The Spectre of a World Which Could Be Free

Backside for Let’s Take It To The Stage by Funkadelic

The exorcising of the “spectre of a world which could be free” was a cultural
as well as a narrowly political question. For this spectre, and the possibility of a world beyond toil, was raised most potently in culture — even, or perhaps especially, in culture which didn’t necessarily think of itself as politically-orientated.
Marcuse explains why this is the case, and the declining influence of his work in recent years tells its own story. One-Dimensional Man , a book which emphasises the gloomier side of his work, has remained a reference point, but Eros and Civilisation , like many of…

Recently, my mind has rattled on a few somewhat related but not entirely connected thoughts (most of them thought in a hospital bed), which I will now attempt to connect haphazardly through text.

The first of those is the interplay between Steven Shaviro-Mark Fisher-Slavoj Zizek on their opinions on the movies 300 and V For Vendetta. It was a debate I am positioned far in Shaviro’s camp, as I think V For Vendetta is a fine piece (as a movie, even more so as comic) and I’m much bothered by the love of the subjective destitution presented in Zizek’s piece…

(Originally posted in portuguese on my wordpress , many thanks to my friend Laurel for helping me translate it and touch it up, as well as to all the friends and buddies who encouraged me to actually go through with this text)

“The tree and root inspire a sad image of thought that is forever imitating the multiple on the basis of a centered or segmented higher unity. If we consider the set, branches-roots, the trunk plays the role of opposed segment for one of the subsets running from bottom to top: this kind of segment is a “link dipole,”…

In musical notation, there is the concept of “Half-Time.” It is essentially taking the meter of the song and making it slower by half, so if you have a song at 100 beats per minute, its half time groove would sound like 50. It is currently a technique very common in hip hop production, because it allows for a seemingly slow tempo with a lot of percussive detail inside it (think of the relationship between the sparse, crackling snares versus the busy hi-hats firing off). Along with its antagonist, double-time, it is one of music’s quirks at time manipulation, making…

I am not a “Day One” fan of SOPHIE, the way many of my friends were. I came to the PC Music label a little late, only when Charli XCX’s “Vroom Vroom” came out. That EP completely wrecked my brain when it came out. That intense bassline, the crunky drums on the verses giving way to Charli’s sticky vocals and finger snaps on the hook, everything about that beat seemed so new and wonderful to me. A few weeks later I would find out she was one of the producers in “Bitch I’m Madonna,” and my curiosity would only deepen…

Meus sons favoritos nesse ano infernal

Meus 25 albums favoritos

Esse foi um ano que vai ficar marcado por vários motivos, e tomará que um deles seja a música. Não apenas pelo que não aconteceu (shows ao vivo), mas pelo que os artistas se focaram em produzir nesse meio tempo. Muitos álbuns interessantes, divertidos, bem feitos saíram esse ano, e esse artigo vai delinear alguns dos meus favoritos. O chart inteiro inclui os 10 que serão mencionados + 15 menções honrosas.

Carla Bley — Life Goes On

Mais um álbum da ótima série de trios de Carla Bley / Andy Sheppard / Steve Swallow, provavelmente o meu favorito. Um ótimo…

Part 1 : Back to Basics

“Locked Inside” by Janelle Monae is a pretty pointed homage to Michael Jackson’s Off The Wall-era. Specifically, I think it is an homage to “Rock With You”, one of the all time great dance songs and one of MJ’s shiniest moments (he is literally dressed as a disco ball in the music video). “Locked Inside” effectively kicks off with a drum fill that is almost identically to the one that begins “Rock With You”. You also have a pretty unmistakably Jacksonian song progression, dense vocal harmonies (peppered with Janelle’s wonderful improvisations), squelching synths and an unshakable groove that would not…

Trust beauty, just say ya love

Deckard’s casino-house in Blade Runner 2049 is a chaotic utopia of symbols. After the birth of his daughter and the death of his companion Rachel, he fled to the ruins of the abandoned city of Las Vegas, his only companion being a dog of unknown origins and an out-of-place colony of bees in the desert. Vegas has become a husk of the shining gambling-night life it means for us now, without anything but the washing sand around it and within it.

When K meets Deckard, the first thing Deckard does is quote the line…

(Note: this is a theory i’ve spent a lot of time and had a lot of time conceptualizing, but it is also just a fun way i found of envisioning the era. No system can encapsulate the entirety of music, even just 10 years. This is an essay for fun)

The Continuum

Simple Chart

The story starts, as the best stories in music start, in the late sixties. Four very important albums were released in the year of 1969, whose combined energy would spawn in a whole new sonic universe. You have rhythmagician and occasional despot James Brown releasing Say It Loud, I’m Black…

Chico Buarque and Tom Jobim

(Lyrics in italic will be my translations from the original Portuguese, lyrics who are in italic and bold are from the recording in English)

I call you, flustered

And leave confessions in the recorder

I’ve always been a big defender of the idea that, no matter if you speak the language or not, you should almost never listen to a Bossa Nova or Samba song in English if given the opportunity to do so in Portuguese.

That’s absolutely me being a purist, cranky Brazilian, who thinks most translations into English completely take away any sort of weight and poetry from…

Gabriela Syderas

History of the Arts Student at Rio De Janeiro State University, Essayist and sound artist. Sonic Fiction enthusiast, gender anarchist trans woman.

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