One of my pet musicological theories is that the years 1967-74 were the most creative 7-year period in the history of musical humanity. Why those years? The social and technological revolutions of the 1960s — civil rights, the women’s movement, the counterculture and anti-Vietnam War movements, the sudden unifying singularity of television and mass (and […]
Posts Tagged ‘Magma’
Posted in SoundScape, tagged 1960s, 1968, Art Ensemble of Chicago, Captain Beefheart, cultural change, David Ingram, ecocriticism, ecomusicology, Incredible String Band, jazz, Magma, Miles Davis, music, psychedelia, rock on March 12, 2015 | 3 Comments »
There’s something about our time that is very Bergsonian, in the sense that there’s a kind of simultaneous opening up of the past and the future, the former feeding the possibilities of the latter. At the same time as new technological tools propel us ever forward on trajectories of embodied interactivity (the internet, iPod-iPhone-iPad, YouTube, Facebook-Twitter, etc.), recording technologies (those that preserve something of the present for the future) combine with technologies of retrieval (those that unlock the past, from historical and archaeological tools to sampling technologies, about which see Copyright Criminals) to enable an ever deeper digging into and opening up of the past. In the process, the past becomes fuel for the reinvention of ourselves toward the future, this reinvention always taking the form of images — which, for Bergson, are central, the shimmering half-way point between mind and matter. [. . .]
Meanwhile, new films are made from the images of the past. This documentary on “Krautrock,” the German progressive, avant and space rock movement of the late 1960s and 1970s, is quite good: [. . .] The music had its fans at the time (more in the UK than in North America), but the documentary does a great job putting it into the much broader context of post-war Germany, the 1960s, the psychedelic revolution, and all that. And yet somehow it doesn’t feel dated to me; on the contrary, it feels as fresh as tomorrow’s news, because I know there are fans out there, Radiohead generation kids and remixers and whoever else listening to these things and reviving them in ways I wouldn’t have imagined possible back in the days when the music industry seemed like one stifling oligopoly.
None of these are standard History Channel fare. All are products of the internet and MP3-era explosion of musical tastes, one of the cultural victories of our day — the losers being the big music corporations, or at least what they stood for. The corporations themselves are still around, of course, doing the same thing corporations do, and even if they weren’t, they would simply have been replaced by others, made from the same movable parts of the corporate machine. But technology moves forward despite them. [. . .]