Friday, March 14, 2008

Spring Cleaning Out My Closet: Cinema of Moral Anxiety

The problem with being a pack-rat is the same that faces staunch anti-abortionists: congratulations, you've got a kid; now what the hell you gonna do with it? Part of my ongoing effort of to unburden myself of my musical backlog is occassionally to give away archival recordings online. This month, I dug deep into the darkest bowels of my closet to unearth the Cinema of Moral Anxiety EP, the beginning stages of an identity crisis committed to tape. (Click on the title to download.)

The songs were recorded between August and October of 2001, during which time I moved to Toronto, began my higher education, watched the Twin Towers collapse live on TV, dropped out, entered one of Canada’s most competitive job markets with no marketable skills or experience, and found minimum-wage work at a company that went bankrupt three weeks after I was hired. In that order.

Consequently, the EP is a little overwrought - so much so that I cut a couple of particularly vindictive pieces from this edition of the EP. It also marks my first foray into the digital recording medium, as I began toying with simple wave editing programs. Thus, the EP is split fairly evenly between my half-assed stab at drum 'n' bass and 4-track shitfits.

But hey, it’s almost springtime, so better to get the junk and skeletons out of the closet - right, Eliot?

Thursday, March 13, 2008

Why Gaijin?

Yeah, just TRY and integrate, bitch

Recently, I was quoted by the incisive bullshit-callers over at my favourite foreigner-in-Nippon blogs, Westerner's Fear of Neon Sign. Specifically, an anecdote of mine was relayed in a post detailing "The Seven Stages of Gaijinhood." I've become a dedicated reader of WFoNS because few other bloggers as honestly appraise the unusual circumstances of being a foreigner in the most homogenous of developed nations; WFoNS maitre d' Calligraphy Kid is far from a fawning Japanophile, yet he resists the easy temptations of reactionary cynicism or softcore racism to which so many foreigners succumb.

Particularly impressive is that WFoNS dances along the knife's edge of writing objectively about gaijin while being gaijin. This is akin to taking judo lessons with vials of nitroglycerin stuffed in your pockets: not even a closeted homosexual raised as a Southern Baptist can compete with the self-loathing mustered by your average gaijin. To wit, this post from last fall describes the Western expat community in Japan as
that most mutually hateful and backstabbing of tribes... On an intellectual level, knowledge of things Japanese decreases in value the more people share it. On another, more carnal level, the attraction of Japanese women diminishes as more men partake of it. It goes without saying that foreigners in Japan, or gaijin, are natural rivals and have rarely produced anything of worth in collaboration with one other... Better reserve ‘we’ for strictly rhetorical use among foreigners in Japan.
...Which pretty much nails it on the head. What kind of a community coalesces around the mutual fear that you're all giving each other a bad name? The paranoia and self-policing inherent in being an Occidental is painful: everyone who sports a similar accent, appearance, or attitude could be totally ruining it for you and should be regarded, at best, with suspicion or, at worst, understated contempt. (I developed an especially icy regard for Australians, who I pinpointed as the prime offenders - but can you really blame me when I worked for this guy?)

What you'll also notice about the logic behind the gaijin's self-alienation is that it's total bullshit. Competition for social supremacy & cultural authority? As a foreigner in a country famed for its isolationism and xenophobia? Are you joking? Yet this Orientalist pissing contest is at the fore of a foreigner's thoughts at all times. Which is bloody stupid. Suffice it to say: not once when I've been in Vancouver have I seen two Chinese guys decked out in flannel shirts, tocques, and Sorels cattily correcting each other's Canadian raising over a can of Molson. Why? Because that's fucking ridiculous.

Now, counter to behavioral trends, I actually did produce works of worth with fellow foreigners (among others) during my tenure in Tokyo. In fact, this was largely because - at present - integration isn't an option: I was liberated from the quotidian responsibilities of the citizenry. I was afforded the objective distance that allowed me to focus on my particular curiosities & enthusiasms.

Which is why I unabashedly apply the word to myself. I incorporated "gaijin" in this blog's domain name, and into one of my e-mail addresses, not in a fit of Japanophilic flag-waving (I don't live there any more), but because the word distills a certain estrangement that is fundamental to how I relate to my surroundings. I choose the word not for its novelty, but because of its delicate suggestion of anti-socialism and self-imposed seperation. My nickname in North America is "the Old Man," which I enjoy, but that denies a certain vigor with which I still attack my endeavours. Similarly, I'm not vicious enough to feel comfortable self-describing as "Schadenfreude Seb." No sir; I'm afraid only the flavour of "gaijin" pleases my palette. Besides, there's an enjoyably Moebius-like logic that applying the word "gaijin" to myself will alienate certain people with whom the word identifies me.

The great irony to the gaijin's self-loathing is that it's as lazy & unsophisticated as any other prejudice: after all, gaijin frequently have nothing in common and, ergo, are of no threat to each other. Ah ha, but then isn't the resentment justified if so many dissimilar entities are clumsily lumped under the same umbrella? Well, shit, you got me there. But as long as people still debate whether label appropriation is positive and are unsure if "Bitch" is the new black, the war over the word shall rage on.

Postscript:: Rereading Tokyology's "I, Gaijin?" post (quoted above), a particularly backwards bit of logic had previously slipped by me. Personally disavowing use of "gaijin," Tokyology elaborates on acceptable social parameters for the word:
I don’t object at all to Japanese use of the word gaijin. I think it’s charming evidence of the time lapse in identity politics between Japan and multiracial nations. In a reversal of positive label appropriation, gaijin only sounds derogatory when I apply it to myself. I don’t want to refer to myself as a gaijin and I can’t understand foreigners who do. The word reeks of slow-burning underachievement.
Let that stew for a minute. It's okay for the people who originated the word (as a racial slur) to continue using it, in whatever tone they like, because it betrays their quaint lack of sophistication. But for those to whom the word applies, to use it is demeaning and ghettoizing.

Wow. Now that is spectacularly ass-backwards. Hey, how about all the white people start tossing around the N-word because (the fools!) it reveals how socially unhip those crackers are, but under no circumstance shall the word be used by, or among, African-Americans (or -British or -Canadians) because it is a shamefully derogatory term, and its use a confession of inferiority. What the hell.

The truly telling moment within the above passage, though, is that last sentence: "The word reeks of slow-burning underachievement." This is not the first time that a confession of brutal self-doubt and second-guessing of purpose has passed for social commentary on WFoNS. The problem is that this existential panic is projected onto every other foreigner in the Far East. There may be a significant number of emotional refugees and self-defeatists living in bottles around Japan - but they're everywhere else too.

Perhaps The Problem is rooted in the way white middle-class language teachers monopolize the word, much the same way the United States has ruined "America" for a whole hemisphere. Typical, innit? How people use a word betrays more about their sense of self than social conventions. If only they were as concerned with how other people relate as they are with publishing & maintaining their self-image. Smack me if I ever don't include myself in that admonition.

Monday, March 10, 2008

Idiot Video Idiom

Allow me to canter about in the saddle of my ex-pat high horse for a bit, ladies & gentlemen. While I'll admit to frequently knowing little about a country before moving there beyond its music, I'm not naive enough to believe that, say, Japan was going to be a land of purely iconoclastic sonic experimentation. I knew that Zeni Geva and Koenjihyakkei would be the exception, not the rule. That being said, I could also rest assured that, by virtue of how much of this manic post-hardcore skronk had drifted across the Pacific, there was enough of a scene/movement/stylistic consensus/Insert Loathesome Buzzword Here that I would remain engaged.

And so it was. Similarly, I thought that Germany's rich history of convention-smashing rock would guarantee a certain ratio of avant-garde mindfuck within its contemporary music. After all, any culture that birthed the major works of Stockhausen, Can, Kraftwerk, and Einstürzende Neubauten within a twenty-five year period would surely have something to offer beyond Rammstein or this guy.

Thus, I came to Deutscheland with grainy dreams of recapturing the spirit of '72, as embodied by the following list of boundary-breaking creations from that year:

Pop


Rock


Dance


Experimental


Some Head-Nod Shit


And it is with a blend of trepidation and disgust that I report that, eight months into my research, contemporary German music doesn't have anything to offer beyond Rammstein and that Technoviking guy. To wit, I present Exhibit 2008:

Pop


Rock


Dance


Experimental


Some Head-Nod Shit


So this is what happens when there is One World, when a country is reunified under the aegis of a single pancultural (rather, acultural) philosophy. This is what happens after twenty years of market economy, ecstasy, midi sequencers, and MTV. Not that I'd advocate for the reconstruction of the Wall, the reignition of old tensions, or a return to an national existential tightrope-walk... but if I may cite a fine film about the friction from which art is sparked:
Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock.

Thursday, March 06, 2008

I Drank Japan's Milkshake

Jetlag is a harsh mistress (though certainly not as harsh as it could have been), so right now my trains of thought are truncated, but I'm due to check back in. So forgive the bullet-pointedness & stunted structure of the conversation, but some communication is preferable to none, am I right?

So how can I account for my February?
~I do not recommend spending over 20 hours in airports or -planes whilst burdened by 20kg of audio cables and microphones on your person in an attempt to avoid excess baggage fees. Then again, I've met racketeers less extortive than the excess baggage fees, so it's worth it in the end.

~I happened upon some groovy new tunes.

~I earned a new affiliation, which is rather exciting - if only because now the donkey work is not mine alone to address. Details to follow as they become available.

~The explicit purpose of my trip to Tokyo was a success. I'm currently knee-deep in post-production, but I love the laboratory phase following the field work.

~Connecting the dots betwixt the three previous items! In an odd moment wherein the world shrank, the drummer realized that one of my recent musical discoveries (and now labelmates) recorded their EP with an old friend of his. This planet's too bloody small.

~I visited a wax museum that has figures of both Mishima Yukio and Manuel Göttsching; I purchased some food products with hysterically unfortunate names; I surveyed the latest layers of graffitti shellacked to the streets of Tokyo; and I grabbed a lot of snapshots along the way.

~The absolute coup-de-grace of the whole trip, however, is that I went to Japan to track one record and came back with two: the EP for which I was hired and went, and then a never-before-heard album's worth of my own material. And I can say with no ego that this album is going to melt people's goddamn faces. Ah ha, but I must remind myself: I already have two items in queue. Better to be burdened by too many ideas than not enough.

As predicted in my last post, the actual coming-and-going of my sojourn was the worst of it. And yet even the endless lines and thuggish security officials were made bearable by one feature of my flights: those little TV screens in the back of the chair from which you can select your own entertainment. Hot diggity dog, I've heard of these dream machines for years but had never actually seen one. I was inclined to believe that you were all a bunch of lying bastards trying lump resentment atop the hot rage sundae of negative emotions I ingest during air travel. Turns out that custom-tailored in-flight entertainment and riding a pegasus are in different realms. Consequently, I was finally able to catch up on all those movies I've been too broke or unmotivated to see:
Superbad: Better than I expected, but still a bundle of nostalgic wish-thinking. I'm perennially flummoxed by why North Americans are emotionally incapable of leaving their high school years behind. (And why was this adolescent romp trying to break the Scarface record for per-minute profanity?)

Juno: Cute, clever, achingly hip, self-aware without coming off as smug, and a fittingly funny embrace of unconventional family values (while still reaffirming that abortion is, like, totally not cool). I couldn't stand it, and I think for the same reason that my Dad reviles Wes Anderson: gee, it'd be pretty cool if life was more like this, but sorry, it ain't, so how in the hell can I relate to this contrivedly quirky study in affectation?

The Kingdom: Alternate title - Mad Foxx: Beyond Thunderdome. The bookend hat-tips to liberal critiques of US foreign policy & energy dependence hardly made up for the interim of racial caricatures and mediocre action. I drank myself to sleep on cheap red wine during this one.

American Gangster: This semi-miraculously failed to engage me on any level. The fact that I was voluntarily nodding off on a plane without being plotzed absolutely flabbergasted me. I ended up drinking myself to sleep for this one, too - with white wine. That's some weak shit.

The Simpsons Movie: Eightteen years later, we get a triple-length episode. *Yawn* Lessee, do they have Ratatouille on this thing... ?

I also scored screenings of this year's Oscar-dominating triple-crown of American gothic cinema: The Assassination of Jesse James, No Country For Old Men, and There Will Be Blood, none of which I can say enough good things about. The genuine surprise was that, of the three, my favourite wasn't the Coen Brothers' film - it was the one by P.T. Anderson, that gaseously self-inflated dauphin whose previous work I found beautifully shot but cloying at best. Maybe I'm just a sucker for scenery-chewing and Penderecki-checking string music. But I'll be damned if that movie didn't just drink it up.

Speaking of drinks, more coffee is desperately needed before my synapses misfire. Greater detail and further discussion to follow shortly.

Wednesday, February 06, 2008

Revving the Motorik

Come on, ride the train...

Well, I'd hoped to finish up a missive about M.I.A. and illusory hipster politics before I broke outta here, but no can do. That'll have to wait until next month, 'cuz I'm back off to the Land of the Rising Sun for a few weeks. As excited as I am about the trip, I'm not terribly chuffed about the transitory comin'-and-goin'. Air travel grows more odious by the year, as security procedures become more minutae-choked by the minute and I still haven't figured out how to fall asleep on airplanes.

So I've concoted a sonic psychological tonic: a mix of momentum-oriented music to provide the forward thrust I'll need to keep my sanity sprinting from one gate to the next. This runs the gammet from orthodox Krautrock to some of the new enfants terribles of hypnoise rock; otherwise, honestly, I'd probably just throw "Oh Yeah" on loop, and it'd be a pity to wear out the treads on such a monument of motorik.

Dept. of Tangential Trivial Anecdotes: in discussing our dream covers, I once remarked to Travis Morrison that Lake Trout could have done the most muscular, juggernaut rendition of "Recap Modotti" - if they hadn't been headed away from expansive improvscapes towards more rockist pastures at the time. Oh well. A lad can dream.

Click on the mix title to download.

We Keep Time

1. Faust - "Miss Fortune" (00:00)
2. Amon Tobin - "Rhino Jockey" (04:53)
3. Caspar Brötzmann Massaker - "Wiege" (11:33)
4. U.N.K.L.E. with South - "Logan's Run" (18:03)
5. The Pop Group - "We Are Time" (23:25)
6. Harmonia - "Dino" (29:52)
7. The Fall - "Cab It Up" Peel Session (33:15)
8. Deerhunter - "Cryptograms" (37:54)
9. These New Puritans - "En Papier" (42:08)
10. Boredoms - "Super Going" Excerpt (46:40)
11. Fugazi - "Recap Modotti" (54:08)
12. Lake Trout - "Luvean" (57:53)
13. Swell Maps - "Big Maz In the Desert" (01:04:50)
14. NO - "Ufomammut Hunter" (01:09:53)

Be back next month. マタ, ネ!

Photo by Stephen*

Addendum: What the hell?! How has this random CD-R I used to give away at shows in Baltimore made it around the world and back? I'd better start working harder if I don't want "I Used to Write Jingles For a Living" on my fuckin' tombstone...

Monday, February 04, 2008

Eureka!

Y'know, I've struggled for years to explain how Japan is, but definitely isn't, Westernized. It is, in the regard that it's as choked by brand-label vanity, toxic television programming, and horrible wannabe reggae as any other Occidental enclave. It most definitely isn't, in that such a superficial veneer has been haphazardly shellacked atop a millenia-old society with very different tendencies.

But how to succinctly explain this without being a prattling know-it-all? I'd struggled similarly in the past, trying to split hairs between Canadians & Americans. Mercifully, I'd managed to whittle that diatribe down to a metaphor: imagine sifting diamonds out of coal dust through a siv, wherein the diamonds are Canada, the siv is European sensibilities, and the coal dust is America. (The Yanks didn't like that, but sod them. It's true.)

Of course, that didn't really answer the Japan question. So bless the repository of supremely strange online flotsam that is the WFMU blog for having posted this neuron-popping, patience-exhausting McDonald's ad remix made by... some young artist in Japan.

All of a sudden, there is a yardstick, a barometer, a recognizable cultural gold standard that typifies how Japan digests & refracts Western pop culture. No need for vague metaphors or stumbling similes - we're using algebra, baby! If I may,
A x Japan = X
wherein A (short for "America," natch) is:



...and Japan is:


...ergo, X becomes:



QED, bitches. The theorem holds true across the whole of American culture. For example, let's now examine:
A x Japan = X
wherein A=Rock 'n' Roll, or:


...and Japan is:


...and so now, X becomes:



Yowza! But wait - I'm not arguing that Japan makes everything cooler, though the results thus far would seem to imply such an aesthetic judgement; there are certain cultural phenomena that are, mildly put, hideously mutated in translation. Let us see what happens when A=Hip-hop, or:



...and Japan is:


...so let's have a look, when A(Hip-hop) x Japan = X, at what happens to X :



That ain't right. But hey, who am I to argue with mathematical absolutes? Now let's venture into more shadowy territory: what we're examining are reflections, refractions, radical transformations of one culture when it is mediated by another. So what happens when the source material is already a reflection, a reinterpretation, a postmodern perversion? What happens when a distortion is further distorted? What happens to A x Japan = X when, say, A = Ironic bass-less deconstructivist blues:



...and Japan is:


...now, gird your loins for this result, kiddies:



Sweet merciful crap. What hath math wrought?

Thursday, January 31, 2008

When Signifiers Attack!


Southern racists adopt "Canadian" as euphemism for the N-word.

...following which, the first obvious question would be, "What if they're talking about a black person from Canada?" Read through the gargantuan comments thread, as there are a few interesting exchanges and anecdotes. My personal favourite:
Here's a new euphemism for ya:

Southern Racists = Americans

How'dya like them apples?

People in Glass Co-Ops

The only rehearsal space I could afford

So there's this band called Vampire Weekend that has a great many people chattering - as much about the band's moneyed background as their music. This could be because their totally inoccuous album has all the visceral impact of a wet fart: even Pitchfork's fawning bestowment of BNM admitted, "The result being not 'this is mind-blowing,' or 'this is catchy,' but 'I have listened to this, straight through, four times a day for the past month.'"

But let's get real, kids: this is a classic disruption of enjoyment. No longer can we pretend to be a bunch of starving, societally-neglected, scratchin'-and-survivin' outcasts - not when indie's new It Boys prance about in Ralph Lauren with Ivy League degrees tucked underarm. The cat's out of the bag. I won't mention exactly how many pampered private school brats are in Brooklyn bands, if only to spare their audience grossly feigning shock. But seriously, who the hell imagined anyone other than a clan of trustafarians could afford a loft in Williamsburg?
"These are some African statues. I don't really fuck with Africa, 'cuz people are starving to death, and that ain't baller to me."
~Dave Chappelle

Tuesday, January 29, 2008

Whatever Blogging

It struck me as serendipitous that Jodi should start examining "whatever-being" and Dominic would pontificate about Facebook at roughly the same time. Though totally unrelated conversationally, the two seemed to struggle with similar issues: identification, assimilation, emancipation.

Unless I'm mistaken, Dominic was responding to Tom Hodgkinson's online tirade against the pernicious politics & invasive motives behind Facebook. But rather than debate whether Facebook is a corporatist surveillance tool, Dominic took this as a given and argued that we'd do better to:
"Forget Facebook. Facebook is not what the internet should be. It is the internet redesigned by people who want information to be owned, and specifically owned by them. It is the internet enclosed, territorialized, packaged up and sold off. The internet for dummies... Facebook is to the real internet as those Vtech 'laptop' toys for children are to real laptops. It’s a cheat, a con, a distraction. It gives you nothing you don’t already have..."
Evidently, Dominic regards Facebook much in the same way that I, as a musician, regard Guitar Hero: a cheap substitute for those gumptionless nitwits & corporate prey who want everything cheap, wrapped in plastic, and now. To use Facebook is to be shortchanged on the emancipatory power of being online.

Meanwhile, Jodi was sharing some reactions to Dominic Pettman's Love and Other Technologies, specifically engaging his idea of "whatever-being": to co-exist with other individuals based on an "inessential commonality," a kind of universal dissimilarity. As Jodi explains it:
"Whatever beings don't consist in anything in particular, anything essential. Their associations don't presuppose bases in anything typically associated with essential human being. The coming community, then, is not an association of citizens. Nor is it a tribe or religion. I would guess that common history is also out as a basis, insofar as the problem is with the need to establish a basis for commonality. So, what then, is whatever being?"
(Emphasis mine) I'm far from qualified to answer this question, not having read Pettman (nor Agamben, nor Deleuze, upon whom Pettman draws heavily), but what is the internet good for if not wild speculation & epistemological overreach? I imagine that Whatever-Being isn't too far off from Dominic's online utopia: an aether through which people float frictionless, shaved of superficially-defining characteristics, and where communication flows in an unmediated, omnidirectional fashion. In other words, imagine the Acropolis with scramble suits.


I have myself experienced a kind of Whatever-Being living abroad. Racist (or at least racialist) attitudes around the world tend to be most discriminating when cleaving Us from Those Almost But Not Quite Us (e.g. Chinese VS. Japanese); meanwhile, every other alien demographic is patched together into a large, indistinct Other. Believe it or not, American-style racism is relatively sophisticated & worldly, with its myriad of epithets and polyethnic artillery of stereotypes. Most other countries where I've lived have simply lumped all foreigners into a single group, which can only be defined by a single negative characteristic: "We are all not Ghanaian" or "We are all not Japanese." This produced an odd fellowship amongst us Auslanders, given that the only thing we have in common is that we have nothing in common. If that ain't "inessential commonality," I don't know what is.

But then I start to question if this "coming community" of Whatever-Beings that Pettman foretells is a good thing or not. Though I personally enjoyed the arm's length at which I was kept living in Japan*, I didn't enjoy the fact that the objective distance was the result of dehumanizing foreigners. Whatever-Being seems like a label to slap on anyone who exhibits no characteristics that are considered important - a dangerous, post-ideological Othering to ghettoize anyone found to be unamenable. Defining "whatever-being" is scarcely less difficult than defining what it means to be human, since (as Jodi said) Whatever-Being isn't based "in anything typically associated with essential human being." So is a Whatever-Being, by definition, not human? I can far too easily hear the term being used in some mass-murderous thug's self-defense.

Going back to Dominic's enthusiasm for the internet's emancipatory potential, the truth is that everything online is mediated. The internet does not exist of its own accord, nor out of our collective will; it is 100% man-made and procured from other people. From the machine on which I'm typing, through the cable & modem to which it's connected, to the wires that run from my phone jack to who-knows-where, every step of this journey has been purchased. For the time being, we can revel in our online anonymity, adjusting the resolution on our scramble suits as we see fit; we can mock the poor fools on Facebook, who have to narrowly define themselves according to multiple-choice questions selected & designed by some online overseer. But every day, there are calls for more control of internet activity from people in high places. It could be that the only "whatever" we'll find ourselves being is a shrug of indifference personified, as a citizen of a corporate surveillance state.

*Here in Germany, people are superficially more tolerant & inclusive than in Japan (given its larger immigrant population), but don't expect to be treated like anything less than a lobotomite if you don't speak the language.

Monday, January 21, 2008

Hello Blue Monday!


I love it when circumstantial sociology spares me embarrassment. Back in the day (October, to be exact), I concoted a Hallowe'en mix that abandoned the typical "Ghosts 'n' Goblins 'n' Ghouls" subject matter for cutthroat existential dread. I happened to be in the Wednesday of my homeless period, and consequently was feeling a little emotionally moribund. Of course, being homeless & locked out of my Blogger account, I was also unable to post the mix in time for the (un)holiday. Crap.

But now, in dark midwinter depths, as longfaced SAD-sufferers somnambulate through the post-holiday doldrums, along comes this loaf of half-baked social science declaring today the Official Most Depressing Day of the Year! Hey, a doctor said so, so it has to be true, right?

Even if it's not strictly true, the mood from here in dusky, drizzly Hamburg is certainly appropriate to the material. Click on the title to download the mix...

The End of Day

1. Public Image Ltd. - "Theme" (00:00)
2. Sonic Youth - "Death Valley '69" (09:00)
3. Tom Waits - "November" (13:58)
4. Mr. Bungle - "Everyone I Went to High School With Is Dead" (16:49)
5. Slint - "Nosferatu Man" (19:33)
6. Brian Eno - "Dead Finks Don't Talk" (24:44)
7. Acid Mothers Temple - "Dead Man Is Smoking" (28:43)
8. Joy Division - "Dead Souls" (36:56)
9. Lungfish - "Eternal Nightfall" (41:46)
10. Nick Cave & the Bad Seeds - "From Her to Eternity" Live in Berlin '87 (44:22)
11. Gyorgy Ligeti - "Requiem" (48:55)