Good Taste and Historical Memory as two Moments within the Movement Toward Communism (of the Libertarian kind, of course)
By Claudio Brook

In all honesty, I believe it would be safe to say that today, no longer does anybody give a fuck about “music” (nor about anything else for that matter [mindless self indulgency – although not recognized as such – does not count of course]). Given that most people spend considerable amounts of time listening to what under conventional sonic nomenclatures gets catalogued as music, our diagnosis regarding the apathetic state of society will certainly strike the readers of this publication as, at the very least, odd.

Those of you, however, possessing some inklings of an intuitive grasp of what is being tried to be conveyed at the present moment, will hence be quick to note that the quotation marks under which the word music is confined above are not there for merely decorative purposes. What passes as music today is an insult to those who take their ears to be more than a support for earrings or a backwards/upsidedown Adidas visor. The process by which a society comes to negate its very presuppositions and makes of people’s bodily extensions toys for the castrated imaginations of COM students (the editors of this honorable publication whose kindness allows us to voice our concerns not withstanding) is itself a topic for another time; let it now suffice to provide a rather brief sketch of the state of musical expression today and its implications for the students of this deplorable educational establishment.

It is, at the very least, paradoxical that music today stands in a moment of such radical stagnation: while sound is everywhere, music is nowhere. Sound enjoys the possibility of infinite expansion in its aesthetesizing role, yet the very unfolding of bourgeois society’s progressive impulses leads right down that path which turns itself into an abyss as soon as the dialectic of technological advancement resolves itself in a context of such idiocy that the bastard child of the culture industry employs the newly available technological means to produce music for which he should be arrested. Unfortunately, nobody gives a fuck about music anymore. Against this vicious trend, this time of negligence in which the blind movement of impotent subjects, unconscious of their own determinations, threatens to thrust a final dagger into the guts of those who still have some. We thank the Boston Creative Music Alliance (BCMA) for consistently reviving our historical memory through their productions at the ICA*; for as long as there is an awareness of misery, there must also be art as the objective form of that awareness. Today, it seems to us, this awareness is no longer in sight. We can now o­nly thank those of good taste and promote the musical expressions of an older, remote time, which shall hopefully inspire the youth of today to pick it up where they left off. The present movement towards communism refuses to be prevented from opening up a new horizon of possibilities for the exploration of something which Comm. Ave. has long forgotten about. Thank you BCMA!

*Saturday, March 6th, 8pm, in the company of three great friends: Peter Brotzmann’s Die Like a Dog trio, featuring William Parker o­n bass and Hamid Drake o­n drums. For those interested in finding out more about these and other related musicians, you can contact me at humanoide99@hotmail.com and I will gladly provide you with the information as well as some of their music, in tape format.

Other articles by Claudio Brook.

POST A COMMENT

Subject
Name
Email *
Body
Verification (because of stupid spambots)

Note: HTML doesn't work.      * Optional.

Proudly hosted by .