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Knjige o muzici


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Bunt dece socijalizma - Dušan Vesić

Priča o novom talasu


Pročitao pre par nedelja. Nisam ništa očekivao obzirom na autora. Međutim, nije loše. Sa njegovim ocenama kvaliteta radova, naročito kada je u pitanju

Paraf, se baš i ne slažem, ali je faktografija, čini mi se u redu. Čak i da je knjiga loša, podsećanje na detinjstvo "sretnog dijeteta" je uvek prijatno.


Evo i nekih naučnih radova na ovu temu:

Korelacija muzike i mesta na primeru beogradskog "novog talasa" u rokenrol muzici


Beograd na "novom talasu. Muzika kao element konstrukcije lokalnog identiteta




All Gates Open: The Story of CAN


Apsolutna preporuka za ovu knjigu. Podeljena je u dva dela. Prvi deo je biografija benda, a drugi Schmidtovi intervjui i beleške. U drugom delu urnebesan je razgovor Mark E Smitha i Irmina Schmidta pod naslovom "A Schmidt - Smith from Germany".

Kad pomislim da sam ovu knjigu čitao prošle godine na moru...


Faust: Stretch Out Time 1970-1975


Ovde je akcenat na samoj muzici. Detaljna analiza albuma. Koliko mi je poznato jedina knjiga o Faustu.


U planu nabavke mi je 

Future Days: Krautrock and the Birth of a Revolutionary New Music



Mislim da nismo imali ovakav topik, vršio sam pretragu. Ako jesmo, ispravite me i prebacite.




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Meni je ona njegova o Magi bila težak užas, jedno patronizirajuće staračko popovanje začinjeno tabloidnim pikanterijama.

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9 hours ago, napadaj said:

How Music Works - David Byrne



Nisam još krenuo od prve stranice, ali sam pročitao neke dobre isečke, a ljudi oko mene koji su je čitali su puni pohvala.


Mnogo više sam voleo njegovu o biciklima...


Inače, jedna od najboljih knjiga na temu muzike (ne bicikala) na koju sam naleteo u poslednjoj deceniji (u kojoj se, jel' da, još uvek nalazimo) bila je Ghosts of My Life.





This collection of writings by Mark Fisher, author of the acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.


Knjiga nije striktno "o muzici", ali je muzika (ne samo Joy Division - naslov je, naravno, stih iz Ghosts od grupe Japan) u njoj centralna (saved by music, but not forever). Možda jedna od najzanimljivijih i najoriginalnijih knjiga koje sam skoro "sreo"... samo ne bih voleo da moram da je prevodim ... počev od "hauntology", Derridina kovanica u podnaslovu, a nedavno smo utvrdili na drugoj temi da numemo da prevedemo (adekvatno) haunting.  A kamoli haunting ontology.

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Evo jednog ulomka™ koji, mislim, adekvatno reprezentuje knjigu (kao što se vidi - ona jeste oko muzike, ako ne o muzici...) Sve se vrti oko te glavne teme o otkazanoj budućnosti (a mi Jugosloveni intimno poznajemo Otkazanu Budućnost - naša egzistencija je u znatnoj meri spomenik iste.)



Consider the fate of the concept of ‘futuristic’ music. The ‘futuristic’ in music has long since ceased to refer to any future that we expect to be different; it has become an established style, much like a particular typographical font. Invited to think of the futuristic, we will still come up with something like the music of Kraftwerk, even though this is now as antique as Glenn Miller’s big band jazz was when the German group began experimenting with synthesizers in the early 1970s.


Where is the 21st-century equivalent of Kraftwerk? If Kraftwerk’s music came out of a casual intolerance of the already-established, then the present moment is marked by its extraordinary accommodation towards the past. More than that, the very distinction between past and present is breaking down. In 1981, the 1960s seemed much further away than they do today. Since then, cultural time has folded back on itself, and the impression of linear development has given way to a strange simultaneity.

Two examples will suffice to introduce this peculiar temporality. When I first saw the video for the Arctic Monkeys’ 2005 single ‘I Bet You Look Good on the Dancefloor’, I genuinely believed that it was some lost artifact from circa 1980. Everything in the video – the lighting, the haircuts, the clothes – had been assembled to give the impression that this was a performance on BBC2’s ‘serious rock show’ The Old Grey Whistle Test. Furthermore, there was no discordance between the look and the sound. At least to a casual listen, this could quite easily have been a postpunk group from the early 1980s. Certainly, if one performs a version of the thought experiment I described above, it’s easy to imagine ‘I Bet You Look Good On The Dancefloor’ being broadcast on The Old Grey Whistle Test in 1980, and producing no sense of disorientation in the audience. Like me, they might have imagined that the references to ‘1984’ in the lyrics referred to the future.


There ought to be something astonishing about this. Count back 25 years from 1980, and you are at the beginning of rock and roll. A record that sounded like Buddy Holly or Elvis in 1980 would have sounded out of time. Of course, such records were released in 1980, but they were marketed as retro. If the Arctic Monkeys weren’t positioned as a ‘retro’ group, it is partly because, by 2005, there was no ‘now’ with which to contrast their retrospection. In the 1990s, it was possible to hold something like Britpop revivalism to account by comparing it to the experimentalism happening on the UK dance underground or in US R&B. By 2005, the rates of innovation in both these areas had enormously slackened. UK dance music remains much more vibrant than rock, but the changes that happen there are tiny, incremental, and detectable largely only by initiates – there is none of the dislocation of sensation that you heard in the shift from Rave to Jungle and from Jungle to Garage in the 1990s. As I write this, one of the dominant sounds in pop (the globalised club music that has supplanted R&B) resembles nothing more than Eurotrance, a particularly bland European 1990s cocktail made from some of the most flavourless components of House and Techno.

Second example. I first heard Amy Winehouse’s version of ‘Valerie’ while walking through a shopping mall, perhaps the perfect venue for consuming it. Up until then, I had believed that ‘Valerie’ was first recorded by indie plodders the Zutons. But, for a moment, the record’s antiqued 1960s soul sound and the vocal (which on a casual listen I didn’t at first recognise as Winehouse) made me temporarily revise this belief: surely the Zutons’ version of the track was a cover of this apparently ‘older’ track, which I had not heard until now? Naturally, it didn’t take me long to realise that the ‘60s soul sound’ was actually a simulation; this was indeed a cover of the Zutons’ track, done in the souped-up retro style in which the record’s producer, Mark Ronson, has specialised.


Ronson’s productions might have been designed to illustrate what Fredric Jameson called the ‘nostalgia mode’. Jameson identifies this tendency in his remarkably prescient writings on postmodernism, beginning in the 1980s. What makes ‘Valerie’ and the Arctic Monkeys typical of postmodern retro is the way in which they perform anachronism. While they are sufficiently ‘historical’–sounding to pass on first listen as belonging to the period which they ape – there is something not quite right about them. Discrepancies in texture – the results of modern studio and recording techniques – mean that they belong neither to the present nor to the past but to some implied ‘timeless’ era, an eternal 1960s or an eternal 80s. The ‘classic’ sound, its elements now serenely liberated from the pressures of historical becoming, can now be periodically buffed up by new technology.



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8 hours ago, Indy said:

Možda jedna od najzanimljivijih i najoriginalnijih knjiga koje sam skoro "sreo"... samo ne bih voleo da moram da je prevodim ... počev od "hauntology", Derridina kovanica u podnaslovu, a nedavno smo utvrdili na drugoj temi da numemo da prevedemo (adekvatno) haunting.  A kamoli haunting ontology.



To je iz Deridine knjige Marksove sablasti, prevedene i na srpski jezik

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Wow, ova knjiga (Remain in Love - Chris Frantz) toliko obećava! Izgleda da su svi veliki ljudi pomalo (ili malo više) assholes... Pa i David Byrne.:D A i Brian Eno (koji je insistirao da mu se plati let Concorde.om, lol). (Nisam dočekao ni kraj ovog posta, i već je čitam...)


Lol za amazonovu kategoriju:


 #1 Best Seller in Biographies of Punk Musicians




Enivej... Zanimacija za danas, organizovana.





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Ne znam kako se formiraju cene knjiga ali je svojevremeno u Vulkanu knjiga o The Germs, sasvim prosečno opremljena, koštala oko 30 evra. Nadam se da nijednu nisu uspeli da prodaju.

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On 22.7.2020. at 10:36, Indy said:

Remain in Love - Chris Frantz


  • * Esencijalno stivo za Talking Heads fanove.
  • * Neko je izjavio: "nije za fanove David Byrnea", ali ne slazem se kada sam ja licno u pitanju (i dalje fan Davida Byrnea, bez obzira sto je zadrt tip.) Istina, video sam recenzije knjige od nekih fanova Byrnea, i oni su knjigu naravno posuli govnima, potpuno nezasluzeno (cak i ako se, razumljivo, ne slazu sa ostrom kritikom svog heroja)
  • * Izuzetno lako se cita (ne znam da li je ghostwritten, ali me ne bi cudilo ako je pisao sam Chris - zasto da ne.)
  • * Chris je bio dosta potcenjen clan Talking Headsa (a sa njim, mozda nesto manje, Tina Weymouth)
  • * "Zasluga" za ovo je delimicno na strani rock kriticara (koji su simplisticki poistovetili Talking Heads = David Byrne); takodje je za to odgovoran i sam David, svakako
  • * Posle svega sto im je David priredio - u osnovi, visedecenijskog ignorisanja njihovog doprinosa - mislim tu pre svega na ovo dvoje, Chris i Tinu; Jerryjevu pricu ne znam; pa i aktivnog "krivotvorenja precutkivanjem" (znaci, kada novinar pripise autorstvo njemu, Davidu Byrneu, on nikada nije intervenisao i dodao i ostale clanove banda kao koautore, ili cak originalne autore) - posle, dakle, decenija toga, nije neobicno da ima puno gorcine i nimalo ljubavi za Davida
  • * Na par mesta u knjizi Chris ide predaleko sa ovim (recimo, dvaput kaze kako se David Byrne "samo pravi" da razume kibernetiku, njegovu omiljenu temu, da bi ispao pametan: premda je moguce da je tako, to ipak zvuci zaista maliciozno).
  • * Chrisovo pisanje ce, bez sumnje, iritirati mnoge - posto ne postedjuje nikoga od slavnih ljudi koji su se, tokom vremena, u njegovom tumacenju, lose pokazali (u jednoj ili vise prilika): to se pre svega odnosi na Johnny Ramonea, zatim samog Byrnea, dalje pominju se negativno (ili delimicno negativno) i Bryan Ferry, Patti Smith, Tom Verlaine, Bob Geldof...)




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On 19.7.2020. at 15:25, napadaj said:

How Music Works - David Byrne



Nisam još krenuo od prve stranice, ali sam pročitao neke dobre isečke, a ljudi oko mene koji su je čitali su puni pohvala.


Izvanredna knjiga. Baš me oborila s nogu. Neočekivano veliko iznenadjenje za mene.


Edited by zmanic
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