Although dirges in honor of music journalism paper are wasted and are sung on a regular basis (recently on Drowned in Sound , for example), actually still live and struggle with us how important magazines The Wire, which remains a reference point for contemporary music in years in which the musical information travels much more often through blogs and social networking and how deeply changed. The British magazine - founded in 1982 by Anthony Wood and Chrissie Murray - is a must-read for professionals, musicians and music lovers "advanced" from around the world, a newspaper can range from electronica to contemporary classical, from 'improvisation as well as jazz, rock more adventurous, being able to go a bit 'deeper nell'intuire other new music more relevant. A test of the look of the magazine is the book just published by the publishing house in Milan Isbn Edizioni, "The guide to modern music of The Wire" (224 pp., 24 €), a listening guide prepared by Rob Young - with the contribution of best employees of the newspaper - which explores the musical seasons and the artists who changed the course of history through radical experimentation, new approach to the construction of the music, unusual contamination, revisiting the use of musical instruments, technological innovations. A guide, in short, to "all intelligent disks you should know ", as the subtitle of the Italian. "The aim of the book moves up and down," Rob Young writes in the introduction, "both in a geographical and historical, from Brazil to the counterculture of the late sixties to the inhabitants of the impoverished downtown New York at the end of seventy by the studios of Radio France after World War II to the bedroom as a teenager dubstep producers of Twenty-First Century. " If in improv / jazz are proposed to the discographies unconventional characters like the great guitarist Derek Bailey and saxophonist Ornette Coleman ("figures of more concern, and their primer serve as re-evaluations of their work and their careers, "writes Young), and contemporary classical names such as John Cage, Morton Feldman, Karlheinz Stockhausen and location within the development of concrete music, including rock has its senior representatives - visionaries the likes of Frank Zappa and Captain Beefheart, Sonic Youth and The Fall, "Noisers" and the heat - as well as black music (and here James Brown and Fela Kuti are the masters). There is only the past, however, a sign that the current music has much to say in terms of new developments and contamination unknown. For example, the chapters of grime and dubstep. The first, written by Simon Reynolds explores the birth of a genre that has also had important developments in mainstream (MIA was the first starlet grime, The Streets of London rose from the undergrowth to the glitter of the pop charts). A genre that was born in British pirate radio movement drawing from the two-step to include "Rapp scraping, the wood influence of electro beats and bristling aggression, use of synthesizers that can produce" dirty tones that evoke the eighties and often seem to betray the influence of pulp movie soundtracks, music for video games and even cell phone ringtones. In Derek Walmsley instead emphasizes the extreme obsession with the vibrations of the bass featuring producers dubstep, weaving the two-step in this case with "austere and morose instrumental". "Traces of artists such as Burial and Shackleton," Walmsley says, "are the most elegiac and expressive electronic music can offer." ( Andrea Tramonte, Unione Sarda )
0 comments:
Post a Comment