That’s Why I’m Here

No, not the James Taylor song. Writing about music fulfills some kind of need in me, I suppose, or I wouldn’t be here. And I know that writing about something helps me to figure out what I think about the subject I’m discussing. It might just be because the fact of wanting to write a post about a particular record forces me to listen in an active, engaged and critical way so I don’t embarrass myself, but I think there’s something about the process itself that takes me further into the topic than I ever get from just sitting and listening, however intently.

So that’s some of why I’m here. But I do have a more altruistic reason, or at least a reason that’s outward-looking. There are so many large-scale websites devoted to the discussion and reviewing of music: Pitchfork, obviously, but also Drowned in Sound, Popmatters, AV Club, Consequence of Sound, Quietus, the online presences of Rolling Stone and Spin, the digital editions of the print newspapers (some of which devote more effort and resources to arts reviews than others, but they’re all there), the websites of magazines like Mojo, Uncut, NME, and on and on. But none of them provide the sort of criticism that I particularly want to read. I go on the AV Club website for film and TV reviews – I never read their record reviews.

The sort of criticism I like to read goes deeper than the writing you find in these places: sometimes it may focus on the culture music exists in, lives in and feeds off; other times it may be take the form of a close response to the musical matter and be aware of how small musical events change the way the listener hears the piece; it might get technical about production (recording techniques, mic placement, equalisation, panning, compression, time-domain effects); it might be a stream of random associations and allusions and images that the music calls to mind. I try and do all of these things, depending on my response to the song at hand. Sometimes I throw out all of that and just pass on cool ways to tune a guitar, mic a drum kit or double-track heavy guitars. I don’t premeditate that much. Not having a website structure to fill (at least for now) allows me to post at my own pace and discuss whatever I want. There’s supposed to be a utility to it though. In my own head, I’m providing a service here, passing on knowledge and weird little insights that you’re not going to get from the bigger music sites and aggregators simply because they have these rigid structures that don’t really allow for randomness. They chase novelty because they need traffic, and they can only concern themselves with older music or films or TV when they’re celebrating some kind of landmark anniversary.

These self-defined structures don’t completely throttle worthwhile criticism. There’s a tremendous skill involved in being able to listen to a new record over the course of a week, absorb it, internalise it, sort through it and its implications and its associations and come up with a short review by the end of the week that will plug a 200-word hole in some website’s music-review section. It’s incredibly hard to do it with such a short turnaround and say anything worth the time it takes to read it. Inevitably, few writers can pull it off. Most are just plugging the holes in the structure, they’re not engaging in the practice of criticism. But there are writers who consistently manage to say something engaging and insightful and knowledgeable about new music, even while their editors are barking at them about deadlines.

So it’s been a conscious choice to avoid the new, the current, the novel. It’s covered as well as it can be in so many other places, and avoiding chasing after the new stuff allows me the time to really hear something before forming an opinion. It allows me not to have to pick a side instantly. There’s no such thing as objectivity when forming a response to music. Here I don’t pretend otherwise, but I try to be honest, I try to be fair and I made a decision to write about things I like, things I could perhaps turn other folks on to.

A couple of days ago, I posted about different artists’ covers of What You Won’t Do for Love, which is one of my favourite songs. And I felt a little bad about it afterwards, as I broke my own rule of being positive to do it. What I really wanted to do was indulge in another post celebrating the greatness of Bobby Caldwell’s original, but this time round I did that by snarking at some other artists who didn’t measure up. There’s endless material for snark if all you want to do is point and laugh at bad cover versions. I’ll name no names and point no fingers. A well-written slam might be funny, and provide pleasure to the reader, but only at the cost of the creator.

Now, artists who do bad work should be kept honest by bad reviews, but it helps if those reviews are constructive. Otherwise you’re not being a critic; you’re just throwing tomatoes at some poor musician in the stocks. And I wasn’t being constructive enough the other day, so I’m going to cut that shit out now.  I’m here (in the more general sense of the term) because I’m a lucky, lucky man. I have no right to be. And after an event like I had, it’s only natural to have your perspective changed a bit. But after a while, the routine of everyday life – of having to earn money, fulfill obligations to family, friends, employers and so on – can easily make the world seem like a grind again. Not uncaring or cruel necessarily, but like a big grey machine that I’m just a small part of. And it makes me start thinking like I did back before I got ill. In this little corner of the internet, that’s not what it’s about. It’s about detailed celebrations of the awesome.

And so I apologise for my lapse into snark the other day. It won’t happen again. And let me just say, to make things up to Go West (who came in for a good amount of the snark), that I enjoy Call Me as much as any one else who’s ever ridden through sunny Vice City on a big-ass motorbike while wearing a pastel suit and blasting Flash FM.

Image

Tommy Vercetti is an innocent man.

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