* CM Ensemble, including Free Noise junk and Pat Kraus' clever response
* The Monks
* Never Be the Same Again, by Mel C
* I Wonder if I Care As Much, by The Everly Brothers
* Popular Music

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CM ENSEMBLE

I went to see the CM Ensemble. I thought they were great. They sat with the audience instead of on the stage. So they maybe think free noise has some of the same problems that I do. Which I will now describe:

So far as I can see, what is important about free noise is that it rejects the hierarchical structure of music: correct or incorrect notes, etc. But it is often contextualised in such a way that these hoped for rejections are reinforced more strongly than they are in popular music. The artists perform before people who are expected to listen, so they ask for a hierarchy of audience and listener straight off, at least they ask for this as much as any music does. Also, the worth of the music seems to be judged on things that are even more superficial than the 'correctness' of the notes, such as the appearance or gender of the performers, their popularity, etc. You may blame this all on the audience, but I think I can see the performers 'playing along' too, ha ha ha. They don’t laugh, they are serious. But what exactly is serious about it? It looks like they are listening to what they're playing, trying to make 'good' sounds. So they are just trying to tell everyone else what they think is good music after all. But perhaps what they are doing is literally experimenting, discovering new sounds to add to the other popular ones, which is obviously pretty important, but I don't think these guys understand that that is all they are doing. What does anyone else think?

Perhaps I am asking for a 'philosophy' of free noise. I can see that this would be a pretty stupid thing to do. But no, what I am really saying is, if there IS no philosophy of free noise, why do the groups often end up looking and acting so similar, as if there WERE one? I guess this only applies to a certain type of free noise band. I think there is a kind of misunderstanding. Why is there a performative aspect? Shouldn't they just be sitting round on the floor or whatever, then when they hear something good maybe they can call our attention to it? Or if they really aren't looking for certain sounds, then same deal, but don't call our attention at all. Do you see why free noise seems based on some confused ideas to me?

Here are some of Pat Kraus's suggestions. If anyone else has anything to add, my e-mail address is tedium2000@hotmail.com. -Maryann

THE MONKS

No more melody, only rhythm! No literature! No poetry! -Maryann

NEVER BE THE SAME AGAIN, BY MEL C

'I call you up whenever things go wrong; You're always there, you are my shoulder to cry on; I can't believe it took me quite so long; To take the forbidden step . . .'

I think this song is resonant to me because it reminds me of my mother’s relationship with her partner. This isn't the first time my parents' emotions have seemed more important to me than any others. (Although on one level I can't bear to think about her like that.) When Colette's father said something sharp to her mother Sido, Sido said 'How dare you speak to me like that! You're not even related to me!' These are some of the other phrases I like from the song: it's not a secret anymore, I don't care what everyone will say, completely forbidden . . . etc! Forbidden just like 'schoolgirl friendships', qua Colette, or what? . . . Something that confuses me in this song is: 'Starting tonight and from now on we'll never, never be the same again' - does this mean that the transgression hasn't even happened, but is planned? - ! -Maryann

I WONDER IF I CARE AS MUCH, BY THE EVERLY BROTHERS

I wonder if I care as much anymore
Last night I cried myself to sleep
Those bitter tears they bring relief
…. The one I love
I wonder if I'll suffer more?

People suffer significant tragedies and then they care less; the scenario is well captured in this song - after the tragedy the person simply begins to wonder, instead of dreaming or hoping. The person can only ask in the abstract, 'I wonder what the future will hold?,' with a lack of affect. This is an almost scientific relationship to one's own life (and in fact in this song it also asks 'I wonder if I'll dream again.')
I am thinking about my MA dissertation supervisor, Michele Leggot, who disturbs and repulses me; because she is so filled with psychological health and vigour. Not physically - she is going blind - but mentally, she is so confident and strong. In fact, this applies to almost all the adult academics in my department. Without a tremor they stand up in front of their classes, their benign goodwill radiating repulsively across the class. There are a few who stammer and quit their jobs, with whom I feel an affinity. What possible relation can this type of psychological health bear to me? I don't advocate mental distress; what bothers me is that these 'role models' offer no footholds with which to scale the facades of their personalities. -Maryann

POPULAR MUSIC

This is a joke; you know how people actually talk seriously about ‘serial monogamy’ now and jump from relationship to relationship; that’s the fault of popular music. Popular music has the task of helping the masses with desire, not in the sense of an instruction manual, but simply in the sense of awakening incredibly strong needs. Music is too weak to arouse any passion any more, so few people really fall in love. Desires are basically weaker. -Maryann

... and the Rock City Rocker index