Tag Archives: Godspeed You Black Emperor

Music genres – handles or pigeonholes? (probably both)

It’s a common complaint from musicians: “I don’t do goth/post-rock/folk/trip hop/indie/prog (or whatever). You can’t pigeonhole me!”

Same thing with fans. I’ve read a ton of forum threads complaining about genre names. “What the hell does post-rock mean? Aren’t bands still playing rock? Why isn’t it called post-rap? Post-rock isn’t a real genre.” And various other quibbles from people who hate seeing their favorite musicians get pigeonholed, or resent seeing musicians they don’t like surf their way into undeserved recognition atop some made up fad.

I totally get it. I’m the king of “you can’t pigeonhole me.” I’m 100 percent eclectic in musical taste. Politically, neither fish nor fowl.

I do think there’s a nasty tendency in some circles (*cough* Pitchfork) to use labels in order to dismiss a band or collection of bands. Like, “Oh yeah, we figured out what these guys are. Just another example of X. If anyone still cares about X, this is part of that whole X knockoff crowd. That scene is so quaint isn’t it? Moving right along…”

Just look at this list of genres: http://rateyourmusic.com/rgenre/

Drumfunk, Sqweee, Glitch-hop, Witch House and Turbo-folk are just a few of many genre names that make me scratch my head. Are these really real? Is somebody pulling our legs?

Who comes up with this stuff anyway? It used to be DJs and music journalists, but now I guess it’s mostly bloggers with a lot more hits than I get. Somehow the names catch on, silly or not. Shoegaze is one I use a lot that sounds pretty ridiculous (whatever you want to call it, I like it). It was originally a put-down for bands playing noise-drenched stuff who tended to stand on the stage and look down at their shoes, but now it’s so common that bands will claim the term.

Classifying music into groups will always be a messy business. There are some musicians (usually my favorites) who defy classification. There are musicians who get lumped into a group who sound nothing like their supposed peers.

Television’s Marquee Moon (1977) came from one of the original CBGBs bands, often touted as one of the first punk bands or even “proto-punk.” Yet to me its style has a lot in common with Magazine’s Real Life (1978), which came out just a year later and is considered one of the first postpunk albums. Can you really go from proto- to post- in just one year?

World music is a really messy genre. It can sound like anything, and isn’t everything part of the world? And speaking of the world, now everything has gone global. You have millions of musicians, talented and otherwise, making tunes on laptops and releasing them on the Internet. Anyone can be influenced by anyone. It was hard enough to classify things in the blues-R&B-rock continuum, especially when jazz and classical kept rearing their ugly heads. Now throw in influences from every country in the world and classifying anything becomes virtually impossible.

Yet we have to try. Why? Because if we don’t, we can’t find music we like, and we can’t talk about it.

I understand the principle of “it’s all music.” But don’t you think the average Chuck Berry fan would be a bit put off if you played a Godspeed You Black Emperor album said, “Here’s some of that music stuff you claim to like”? And suppose he had an open mind and even kind of liked it, but just never heard GYBE before and asked, “what is this?” Sorry, but I’m going to have to say post-rock, because he might then find and enjoy Sigur Ros. Post-rock is a clear case of “you gotta call it something.” Would you consider a Chuck Berry song rock? Definitely. Would you consider a Godspeed You Black Emperor song rock? Not too sure… Thus, post-rock.

I agree that genre names often suck, but they can be useful, even some “hairline distinctions.” For example, dark ambient. It bleeds into regular ambient (another term people argue over), as well as industrial (ditto). But there are certain groups that people who say they like dark ambient tend to like.  I like to give and get recommendations. How am I supposed to do that if I can’t pick a genre name? If I just ask for “music” recommendations, I could get anything from Beethoven to the Ramones. I like both of those, but they’re not going to help me find Coil, Lustmord or Voice of Eye.

A genre name might be a stupid word, but once it catches on and people start hanging ideas on it, what can you do? You’re pretty much stuck with it.

Still, I can’t help but wonder what will happen if people are still listening to this stuff hundreds of years from now? Are we going to get names like tenth wave Electro-acoustic-neo-post-psych-prog? Hell, that name probably exists already.



Filed under commentary, dark ambient, indie, industrial, postpunk, postrock, progressive rock, psych, punk, shoegaze, trip hop, Uncategorized, world music

Friends of Dean Martinez capture Southwest’s wide open spaces

I haven’t been out to West Texas in years, but I spent a lot of time there when I was younger. Enough time for its spirit to soak into my bones: wide open spaces, brutal heat and rugged beauty, isolation that can make you lonely or make you feel at peace. It all comes back to me when I listen to Friends of Dean Martinez, an Austin-based instrumental band that was born in the desert city of Tucson, Arizona.

I’ve seen comparisons to Pink Floyd, and I can kind of hear that. I thought of it as a kind of Southwestern postrock in the vein of Godspeed You Black Emperor. A friend of mine told me FODM’s music has weltschmertz, a German word that translates as “world pain.” The closest English equivalent would be pathos. I think that comes pretty close to the mark. It’s beautiful, moving stuff.

The current lineup includes Bill Elm on pedal steel and organ, Andrew Gerfers on drums and Mike Semple on guitar. Elm plays the pedal steel with something called an e-bow, which gives the instrument an ethereal, otherworldly sound very different from the traditional country steel sound. Quite a few other musicians have been part of FODM at one time or another, including drummer John Convertino, who co-founded the group and later became part of Calexico, another group know for its Southwestern ambience.

In this video, the band members talk about the band’s origins, their musical philosophy and some of their projects, including the music they created for a documentary about the Salton Sea (a fascinating subject in itself – look it up).

I listen to them any time I feel caught up in the rat race and my mind needs some wide open spaces. I especially love their cover of “Wichita Lineman,” the Jimmy Webb song made famous by Glen Campbell.

I want to thank Roots Note Music blog for reminding me I needed to write about these guys. The author recently made this post about Robert Randolph — another musician who made me think differently about the pedal steel. I remember I used to dislike the instrument back when I was a country-phobic kid. I thought it sounded like a cat being tortured (I’ve changed my tune on country music quite a bit since then). Randolph turns the pedal steel into a source of incredible funkiness, while Bill Elm of FODM produces dreams. I really love people who can make me enjoy something I used to think I didn’t like.


Filed under indie, indie rock, music, postrock, psych, Uncategorized, video