Chris Fahey <Chris.Fahey@raremedium.com> wrote:
quoted 14 lines Actually, there's a grain of truth in there: When an artist's vision is so>Actually, there's a grain of truth in there: When an artist's vision is so
>completely in tune with the zeitgeist of the moment but their methodology is
>ultimately easily emulated and developed further by others, how long can
>they remain relevant? How innovative can someone be said to be if they are
>at least superficially copyable? How much of our appreciation of innovative
>art is for the innovation and how much appreciation comes from the art's
>contemporary relevance? How many old Kraftwerk tracks sound as wonderful as
>ever (Numbers) and how many are annoying as hell to listen to? (Computer
>Love, Pocket Calculator)? Why did Kraftwerk eventually suck? Was it because
>they never were any good in the first place beyond their original novelty
>value? Is that the wrong kind of question to ask? Should we instead ask how
>much the "value" of art is inextricably tied up with the historical moment
>of its creation? Sometimes artists don't change but the times do: does this
>fact need to devalue art as it's context changes over time? Just musing...
I've said it before and I'll say it again: Kraftwerk's
most innovative/interesting music happened before they
released _Autobahn_. Seek out _Tone Float_ (rec. under the Organisation
moniker and recently reissued on vinyl), _Kraftwerk_, _Kraftwerk 2_,
_Ralf And Florian_. That's IDM--Innovative Dazzling Music.
Nobody has really touched what they did on those albums
(though Stereolab ripped off a track from _2_).
Dave Segal
Managing Editor/Alternative Press
Reviews/BPM/Reissue Redux
Secret Ions on WCSB Thursdays 9-11PM EST [www.wcsb.org]
np: V/A- Xen Cuts (Ninja Tune)
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