It was more a case of wanting to know just how far I’d moved away from my musical past that I decided to run this, plus, if it’s going to be called “edgy”, then it needs to be edgy and there’s nothing more edgy with a largely conservative readership, as distinct from an Antifa and pink pussy parade readership, than to run experimental music from the late 60s and early 70s, when we were young and off the planet.
Some of our more radical readers here certainly have that edge to their taste and to me, that is good, but I also like our more orthodox readers too and try to cater for them.
If I told you that my favourite school of art was surrealism [plus some of the dada] but that I like neither the postulating Dali, nor the discordant Miro, that I would gravitate far more towards Magritte and Escher, then you’ll start to get the idea. Pollock was rubbish, Hopper was nice in parts.
I like many of Lord Somber’s … but not all. For example, I like this one very much.
What’s edgy about Magritte, you might ask? He’s not a true nutter, not really, after all his scenes are merely conventional and juxtaposed, he sticks with basic values, he’s not completely free form or outrageously challenging, just enough for an essentially bourgeois man with Personal Values.
The first track below gives you some sort of idea what to expect – called Für Immer [forever], that’s what it’s for – it keeps going with the same riff for 11 minutes, overlaying with this and that – very early, before punk, before disco, just playing out an idea.
It’s not really music for listening as you would to an orchestra, but more for immersing yourself in, bathing in – the cognoscenti well know what I’ve avoided saying here:
The impatient will put up with a minute or less and then might say – it’s not going anywhere. Does it need to? Is it public transport?
This below is a heavily cut down version, the long one seems to have disappeared from youtube, which is outrageous, but you get some idea. A quite orthodox, if syncopated rhythm, meaningless lyrics [I always love meaningless lyrics which are not the point of the music, just another vocal instrument], plus the edginess is gradually introduced and by the end threatens to overwhelm the song.
I don’t know too many people who have the social conservatism I do who would play this sort of music – they’re more likely to be classical, jazz or country, all of which I also enjoy in parts.
This last is a decade later, from the DJ and disco era, something New Order also started getting into, but it still works on the underlaid rhythm and then the overlaid elements, quite discordant now and then but always returning to the rhythm.
This separates people like myself, and others who enjoyed these songs, from the real edgists, such as the metal heads and free form jazz, which I can’t really take … but Dearieme seems to be able to listen to. In fact, we’re in a no-man’s land – rejected by the orthodox who love their Johnny Cash, rejected by those who think they’re edgy with their ZZ Top, rejected by classicists, rejected by almost everyone.
Same with my book – I thought no one could read it right through but two people have and they seemed to like it – so I think I know my target readership in fiction now. No plans to change that style.
One of those two people who read it lives what appears to be a conventional family life but delve beneath the surface and you’ll find quite an edgy lady. Edginess is the spice of life. The main course can be fulfilling and scrumptious but it still needs that edgy spice to lift it from the humdrum and mundane.
From 6.55 to around 7.20 in that is a piece of mindlessness where they drop the musical creativity and just drone – love that, don’t have to think for a few moments – that’s very me.