I was driving home, and listening to an interview with air, a french electronic duo, about the recording process. So to set the context, they’ve just been asked about commercial success, and they reply that they don’t set out to make songs they make music. They find the verse, chorus structure of contemporary music, an anti-thesis quite often of what they set out to do. They record music. Rather they record the energy, that comes from music.
(this interview will probably be up on triple j sometime soon so if you’re interested, have a look at their website)
However, about 5 minutes later, they make a reference to one song taking so long because the verse wouldn’t work. Aside from this little contradiction, how do we feel about music recording as a recording of energy. I’m sure in some circumstances this isn’t applicable, however the rise in live-recordings and DVDs, suggest a quest to capture the energy and flow of music. The irony of course is that they are produced and consumed as commodities; they become compartmentalized forms so they are more easily accessible. In many ways this is an important process for an artist, as they wouldn’t be able to communicate with the population if this recording process didn’t exist. However some of the issues seem to be a result of fetishised commodities. The best example i’d say is a band t-shirt. The use value and labour value of a band t-shirt, let’s say a Ramones one, is exactly the same as any other t-shirt you can find at target. However, when we buy and wear the Ramones t-shirt we buy into an anti-authoritarian idea and punk attitude. It is an instant badge of membership, and an attempt to buy into a particular lifestyle.
I engage in exactly the same practice, except with a football scarf 
. However, by engaging in these rituals and signifiers are we inevitably draining the energy, and our enjoyment out of these commodities.
I don’t know, but i think it’s somewhat listening to your favourite song too many times. We’ve all done it, and i know i always attempt to repeat that first listening. That amazing intensity and energy that i suppose it like Guattari’s machinic junkie. However, every time i re-experience it, the affect is muted. Not to say i don’t enjoy the song anymore but it create the same sensation.
Could we also seek to explain the decline in radio, in these terms? Instant accessibility coupled with the anger felt by many people at a consistent set of 10 songs on high rotation equals people opting for ipods or CDs.
Some related points:
-the ridiculously excessive price of band t-shirts at gigs, cashing in on that drive to share in the energy. Knowing that people will pay basically whatever is asked.
-the desire to record moments of energy. People who experience concerts, games, and other ‘big’ moments through the viewfinder of a camera. I’m not saying I don’t want a record of such moments, too, but would we rather experience it imperfectly the first time in order to have a superficial record of something, or be fully present in the moment itself?
-Kmart radio. Endless repeat. Makes me want to kill myself.
… no theoretical value to that last point. Just wanted to bitch about Kmart radio.
Hey i’ve bought big day out tshirts for 80 dollars, ridiculous! But i’d probs do it again, if i had a job.
Yea, i think we could address the issue of recording in two ways. The way we’ve kinda discussed above, or what about the inability of an individual to fully comprehend the first moment of energy. Maybe we need this recording stage to understand and come to terms with it. With every listening session we’re able to engage differently or more deeply. But this would require different listening practices, which I don’t think we’ve developed. Moreover, I’d suggest it’s not in the interest of the music machine to engage a different listening practice as it would limit the constant consumption of their product.
Well and then we could say when a song reaches kmart radio it becomes the shit Guattari is discussing in this weeks readings. The waste at the end of the process.