The Friendly Album: Stranger Than Kindness
Mar. 9th, 2005 11:37 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
imomusOutline your perfect pleasure scenario for us, Nick!
Okay, I'll try. Hmm, let me think... I'm getting pictures. I'm seeing Japanese imagery. I'm digesting a long, slow meal I ate about an hour ago, which included some very soft, tasty white fish and a lot of little plates of pickles and seaweed and things. I've just soaked in a hot spring bath, a public bath up near the summit of a volcano. There's a very starry sky, I feel young, I feel free, anything seems possible. I've been pummelled by jets of water, I've lingered in a room smelling of marshmallow steam and filled with ferns, I've dipped in cold water and I've dipped in hot, I've lain in a computer-controlled massage chair for a while feeling clean, being buzzed and shaken into complete relaxation. Then, in a room empty but for painted screens, tatami mats and scatter cushions, I've made love with my girlfriend. Once I've come, a record of Renaissance lute music begins to play, and my girlfriend gently scratches my back as I lie in a state between reverie and slumber, my head swimming with delicious imagery. There. I'm very, very happy.
Pleasure for me is embodied. It's body and mind in legitimate harmony. I say "legitimate" because, although I'm quite aware that the bliss I outline above is largely chemical in nature (the product of hydrogen sulphide, the chemistry of food, digestive juices, sexual secretions and the post-orgasmic release in the brain of natural dopamines and opiates), it's important that I don't cheat my body by triggering reward mechanisms I don't deserve. I don't do drugs, and I've never done drugs, because I've been wary of peace of mind that doesn't come from a good relationship between myself and the world. Just as vitamins can't replace food, drugs can't replace the natural well-being the body feels after exercise or sex. Nothing can simulate the peace of mind we feel when we're genuinely pleased with the way our lives are going. There are no hidden side effects to that high, no post-comedown depressions, no long-term health risks. How to feel good feelings? Do good things. The moral, relational, intellectual and physical are all connected. You can't tweak one with chemicals and hope to feel good if the others are out of sync.
Let me go back to the music. When I imagine the music of pleasure, I imagine static music. There should be no yearning, no tension in this music. It has arrived at a plateau of pleasure. I can put a record of it on -- or, regally, command a lute player to strum away in my royal bedchamber -- and I expect it to decorate the air with elegant scrolls, but not to develop in any way, or build expectations, or dominate me. It should be self-effacing music, music which defers to my pleasure even as it subtly structures it. I'm thinking of a specific record, actually, a record I played this morning on my old East German record player. It's called Lautenmusic der Renaissance. I have no idea who the composers and performers are. But the music is very lovely. Sometimes I play it at 16 RPM, sometimes at 33. At 16 it lasts longer and rings deeper. It's music from the morning of the world, simple chords which balance almost banal progressions with subtle flourishes and a deep understanding of the elegance of form. Every culture seems to have this kind of music, though I think of it as particularly Islamic or Indian, a cool, classical, aristocratic music which works best in hot places, a music which understands pleasure and sensuality and colours the passing of time in a respectful, restrained way. There's no singing on this music, no focal point. It's almost ambient. It doesn't seem to have a beginning or an end. There's certainly no attention-grabbing music star here, no virtuoso performer taking the solo, no pouting sex symbol trying to provoke erections, no menace or grandiosity or commercial guile.
Most of the civilisations which made this kind of music -- in fact, most of the civilisations which truly understood the value of pleasure -- have disappeared. But I do think Japan still clings to an understanding of this kind of pleasure, at least insofar as it holds fast to its courtly traditions. If I search for a modern equivalent to this lute music, I think of Lullatone, for instance -- an American who lives in Japan and seems to have integrated the gentle static self-effacing pleasure which is part of Japan's low-stress culture much better than I have.
I cringe now when I think of how I tried to introduce Protestant-Romantic dynamism and aggression into Japanese pop in Kahimi Karie songs like Lolitapop Dollhouse: "I'm going to tear my playhouse down" indeed! I should have been learning from Japan's serenity, its avoidance of conflict and protest, instead of introducing cod-feminist defiance into those songs -- a defiance paradoxically yet all-too-typically taught, Henry Higgins-style, by a guilty western male to a compliant (but soon to be cod defiant) eastern female. And now that Kahimi is making her own songs, are they defiant? Not at all. They're "static", serene. Has she learned from me? Thank goodness, no. But it's not too late for me to learn from her.
Or rather, to learn from Japan. Because each time I visit Japan I reel at how different it is -- from the rest of the world, and from me. The difference can be expressed in a myriad of ways, but it's something to do with concensus, self-effacement, other-orientation, friendliness, horizontality, politeness, pleasure, self-sacrifice combined with sensual group-indulgence (never pour your own drink, someone will pour it for you!)... In the words of, ahem, Nick Cave, there's nothing "stranger than kindness". I'm so imbued with opinions, with radicalism, with protest, with satire, with moral struggles and endless questions... And Japan, more concerned with content than with content, is so much the opposite of that. What else could it seem to someone like me but strange? Strange, sometimes suspect, but usually, increasingly, finally, terribly wise.
I'm planning my next album, "The Friendly Album". And I want to make something as static, as friendly, as consensual, as self-effacing, as Japan itself. It will be a feminine record and a friendly record. It will -- it should -- contain the deep sensuality of Renaissance lute music, or bossa nova. You should be able to put it on and just let it hover in the background all the way through, structuring your contentment in a self-effacing, classical, cool and elegant way. I don't know if I'm capable of making music that serene and sensual, but I want to try. Perhaps it'll turn out terribly banal, 15 takes on Don't Worry, Be Happy! But that's a risk worth running. Because the values of pleasure and friendliness, modesty and elegance seem more important than ever to me right now... and, in a world dominated by "aggressive normality", perhaps evoking strange kindness is the most subversive, interesting and challenging thing an artist could do.
Okay, I'll try. Hmm, let me think... I'm getting pictures. I'm seeing Japanese imagery. I'm digesting a long, slow meal I ate about an hour ago, which included some very soft, tasty white fish and a lot of little plates of pickles and seaweed and things. I've just soaked in a hot spring bath, a public bath up near the summit of a volcano. There's a very starry sky, I feel young, I feel free, anything seems possible. I've been pummelled by jets of water, I've lingered in a room smelling of marshmallow steam and filled with ferns, I've dipped in cold water and I've dipped in hot, I've lain in a computer-controlled massage chair for a while feeling clean, being buzzed and shaken into complete relaxation. Then, in a room empty but for painted screens, tatami mats and scatter cushions, I've made love with my girlfriend. Once I've come, a record of Renaissance lute music begins to play, and my girlfriend gently scratches my back as I lie in a state between reverie and slumber, my head swimming with delicious imagery. There. I'm very, very happy.
Pleasure for me is embodied. It's body and mind in legitimate harmony. I say "legitimate" because, although I'm quite aware that the bliss I outline above is largely chemical in nature (the product of hydrogen sulphide, the chemistry of food, digestive juices, sexual secretions and the post-orgasmic release in the brain of natural dopamines and opiates), it's important that I don't cheat my body by triggering reward mechanisms I don't deserve. I don't do drugs, and I've never done drugs, because I've been wary of peace of mind that doesn't come from a good relationship between myself and the world. Just as vitamins can't replace food, drugs can't replace the natural well-being the body feels after exercise or sex. Nothing can simulate the peace of mind we feel when we're genuinely pleased with the way our lives are going. There are no hidden side effects to that high, no post-comedown depressions, no long-term health risks. How to feel good feelings? Do good things. The moral, relational, intellectual and physical are all connected. You can't tweak one with chemicals and hope to feel good if the others are out of sync.
Let me go back to the music. When I imagine the music of pleasure, I imagine static music. There should be no yearning, no tension in this music. It has arrived at a plateau of pleasure. I can put a record of it on -- or, regally, command a lute player to strum away in my royal bedchamber -- and I expect it to decorate the air with elegant scrolls, but not to develop in any way, or build expectations, or dominate me. It should be self-effacing music, music which defers to my pleasure even as it subtly structures it. I'm thinking of a specific record, actually, a record I played this morning on my old East German record player. It's called Lautenmusic der Renaissance. I have no idea who the composers and performers are. But the music is very lovely. Sometimes I play it at 16 RPM, sometimes at 33. At 16 it lasts longer and rings deeper. It's music from the morning of the world, simple chords which balance almost banal progressions with subtle flourishes and a deep understanding of the elegance of form. Every culture seems to have this kind of music, though I think of it as particularly Islamic or Indian, a cool, classical, aristocratic music which works best in hot places, a music which understands pleasure and sensuality and colours the passing of time in a respectful, restrained way. There's no singing on this music, no focal point. It's almost ambient. It doesn't seem to have a beginning or an end. There's certainly no attention-grabbing music star here, no virtuoso performer taking the solo, no pouting sex symbol trying to provoke erections, no menace or grandiosity or commercial guile.
Most of the civilisations which made this kind of music -- in fact, most of the civilisations which truly understood the value of pleasure -- have disappeared. But I do think Japan still clings to an understanding of this kind of pleasure, at least insofar as it holds fast to its courtly traditions. If I search for a modern equivalent to this lute music, I think of Lullatone, for instance -- an American who lives in Japan and seems to have integrated the gentle static self-effacing pleasure which is part of Japan's low-stress culture much better than I have.
I cringe now when I think of how I tried to introduce Protestant-Romantic dynamism and aggression into Japanese pop in Kahimi Karie songs like Lolitapop Dollhouse: "I'm going to tear my playhouse down" indeed! I should have been learning from Japan's serenity, its avoidance of conflict and protest, instead of introducing cod-feminist defiance into those songs -- a defiance paradoxically yet all-too-typically taught, Henry Higgins-style, by a guilty western male to a compliant (but soon to be cod defiant) eastern female. And now that Kahimi is making her own songs, are they defiant? Not at all. They're "static", serene. Has she learned from me? Thank goodness, no. But it's not too late for me to learn from her.
Or rather, to learn from Japan. Because each time I visit Japan I reel at how different it is -- from the rest of the world, and from me. The difference can be expressed in a myriad of ways, but it's something to do with concensus, self-effacement, other-orientation, friendliness, horizontality, politeness, pleasure, self-sacrifice combined with sensual group-indulgence (never pour your own drink, someone will pour it for you!)... In the words of, ahem, Nick Cave, there's nothing "stranger than kindness". I'm so imbued with opinions, with radicalism, with protest, with satire, with moral struggles and endless questions... And Japan, more concerned with content than with content, is so much the opposite of that. What else could it seem to someone like me but strange? Strange, sometimes suspect, but usually, increasingly, finally, terribly wise.
I'm planning my next album, "The Friendly Album". And I want to make something as static, as friendly, as consensual, as self-effacing, as Japan itself. It will be a feminine record and a friendly record. It will -- it should -- contain the deep sensuality of Renaissance lute music, or bossa nova. You should be able to put it on and just let it hover in the background all the way through, structuring your contentment in a self-effacing, classical, cool and elegant way. I don't know if I'm capable of making music that serene and sensual, but I want to try. Perhaps it'll turn out terribly banal, 15 takes on Don't Worry, Be Happy! But that's a risk worth running. Because the values of pleasure and friendliness, modesty and elegance seem more important than ever to me right now... and, in a world dominated by "aggressive normality", perhaps evoking strange kindness is the most subversive, interesting and challenging thing an artist could do.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
(no subject)
Date: 2005-03-09 11:22 am (UTC)(no subject)
Date: 2005-03-09 11:39 am (UTC)(no subject)
Date: 2005-03-09 11:39 am (UTC)Harmony breeds harmony.
Slow life, slow music.
A friends' departure
had me down on Tuesday but
Haiku day (http://www.livejournal.com/users/33mhz/427412.html) soothes me.
Haiku (Okay, it's
really senryu.) stand as
models of '和' too.
Haiku, like your lutes,
are static moments of high
bliss/low anomie.
Single caveat:
Let friendly be unfriendly,
if it must be so.
As you know, enforced
cheer is make-up on a bruise,
a quiet aggression.
Collect your happy
moments as they come, release
them only when done.
(no subject)
Date: 2005-03-09 11:46 am (UTC)second to last bit, last line:
"a quiet violence."
(no subject)
From:(no subject)
From:(no subject)
Date: 2005-03-09 12:15 pm (UTC)(no subject)
Date: 2005-03-09 12:38 pm (UTC)Cage copyrighted silence. (http://news.bbc.co.uk/1/hi/entertainment/music/2276621.stm)
Make noise or pay up!
(no subject)
From:(no subject)
From:(no subject)
Date: 2005-03-09 12:19 pm (UTC)True, but if you hate your life and can't do bugger all about it, drugs help massively.
-
Date: 2005-03-09 12:27 pm (UTC)Re: -
Date: 2005-03-11 04:09 am (UTC)yatta
Date: 2005-03-09 01:03 pm (UTC)Hello. I am glad my melodies help you relax!
I have to agree with you that my life has become much less stressful since I moved to Japan. I don't think I could have made the same songs I've made if I lived anywhere else. These days, when I listen to new music (from other countries) on the listening station at Tower I feel like it is a bit too confrontational. I think that it makes sense considering all of the conflicts in and among some societies now. But I haven't noticed any similar trend towards dissonance and conflict and so on from other bands I know here. I don't think that politics influence art as much here as in the west. Would you agree?
Anyhow, best luck on your new static musics.
- Shawn / Lullatone
www.lullatone.com
Re: yatta
Date: 2005-03-09 02:30 pm (UTC)(no subject)
Date: 2005-03-09 01:32 pm (UTC)i realy agre with you about music which u can hover in the background and would be interested trying to do that myself but i rekcon it woul be well borrrrrring to do ahaha cause i tend to get realy anxious about halfway thru a song to get it finished and this usualy ends up putting load more of what opposite ur talkign abuot in the song
(no subject)
Date: 2005-03-09 02:09 pm (UTC)Why escape the high/low fluctuation of the passionate life? Why float your sensorium in the isolation chamber of a music that pure temporality, or atemporality?
I've been listening to Beethoven lately, over and over again. Constant starting and stopping, building, rising, falling, and unexpected transitions.
This, I think, is more like sex, childbirth, death, actual life, not the escape of passion but passion's fulfillment, not the tranquil bliss of the afterwards, but the very moment of, a perfect, transcendent clamor which is just as much a receding horizon as silence. Pleasure versus thrill?
Also, I like those patterns.
(no subject)
Date: 2005-03-09 02:34 pm (UTC)(no subject)
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From:Just say yes!
Date: 2005-03-09 02:56 pm (UTC)Chicken! ;-)
The same could be said about music:
"I don't do music, and I've never listened to any, because I've been wary of peace of mind that doesn't come from a good relationship between myself and the world."
In fact Plato warned us about music in similar terms.
Drugs are part of the world too. Specially mushrooms!
How are they any different from, say, green TEA?! Tea
is mind altering too.
Re: Just say yes!
Date: 2005-03-09 03:11 pm (UTC)(no subject)
Date: 2005-03-09 03:15 pm (UTC)(no subject)
Date: 2005-03-09 03:35 pm (UTC)(no subject)
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Date: 2005-03-09 03:31 pm (UTC)(no subject)
Date: 2005-03-09 03:37 pm (UTC)(no subject)
From:Momus Tour of Japan
Date: 2005-03-09 03:57 pm (UTC)heather
heatherlorusso@yahoo.com
Re: Momus Tour of Japan
Date: 2005-03-09 04:06 pm (UTC)http://jeansnow.net
Re: Momus Tour of Japan
From:Re: Momus Tour of Japan
From:(no subject)
Date: 2005-03-09 04:31 pm (UTC)(no subject)
Date: 2005-03-09 04:55 pm (UTC)Dim lights,
Soft blues and delicate oranges dance in serenity with the gentle waves.
Young? Unborn.
(no subject)
Date: 2005-03-09 06:04 pm (UTC)(no subject)
Date: 2005-03-09 06:21 pm (UTC)Drifting in and out of jet-lag consciousness was a wondrous experience. Well, aside from the woman shrieking behind me in between songs. I suspect she was from Rashti... (http://www.iranian.com/Satire/Pezeshkzad/index1.html#jokes)
I often stream Persian traditional music over the internet when at home and heartily recommend Radio Darvish (http://www.radiodarvish.com/) to anyone looking for an appropriate music to enhance, compliment and enrich all daily activities. Including just sitting there listening to it.
Give me a tar (http://www.sufism.ru/music/pic/tar.gif) over a theorbo (http://www.music.bham.ac.uk/cempr/images/Martin.jpg), well, most days of the week.
(no subject)
Date: 2005-03-09 06:47 pm (UTC)radio darvish
From:re: radio darvish
From: (Anonymous) - Date: 2005-03-11 05:10 pm (UTC) - Expand(no subject)
Date: 2005-03-09 07:48 pm (UTC)I would argue that you're overgeneralizing, but perhaps you know yourself better, know what works for you, and, to some extent, fear yourself in love.
I'm in love right now, and find that the moments we share which are most meaningful are quiet, peaceful, and timeless, like our rides in the country, walks together in natural surroundings, curling up perfectly together after a long day, or the half-asleep/half-awake moments intertwined before fully waking. I've been in love many times, but these timeless moments are uncannily frequent, and our fit together is the closest I know to perfect... and a large part of my personality craves such moments and wants to create more.
And yet, I'm cursed with an active mind that keeps me awake when my body is tired, and seems to be addicted to processing information and outputting thought. My love, she comes in and looks at me expectantly and tries to drag me off to bed every night -- she sleeps better that way -- and my mind tries to fight even as my body gives in quickly to warmth and sleep, often with sex in there somewhere. Which makes me wonder... what does my mind know about what is good for it?!
I love and crave peaceful moments of bliss such as you have described. I own a spa, which, incidentally, is now surrounded by ferns... your ideal sounds pretty close to mine, really. Still, there's always some part of me -- is it American? -- that objectively views such silent, blissful moments of simple contentment, knowing that something is bound to startle me out of my perfect moment. If it were a movie, it would be gunshots or a car crash, but still, the moment is inevitably disturbed by reality.
Sometimes, perhaps, I can't wait for things to go wrong.
(no subject)
Date: 2005-03-09 08:07 pm (UTC)Ah, but that's because we've been programmed to think "reality" and "plot" are interchangeable. They aren't. Hollywood can't show the love scene, so the phone rings. Hollywood can't show time passing, so an edit occurs. Gunshots or a car crash are only plot. It's the slow, calm grain of time passing which is real. And the things which fit it.
The most "real" film I've seen recently was by Anders Edstrom. It was his documentary about Derek Bailey. You could actually see and feel time passing in that film. Most unusual.
E-talk
Date: 2005-03-09 08:16 pm (UTC)Re: E-talk
Date: 2005-03-09 09:45 pm (UTC)(no subject)
Date: 2005-03-09 08:21 pm (UTC)This reminds me of Colleen's "Everyone Alive Wants Answers", which I bought fairly recently. I remember listening to it for the first time and it sort of just passed me by. It wasn't until the second or third listen that I appreciated how pretty and friendly and unobtrusive it was.
Anyway. I'm looking forward to The Friendly Album, but -- and I hope I'm not being rude -- I'm a little iffy on the title. It just sounds a bit boring for you. I mean Folktronica, Oskar Tennis Champion, Summerisle, Otto Spooky...The Friendly Album?
(no subject)
Date: 2005-03-09 08:46 pm (UTC)(no subject)
Date: 2005-03-09 09:35 pm (UTC)The Power and the Glory
From: (Anonymous) - Date: 2005-03-10 06:39 am (UTC) - Expand(no subject)
From:(no subject)
Date: 2005-03-09 09:17 pm (UTC)Salutations. Wonderful concept.
Date: 2005-03-09 10:17 pm (UTC)When I was younger there was a precious little trend of making "friendship bracelets." They were cheap little tokens that took maybe 30 minutes to make by tying knots with multi-colored (choosing the right colors to suit the person was essential :) )string in assorted patterns. Have you heard of them? I remember wearing one until the age of ten until it eventually weathered down to nothing and broke off in the shower.
Also, Since this album of friendliness will have much feminine influence, does that mean you might sing in tones akin to "What are you wearing?" I love the softer, more feminine side of your voice.
(no subject)
Date: 2005-03-09 10:52 pm (UTC)i very much agree with your last sentence.
A Concept Album
Date: 2005-03-10 01:55 am (UTC)(no subject)
Date: 2005-03-10 02:22 am (UTC)soothe
Date: 2005-03-10 04:59 am (UTC)that sounds very soothing momus. and how seriously can i take this when you defend a magazine such as vice? i think you may be walking away from the 'torn dollhouse', but only to complete your trajectory, not necessarily to see things as they are. which i respect. bouncing balls don't bounce forever. take a rest and bounce again.
Re: soothe
Date: 2005-03-10 05:53 am (UTC)What I'm outlining here, though, is something completely different. Something I may only have touched on in semi-mechanised easy listening tracks like "Paranoid Acoustic Seduction Machine". A record which, experimentally, eradicates all satire, negativity, debate, politics... Or rather -- and here's the crucial paradox -- expunges individuality and conflict and provocation from its surface only in order to pose the record itself, contextually, as a provocative challenge to the missing ideas. That's why I've compared it to Hippopotamomus. It'll be a record in the shape of a donut, a record with something left out in the middle, a gaping, yawning, screamingly obvious hole. The thing left out will be conflict. The result will be both serenity and irony. Actually, it might resemble a Warhol painting of money, where the immoral absence of a critique of commerciality becomes, in a way, overwhelmingly moral by foregrounding what's absent.
Re: soothe
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