From the always epic FAIL Blog
For starters, this juvenile act of dick-swinging will only impress people who can't tell a record press from a waffle iron. Never mind that way back when Nick Sylvester eviscerated their record, it was the one-in-ten he gets right. I can't tell if Ackermann & Co. are trying to push this pathetic bumper-sticker marketing about "loudest band in New York" into some all-encompassing dogma, or if they're just so gloriously inept as musicians that they're not even aware of how records are made. Hey, I know: let's just make the lock groove a square wave the width of the record and it'll be the loudest vinyl release ever! Sure, it'll only be 1.8 seconds long and break everyone's stylus, but... dude! LOUD!
And as Pitchdork becomes the MTV of the post-millenial, I barely know where to begin with why this is so wrong. Do we start with the porcine mouthbreather who was assigned to be interviewer? Or how transparently, self-referentially agenda-driven Pitchfork has become, as can be inferred by the smug, reverent tone in which Dave Maher referes to a fellow writer? How about that outrrrrrageous accent on Xavier de Rosnay?
I'll confess an immediate bias against Justice: I distrust dance music because, bottom-line, it wants nothing more than to please, and that makes for bad art. Dance music - rooted in nightclubs and, thus, fashion - exists on the ficklest of stimulus-response reflexes. Hence the thoroughly unenjoyable video for "Stress", a clear knee-jerk distancing from the cutesy bubblegum bounce of "DA.N.C.E." as though to prove their balls have dropped. This isn't speculation: in the clip, a teenager in a tantrum literally kicks "D.A.N.C.E." off the airwaves. Comment la Justice est MACHO! This is the same measured approach to image construction that, say, Carrot Top employed when he wanted, if not respect, at least fear. As for the video itself, yes, indeed, what hath France wrought by producing such disaffection in its youth, but as Anna Packard argued, how is watching a gaggle of adolescents acting like total cunts going to help anyone? (Other than Justice, what with the extra attention garnered by the controversy.)
Back to the Pitchfork interview... something very symptomatically European about les hommes de Justice is the manner in which they deny any fundamental significance of ubiquitous religious imagery. This is in stark contrast to Americans, who generally minimize the public display of religious accoutrements but loudly and ceaselessly profess their faith. While these are very opposite approaches to worship, they both display a certain characteristic: a disregard or even disbelief in the power of the symbol or image. For Europeans, the symbol can be appropriated (as on the jackets of the ASBOs in the Justice video) and carries no inate power; for Americans, the symbol is an unnecessary, though occasionally helpful, signifier. This stands in stark contrast to Islamic society, where the image is still unimpeachably important. (See: Danish Mohammed cartoon reaction) Could this be one of the cultural disconnects that led to the rage of unintegrated immigrant youths portrayed in the "Stress" video? Oh, snap! The irony!
Now, in closing, perhaps what's pissing me off the most about music today is that I've expended such mental energy dissecting & discussing such inconsequential bullshit because no one told me that this is what happened here in Hamburg on May Day. I understand that I was out of town at the time, but for fuck sake, isn't this disquieting and dire enough that someone would have mentioned it to me before today?!
I'm one Molotov cocktail or inflammatory speech away from "Screw you guys, I'm going home..."
Friday, May 09, 2008
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