'Deconstructionist' Music

i feel like wire is in the same category. no extraneous notes.

i insist that i'm talking about music that seems to establish a kind of love/hate relationship with a specific genre. music that is in some sense of that genre, yet remains openly hostile to or critical of it. deliberately sounding ruined, broken or wrong - not in a general sense, but with regard to contemporary in-genre expectations - is a big part of it, too. at this point i want to position devo's "satisfaction" cover as the exemplar.

though maybe the resident's "satisfaction" cover would be better

devo's 'head like a hole' cover seems more of a hostile commentary on the original than does 'satisfaction' though, even while sounding less altered.

i insist that i'm talking about music that seems to establish a kind of love/hate relationship with a specific genre. music that is in some sense of that genre, yet remains openly hostile to or critical of it. deliberately sounding ruined, broken or wrong - not in a general sense, but with regard to contemporary in-genre expectations - is a big part of it, too. at this point i want to position devo's "satisfaction" cover as the exemplar.

presumably Coltrane's "My Favorite Things" would work here too - this has been going on in music for a very long time, it's musical conversation, not deconstruction.

oh oh oh you know what fits your description dog latin is Harvey Milk, esp first two albums.

residents must be right! c'mon deconstructionists throw me a bone over heah

fuck yeah the residents for sure, was just looking for examples with less "this is for satire's sake"

devo

c90: (i can't get no) satisfaction

this u.s. maple band are okay but they're way less whatever than i thought they were going to sound

ok who edited the wiki

U.S. Maple was an American noise rock band. The group formed in Chicago in 1995. The band consists of Al Johnson (lead singer), Mark Shippy (guitarist), Pat Samson (drummer), and Todd Rittmann (guitarist) — who banded together with the intent of becoming the deconstructionists of rock and roll.

haha my moneys on Nakh

http://www.allmusic.com/album/long-hair-in-three-stages-mw0000181380

NABISCO NOOOOO

nabisco not otm

U.S. Maple plays deconstructo core not jazz
U.S. Maple is free from solos

What about math rock?

was going to mention yowie. they're like beefheart on steroids, kind of.

Matt P OTM on this thread.

I've never heard US Maple

Has anyone here heard Y. Bhekhirst? Really some of the most bizarre rock n roll you will ever hear in your life.

http://blog.wfmu.org/freeform/2006/07/hot_in_the_airp.html

It sounds like they wrote out really simple arrangements and sent the musicians into different isolated rooms to record, and nobody could hear what anyone else was doing.

But in a good way!

like hitler and black dice and maryanne amacher having sex on acid in different rooms, in a really great way

The Monks, guys, the correct answer is the Monks.

― Emperor Cos Dashit (Adam Bruneau), Tuesday, 4 September 2012 20:59 (2 hours ago) Permalink

Bingo! I started making a loosely-based-on-this-thread compilation this evening and I put some on it.

Devo's a good example too.

So far on this mix I've got US Maple, Pole, Emptyset, a repurposing of Duran Duran's 'Rio' by Bass Clef, 'Last Night At the Jetty' by Panda Bear (which I hear as a reassembled version of the Beach Boys' 'Kiss Me Baby'), The Monks, Holy Modal Rounders, Scritti, Pere Ubu, 'Ccec' by Autechre, Black Dice 'Shithouse Drifter' followed by an early track 'Studdered' and STL's 'Rainwalker'.

https://www.youtube.com/watch?v=MghjLQs_7ok

https://www.youtube.com/watch?v=FsDwynKAFPo

https://www.youtube.com/watch?v=LXwpx9iRBUM

https://www.youtube.com/watch?v=0lo5jwLNAmE

I shall seek out some early Harvey Milk. Only got the one from about a year or two ago.

I actually posted a youtube of an early Harvey Milk track on FB today , Dl

it sounds pretty cool!

presumably Coltrane's "My Favorite Things" would work here too - this has been going on in music for a very long time, it's musical conversation, not deconstruction.

― we don't wanna miss a THING!!! (underrated aerosmith bootlegs I have owned), Tuesday, September 4, 2012 3:19 PM (3 hours ago)

this is tough, cuz i can't deny this, having no sense of what "my favorite things" might have sounded like (to some hypothetical alter-me) in its moment. i nevertheless want to deny it, because i don't hear coltrane's music as being "about jazz" in the sense that, say, some of the early residents stuff might be described as being about rock. so i think i'll just leave that one alone.

occurs to me that two kinds of not-really-deconstructive deconstruction have been discussed itt:

1) discombobulation - music that sounds deliberately broken, counter-intuitive, disassembled/reassembled. describes stuff like like black dice, mapes, starfuckers. maybe beefeart & coltrane? maybe the mummies, too.

2) commentary - music that seems to reflexively critique the genre with which it's affiliated. describes the residents, devo, pussy galore, etc. lots of music stands somewhere between the two. not sure whether or not "my favorite things" fits in here.

xp Yeah the "My Love..." album, give it a listen, the whole thing's on Youtube. The 'hit' is called "Anvil will fall"

I'm not exactly sure if it fits but I've always loved the way the other people place's lifestyle of the laptop cafe lp stripped down the already pretty spartan detroit techno/electro/technopop styles to their absolute minimum but still kept things funky as hell. and catchy too! "it's your love" is just the best bassline ever.

the whole thing is deceptively simple but the balance is just perfect. I've never really found another record that works the same way for me.

thinking some EAI may fit in here as well. good morning, good night, something like that. noise minus the noise, y'know?

I think it's pretty common for rock dudes to read irony into My Favorite Things where there is none, and therefore to overestimate its significance within the overall context of jazz.

irony?

I think of the no wave band Mars as being comparable to Television. There's some kind of shared aesthetic there, perhaps, and they're both two guitars, bass, and drums groups living in New York a couple of years apart. To get from Television to Mars, something is subtracted. Music, really, is subtracted. Mars' appeal comes in part from the blank space that's left - there's a modernist aspect to that.

Maybe this gets a little more at what dog latin posited at the beginning: "the idea of un-genres, un-music - using the void as the sculpture."

The Godz are another example of this.

Nickelback are another example of this.

I believe there's this thing called sampling too

I think it's pretty common for rock dudes to read irony into My Favorite Things where there is none, and therefore to overestimate its significance within the overall context of jazz.

can you support this claim or is it a hunch?

yeah i'm not trying to pick any fights here since this thread is dead to me already but i've never heard anybody suggest anything like that re: coltrane

http://media.tumblr.com/tumblr_l5qhhhVWmU1qcs2ab.jpg

yes, those were the same words he used in that movie

or close enough

After slipping in some Devo, I've made a 60-minute mix of stuff that would fit in with this thread. I'll try and get it uploaded at some point soon.

I think it's pretty common for rock dudes to read irony into My Favorite Things where there is none, and therefore to overestimate its significance within the overall context of jazz.

can you support this claim or is it a hunch?

A jazz dude rather than a rock dude, but:

http://www.secretsocietymusic.org/darcy_james_argues_secret/2007/09/irony-man.html

All of the standards I listed above would clearly, clearly have been understood by audiences at the time as being ironic choices. But through a combination of the passage of time, the ascendence of the "Jazz Education" industry, the museumification of jazz, and and the overblown mythologizing of the "Great American Songbook," they have somehow been drained of their ironic bite and cultural significance.

But for audiences at the time, these songs were not "standards." They were covers -- reinterpretations of recent pop songs that had specific, current cultural associations. It's not just that the songs were familiar, it's that they meant something. When audiences in 1961 heard Coltrane's "My Favorite Things," they immediately thought of The Sound of Music, the Trapp family singers, "Doh, A Deer," "Edelweiss," Broadway kitch, Austria, WWII, all the rest. The show had been playing on B'way for less than a year before Coltrane recorded his cover version. (The movie version with Julie Andrews would not be released until 1965.)

Why is it that when Trane and Sonny use irony as part of their art, we understand that there is an underlying seriousness to what they are doing, but younger musicians can't touch irony with a ten-foot pole, lest they be dismissed a joke?