure anything she does is interesting.
About drone music:
Bret Schneider: ‘Hearing in the Present Tense: On La Monte Young’s Orphic Revolution’ (Feb 2024):
https://caesuramag.org/posts/hearing-in-the-present-tense-bret-schneider
Quickly too high-brow for me, but starts intelligibly enough:
‘In the years between my 2008 essay on drone music & today, little has changed in the art form. As if frozen in time, my argument then stands still—that drone music has not developed as an art form since Young’s Dream Houses, & has mostly been barbarized into a muddy ambience and cheap theatrics. This may come as a surprise to many who’ve witnessed the growth of ambient & experimental music through cottage industries & into the mainstream. And yet, contrary to lazy conflations, ambient music is not drone. In many ways, the innocuous background character of ambient is counter to the clarified, ecstatic, & acute beauty of drone as Young conceived & practiced it, which sharpened instead of convoluted listening perception. Not to mention that the continuation of classical or ancient practices of modal music, north indian raga, & organum that drone’s partly founded upon, is more often than not subject to barbarization instead of fulfillment, as often happens elsewhere in contemporary art’s interpretation of history. With the recent death of Catherine Christer Hennix, there are now scant few musicians in the world who comprehend and can transmit the true conceptual significance of dronal form, let alone its tricky implementation in practice.’
[…]
‘The original idea of drone music in the dream houses—aka “composite sound waveform environments”—was that the listener be exposed to novel harmonies constructed with sine waves that are tangible as physical standing waves. It would serve at least a double purpose—the standing waves create a palpable sensory experience as the listener mixes parts of a massive vertical chord via their own bodily movement through differing wavelengths, while the subjectively evocative musical harmonies prevented it from being merely a science fair experiment. But Young had also stated that in order to achieve a “drone state of mind,” the tonality needed to be constructed with rational number relationships (just intonation) so that the ear has constant reference to truly repeating waveforms that reinforce pitch relationships in a way compatible with auditory perception. While this is potentially the absolute zenith of rationalization of art & reified music—a music constructed on ratios is literally rationalized music—the resulting “paradisiacal” listening experience kept “living music,” and what Adorno called the “wakeful ear” alive, paradoxically pointing beyond the calculated mode of music perfected by e.g. Stockhausen and the mid-century avant-garde, as well as commercially rationalized culture elsewhere.’
‘“Paradisiacal” listening’, eh?
How many music thread do we have ? The moderator said that he moved all the music, but I do not see all the music that have been posted. I can not imagine going to a discotheque or a night club to dance protest music
Almamater ‘I can not imagine going to a discotheque or a night club to dance protest music’
Back in the day that’s the only kind of music we used to dance to – Burning Spear, Johnny Clarke, The Abyssinians, Gil Scott Heron, James Brown, Bob Marley, Misty in Roots, Cymande etc., etc. https://www.youtube.com/watch?v=_RTs7erqEWM
We’ve gotta get out of this place – The Animals
Won’t get fooled again- The Who
Police and Thieves – The Clash (Junior Murvin)
Left us to burn – The Daintees
Ghost Town – The Specials
Ohio – Neil Young
What’s Going On – Marvin GayeHeard all of them at various discos
Almamater ‘I can not imagine going to a discotheque or a night club to dance protest music’
Back in the day that’s the only kind of music we used to dance to – Burning Spear, Johnny Clarke, The Abyssinians, Gil Scott Heron, James Brown, Bob Marley, Misty in Roots, Cymande etc., etc. https://www.youtube.com/watch?v=_RTs7erqEWM
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Therefore, your musical selections and choices were very limited because I danced with more than 250 orchestras who played many different types of rhythms, in many night club, hotels, private parties, and boats who also had dancing platforms.
The so called socialist and protest music is not apt for dancing unless it was Reggae played by Jamaican musicians and they have good rhythms, even more, the New Cuban Trova which is protest music with African rhythm was not apt for dancing either, it is for listening the lyrics and the music.
I was always carrying with me good dancers to every night club and they would never dance protest music, they will get up from the table and leave, because for them it was a very boring music.
I have a huge collection of German, and Russian classical music, French, German and Italian Operas, and Spaniard Zarzuelas and they are not for dancing, they are for listening and to enjoy the instrumentation
https://www.wsws.org/en/articles/2024/02/26/txpa-f26.html. From that type of music in Panama they created another one known as Reggaeton which expressed the life of the peoples living in the poor neighborhood, and then it was transformed into a type of music can be use for dancing. At the beginning it was prohibited by the police
https://www.youtube.com/watch?v=XXznr4cXFcE. This is a real music for dancing, I am not going to a night club with a beautiful doll like this one to dance protest or socialist musichttps://en.wikipedia.org/wiki/Danza
1 ) Danza. This type of music is for dancing too and it came from Austrian/Vienna Waltzes
2 ) From slavery to song
Music is a human creation, specially created by the working class from different places and it has many varieties and variations, and sometimes it is a combination of different cultures
This type of music is from Argentina, it sound like an Italian Opera, but it was born in the poor neighborhood and the prostitution houses in Buenos Aires, and it was created by African slaves, it was transformed in order to hide its African origin, it is called Tangos.( Tambo, gathering of slaves ) It is also music for dancing
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