May 10, 2007
Prelude to Indie Sound (Night Tripper)
… inventing a new kind of viewer, one who recreates themselves, and situates themselves within historical time as an active agent literally inventing new meanings. Meaning can no longer *mean*: it can only resite itself as new meaning, new *sense*.
- Film-Philosophy (Vol. 9 No. 35, June 2005)
“Leila au Pays du Carrousel”
01. The Constantines - St. You
(Constantines, 2004)
02. Morcheeba – Dr. John – Gris Gris Gumbo Ya Ya
(Back To Mine, 2001)
03. Anouar Brahem - Leila au Pays du Carrousel
(Le Pas du Chat Noir, 2002)
04. Fridge – Harmonics
(Happiness, 2000)
05. Baaba Maal - Lam Tooro
(Djam Leelii, 1998)
06. Rachel’s - Egon & Edith
(Music For Egon Schiele, 1996)
07. Sex Mob – Translation 4
(Dime Grind Palace, 2003)
08. Lali Puna – Together In Electric Dreams
(Reproductions-Songs of the Hum, 2001)
Note, a prelude to my attempt to ask myself what is “indie” music. If it is possible at all to move away from cultural influence of hyperconglomeration of various entertainment industry, how in term of rock music, how more of what we consume is controled by fewer and fewer. Probably it’s best to start where I am most comfortable, creating series of downtempo lists with sound texture not owned by major labels. Then inspect what can come out of this effort. Join in the fun if you are interested, post ideas or if you simply like the songs.
see also: An Interview with Twiin, Metamorphosis of Sound Search
image: Chris-crossed
Found this article while surfing independent movies. Actually very relevant to indie music.
http://www.film-philosophy.com/vol9-2005/n26herbert
In Chapter Three, ‘The Limits of Time’, the author remobilizes some of the elements of his argument in Chapter One in order to discuss the increasing effects of hyperconglomerization and the shortening of cultural attention spans. He begins by discussing the further degradation of artistic quality in various media, as an effect of the consolidation of media producers. He notes that Clear Channel has made a serious impact on theater, and ‘currently has no fewer than eight shows on Broadway as investor and producer’ (98). The negative effects this kind of hyperconglomerization has on the creative possibilities of art is even more pronounced, in Dixon’s view, by the Oprah Book club, where even genuinely good books get corralled into a heap along with ‘resolutely unchallenging pop books’ (101). The international extent of this cultural and economic process can bee seen in the recent wave of French teen comedies, which emulate such American movies as _Porky’s_ (1981) and _American Pie_ (1999). In this way, Dixon indicates how hyperconglomerization functions internationally to limit artistic possibilities in accordance with short-sighted economic gains.
This short-sightedness of culture is another of the chapter’s primary themes, which Dixon construes as working in synthesis with the economics of cultural production. Films such as _Terminator 3: Rise of the Machines_ (2003) and _A.I.: Artificial Intelligence_ (2001) indicate how committee-made movies use overwhelming, big-budget spectacle to cover over their otherwise emotionally vapid content. This contributes heavily to a cinematic environment of ‘instant disposability and planned obsolesce’ (119). A further consequence of this is the gradual elimination of indie film genre, due to the economic unfeasibility of this once innovative area of cinema. Dixon also examines the roles that video games play in this new media environment, arguing that they purge characterization and instead merely provide spectacles of violence. Dixon notes that such games contribute strongly to the violence-saturated social and cultural landscape.
Hmm, some nice choices among this list! Coincidentally I just picked up that Anouar Brahem album this week. I’m really loving it so far. I’m gonna see him together with Dave Holland and John Surman later this year in Amsterdam, should be a great concert I think. :-)
Brahem last album from ECM is very lovely. But my favorite is still his trio with Garbarek & Shaukat. (Jan Garbarek / Anouar Brahem / Shaukat Hussain : Madar) That one goes with me pretty much on every trip.