the late 60's popular music is open to experimentation (in the contemporary "revolution in parallel," which takes place in the art world, with the advent of body art). On the one hand, technological progress, the other the spread of drugs, opened wide and unexplored scenarios for musicians and bands.
Among the former are in Pink Floyd A Saucerful of Secret (1968) and Ummagumma (1969) to expand in haunted tales and fertilize the seeds of interplanetary space-rock, a genre of great fortune especially in the British alternative scene in the early '70s.
After Pink Floyd undoubtedly include the Kraftwerk (pupils Stockhausen), electropop group formed in 1970, I would say even some advocates of ecological posthumanism, absolutely not extreme, but determined.
regard strictly the music, the 70s are characterized by space-rock ( Tangerine Dream, Ash Ra Temple , Popol Vuh , most tribal Amon Duul The , the most lyrical Klaus Schulze and Faust, who in the name recalls the idea of \u200b\u200bGoethe superomismo). Important Cabaret Voltaire, experimenters, ironically, also open to the idea of \u200b\u200ba technology and filoumana The Residents, advocates of a "theory of Darkness", which can be considered the ancestors of plagiarism, the practice, that is, to quote, copy or sample of healthy plant parts pop or rock.
And the rock show at its most post-human: as a musician based in fact more "alien" of David Bowie 70s? Bowie creates a real character posthuman, confirming that his attitude in the discs ( The Man Who Sold the World of 1970 and The Rise and Fall of Ziggy Stardust And The Spiders From Mars 1972) and in the movies who plays ( The Man Who Fell to Earth , 1976).
Certainly posthuman is the album Metal Machine Music Lou Reed of . It is above all the posthuman of Throbbing Gristle Genesis P-Orridge (ex-mails and body artist). Their intent was to shock with the force of the impact visual, conceptual and music through noise, aesthetic Nazi military, pornography, etc.).. P-Orridge uses the term "industrial" accept as guru William Burroughs, James G. Ballard and post-modern philosophers like Michel Foucault , Jean Baudrillard, Gilles Deleuze and Felix Guattari .
Since the late 70s and 80s are increasing especially in the groups of musicians and non-ex-musicians who try new experiments. We mention, in a sort of brain storming the period, the New York duo Suicide , which in 1977 had translated into a language the traditional rock minimal-electronic Z'ev (frenzied percuotitore bins, the first of many imitators), the Department Test (early experimenters and political leanings of some industrial-dance), Foetus (authors of heavy sound mix that combines rock, electronic and industrial noise), The Hafler Trio (electronics noise musicologists, authors of sound research pseudocolte) not (the California Boyd Rice, author of eerie disks of pure noise that could either play at 16, 33, 45 or 78 laps), the Whitehouse (ultranoise in which frequencies are well mixed by the voice of British delusional William Bennett ) and The Haters (author of noise non-sense, with the merits of irony, which leads him to conceive of a disc without grooves and balls of vinyl).
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