I can’t believe there’s no reference to John Cage’s “4’33”” which is a seminal work of musical deconstruction to the point it can’t really be considered music. Performance Art, sure, but not music. Indeed, it is rather commentary on music, specifically the performance environment. Seems like Vulfpeck is making the same statement.
I wonder where Lou Reed's "Metal Machine Music" fits in here, Kyle. And, who was putting on whom? If I remember correctly, Reed's 1975 middle finger to RCA was met with an equally-unserious response from the label, which promptly saw fit to release the 2-LP set on their classical Red Seal imprint!
This did two things: Made promotion and marketing less of a headache ("How in the world could we pitch this to FM rock radio?"), plus threw it right back in Reed's face, virtually guaranteeing Reed would see no sales from this monstrosity (while fulfilling a contractual obligation), as the record would, ostensibly, be relegated to record store purgatory....the Classical Section! Performance art (?) vs. corporate belligerence?
One more '75 album, "Coney Island Baby," would be his last for RCA before Clive Davis welcomed him with open arms at his Arista (who, by this time, had fellow adventurous artist Patti Smith), for his '76 album, "Rock and Roll Heart," reportedly saving Lou from bankruptcy!
"Musicians can easily disseminate works in a market characterized by increased artistic control..." You mean upload all over the world, not get paid for it, and not know who's listening or how to reach them, while competing with actual silence (and losing in that competition)?
I can’t believe there’s no reference to John Cage’s “4’33”” which is a seminal work of musical deconstruction to the point it can’t really be considered music. Performance Art, sure, but not music. Indeed, it is rather commentary on music, specifically the performance environment. Seems like Vulfpeck is making the same statement.
I wonder where Lou Reed's "Metal Machine Music" fits in here, Kyle. And, who was putting on whom? If I remember correctly, Reed's 1975 middle finger to RCA was met with an equally-unserious response from the label, which promptly saw fit to release the 2-LP set on their classical Red Seal imprint!
This did two things: Made promotion and marketing less of a headache ("How in the world could we pitch this to FM rock radio?"), plus threw it right back in Reed's face, virtually guaranteeing Reed would see no sales from this monstrosity (while fulfilling a contractual obligation), as the record would, ostensibly, be relegated to record store purgatory....the Classical Section! Performance art (?) vs. corporate belligerence?
One more '75 album, "Coney Island Baby," would be his last for RCA before Clive Davis welcomed him with open arms at his Arista (who, by this time, had fellow adventurous artist Patti Smith), for his '76 album, "Rock and Roll Heart," reportedly saving Lou from bankruptcy!
"Musicians can easily disseminate works in a market characterized by increased artistic control..." You mean upload all over the world, not get paid for it, and not know who's listening or how to reach them, while competing with actual silence (and losing in that competition)?
Vulfpeck is brilliant as well as great, danceable music. Fun videos including live shows too. John Cage is smiling!
Interesting stuff