really feels like new music is ending:
i have been thinking about this... and it is cool, but what i don't like is that there are not many people who are then using these re-discoveries creatively. how can they help us rethink about music now? not everything demdike does is spot on, but at least they are trying to do that. it has to be about more than just playing cool forgotten 80s records...
exhausted/exhausting post modernism.
There is no vision of the future.
Even commitment to modernism now strikes people as romantic, and/or has to be re-asserted reactively in relation to the strictures of pastiche and nostalgia.
I think 'media' in the broadest sense have a huge role to play here.
Think of the time/space involved.
'Nommos' spends years as a virtually unknown and genuinely neglected masterpiece; now we just DL it, and it circulates, and in six months everyone has eked all its energy out, and they're already on to Jean Piche or whoever the next 'one' is.
People really are music 'users' now, I think. They squeeze the juice out of recordings like juice out of a prima, then they dump it for the next one.
'Cos there's always a next one.
Thus there's no time for reverence.
We know how to escape this, but for most people it's so much easier to be lazy.
'here's three hours of svreca'
(can you imagine how monumental a 3 disc DJ mix would have been in the 90s, and how much people would have pored over it?)
'hey, can we have FLAC?'
...so this is the thing: people are madly trying to find scarcity.
They are mining and mining and mining until they bring up something 'rare'.
But because of the way media circulate as files, nothing is rare, as soon as it is in circulation.
But if you keep it out of circulation, you can't collect social and symbolic capital from knowing about it (before others).
So you put it in circulation, but in doing so, you squeeze it and empty it out.
The only solution is not to record...
...but then no one knows about you...
one thing about nommos, though, is i am not sure how it became 'known'. i guess sharing on a blog for obscure music led to a quiet repressing.
it didn't get a proper repress. it got a dodgy unofficial one. it used to be on discogs, but it appears they have even removed it.
so because it was a dodgy repress this meant it escaped the boomkat mailout which always attends every special repress... and so we all missed it, we were not informed about this 'must have' 'limited edition' 'lost treasure' from 'the archives'. except for a few people who hunted it down, or discovered it by chance, either on discogs or in stores. and for the rest of us, it remained forgotten.
boomkat strikes back! how did this repress become more 'known'? raime had it in their top 10 chart for 2011. where? yep. at boomkat. and so the circle is complete. at least until the next 'unearthed gem'.
postscript: about two hours after this conversation, i (chris) made an order through boomkat. of the seven purchases, two were reissues. one was described as: '...the result of almost two years spent trawling through the archive in an attempt to piece together a coherent document of one of the most pioneering and genuinely experimental characters in electronic music history'. the other: 'incredible archival electronic experiments recorded in 1984-1987'. time to start squeezing again. at least until the next mailout...