By 1970, psychedelic music had begun to fade in popularity in America and the U.K. At the same time, there was a small scene of musicians in Germany that began experimenting with rock styles that started where psychedelia and acid rock left off. The British press condescendingly labeled this scene “krautrock”. The influence of bands like Tangerine Dream, Can, Amon Duul II, Kraftwerk, Neu, Faust, and others spread throughout continental Europe and soon bands like Magma and Heldon formed in France. Krautrock would later merge with progressive or prog rock, space rock, cosmic music, fusion, and a whole bunch of other genres. Little of this music was known in America, but one man named Archie Patterson fell deeply in love with it and so formed a fanzine named Eurock to promote it in the underground American music market. His attempt at bringing this wide-ranging music to the narrow minds of American people largely failed and yet his journal lasted until 2002. In Eurock: European Rock and the Second Culture, Patterson provides us with articles from the thirty year lifespan of his underground music journalism. It is a treasure trove of archival information for people who either love this kind of rock or for people who are familiar with it but want to explore it on a wider and deeper level.
The initial articles are not easy to read. Patterson and others attempt to put into words what they hear on some of the pioneering krautrock records. The descriptiveness is neither clear nor accurate. If you read one of these essays and then listen to the music being described it is difficult to find any connection between the two. It is possible to write prose or poetry that sounds musical, just try James Joyce or Jack Kerouac as examples, but using words to described music is entirely impossible. Frank Zappa famously said about rock journalists, “You can’t write about music for the same reason you can’t dance about architecture.” Had Patterson and crew continued on in this vein, I would have given up on this book half way through or maybe even sooner.
The writers at Eurock saw the light though. They ditched their futile attempts at achieving the impossible and took the fanzine in another direction. From then on, their articles consisted of band biographies, scene reports, interviews, and essays on music theory. The scope also expands to a more global perspective. From Germany and France, they begin covering bands from all across Europe and eventually touching on musical projects out of Japan and Latin America. Many of these bands are included in the Nurse With Wound List; if you don’t know what that is, look it up. While the intended purpose of Eurock is to bring international underground music to the attention of American listeners, some American and British bands do get attention when they are radical or experimental enough. Brief articles on bands like Chrome, the Legendary Pink Dots, Lemon Kittens, and Nocturnal Emissions are included although the harsher sounds of post punk and industrial music are only mentioned briefly. Some interesting reoccurring themes are the ongoing struggles of the legally persecuted Plastic People Of the Universe in communist Czechoslovakia, the Rock in Opposition movement and festivals, the Leftist /utopian political visions of the musicians, the way in which the introduction of cassette tapes made it possible for non-commercial musicians to record and distribute their works, and ways in which changing technology affected the production of underground music particularly in relation to synthesizer and moog oriented electronic music.
This anthology also gives a broad overview of the trajectory of this kind of music. By the 1980s, krautrock and prog rock had reached their peak and these journalists struggle to find new bands and scenes to report on. There are a lot more interviews with old guard musicians like Klaus Schulze and Richard Pinhas. Some of them go quite in depth and retrospectively reveal a lot about the history of their careers. On the downside, more and more articles are included about new age musicians which tend to be just as bland and vapid as the music that these artists made. In the chapters from the mid-1980s and 1990s, you begin to see that Patterson’s vision of futuristic and creative rock music has become less and less relevant in the horrid Reagan/Thatcher era. However, in terms of interviews and writing, the passages from 2000 to 2002 are some of the most well-written ones in the whole book.
Not all of the bands covered in Eurock are good. Some have definitely not stood the test of time. The articles also vary in quality, ranging from creative and mind-expanding to vague, confusing, and sometimes shallow. But this big long book stays interesting most of the time. Some of the best writing comes from interviews with musicians I have never heard of who inspired me to go out and look up their music. The best articles have also done a lot to enhance my understanding of the underground music scene in Europe and the importance of non-commercial music in a world dominated by excessive media coercion and corporate control over art and entertainment. Some of us are just hungry for alternative visions of the world when the society of consumerism and mass-conformity have us surrounded on all sides. These experimental musicians are like islands of sanity in a world gone to hell, where most people insist on marching in lockstep with all the others on the road to brain death. These musicians are saying, “Look, there are other possibilities, other modes of existence that may be more meaningful and exciting so try it out and see what it’s like.”
As a document and archive, Eurock is an outstanding book that provides a detailed overview of a musical scene that is destined for obscurity. It is niche literature for one of the most specific niches you can imagine. Not all of the writing is great, but most of it is good enough and when the writing is strong it really shines. The honesty and dedication of Archie Patterson’s lifelong project ring true loud and clear. If Patterson and the bands represented in this volume never get inducted into the Rock and Roll Hall of Fame, at least we have Eurock to remind us what cross-current and counter-cultural possibilities lie outside the mainstream
No comments:
Post a Comment