Did you know that Grindcore rock can be sub-divided into Crustgrind, Goregrind, Noisegrind and – let’s not forget – Pornogrind? I intended to post about pop/rock genres but not now. Nor, for similar reasons, will I study Aramaic
As pop/rock started in the fifties, academics who could sing mixolydian mode were invited to comment. One typed it “disposable”, forgotten in six months. In fact Rock Around The Clock, launched in 1953, was still on juke boxes in 1978 (see Tone Deaf, January 7) and the flame's still lit for Elvis, born the year I was. Genres, however, might well be disposable.
Take Nirvana whose Nevermind in the mid-nineties was identified as Grunge (distorted electric guitars, contrasting song dynamics, apathetic and angsty lyrics – doesn’t that sound unexceptional?) and Grunge got hot. Along came Foo Fighters (like Grunge, friendlier, more commercial) who attracted the unimaginative label Post-Grunge.
Thus Funk (no, I can’t be bothered to define it) became Deep Funk and Disco became Post-Disco. It was a game anyone could play though there’s a hint of desperation in some of the evolutions. Heavy Metal (definition: noisy) became as schismatic as the left-wing, giving birth to: Alternative, Black, Christian, Death, Doom, Drone and Glam. Anyone for Christian Heavy Metal?
Who profits? Not the consumers. None I’ve questioned had a clue about Garage Rock (Raw R&R; young amateurish performers singing about high-school; “naïve”). Managers, perhaps, claiming that their new Industrial Rock group is pushing back the frontiers. Falling leaves in the stream but fascinating. Sort of.
I may try out Baroque Pop.
PERFECT The Takacz Qt. Much admired by Tone Deaf (passim), played Haydn and Dvorak at a concert covered by The Guardian and were awarded five stars (out of five).
Blest Redeemer: 40,069 words (Another ten-thousand milestone passed)
As pop/rock started in the fifties, academics who could sing mixolydian mode were invited to comment. One typed it “disposable”, forgotten in six months. In fact Rock Around The Clock, launched in 1953, was still on juke boxes in 1978 (see Tone Deaf, January 7) and the flame's still lit for Elvis, born the year I was. Genres, however, might well be disposable.
Take Nirvana whose Nevermind in the mid-nineties was identified as Grunge (distorted electric guitars, contrasting song dynamics, apathetic and angsty lyrics – doesn’t that sound unexceptional?) and Grunge got hot. Along came Foo Fighters (like Grunge, friendlier, more commercial) who attracted the unimaginative label Post-Grunge.
Thus Funk (no, I can’t be bothered to define it) became Deep Funk and Disco became Post-Disco. It was a game anyone could play though there’s a hint of desperation in some of the evolutions. Heavy Metal (definition: noisy) became as schismatic as the left-wing, giving birth to: Alternative, Black, Christian, Death, Doom, Drone and Glam. Anyone for Christian Heavy Metal?
Who profits? Not the consumers. None I’ve questioned had a clue about Garage Rock (Raw R&R; young amateurish performers singing about high-school; “naïve”). Managers, perhaps, claiming that their new Industrial Rock group is pushing back the frontiers. Falling leaves in the stream but fascinating. Sort of.
I may try out Baroque Pop.
PERFECT The Takacz Qt. Much admired by Tone Deaf (passim), played Haydn and Dvorak at a concert covered by The Guardian and were awarded five stars (out of five).
Blest Redeemer: 40,069 words (Another ten-thousand milestone passed)