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one way to defeat shuffle is to make 74 minute tracks.
anyway, i've been drifting away from the 4-minute-attention-span of pop for a long time. this isnt to say that i dont enjoy pop--but i find the 4-minute constraint to be tedious. pop works via declarative sentences. i like paragraphs.
and i think it is enough that other people find popform a vehicle that works for them.
i dont.
straight tonality is a bore.
straight chord progressions are a bore.
a single rhythm that operates in 4 is a bore.
the cds that i have been stuck on---stuff like david tudor's "rainforest" luc ferrari's acousmatrix 3, eliane radigue's "adnos"---have nothing to do with pop forms. the closer-to-pop stuff--like the work of asa chang and junray--ignores most of the constraints that pop imposes.
i agree with vanblah about vinylsound and its organization, which i sometimes miss. that and the disappearance of a lovely huge platform for graphics in the album cover. cds that copy album cover formats just make this vague nostalgia worse--but there are other folk who design for cd form who have done cool work. no jewel cases, of course. check out the packaging for aki onda's releases for examples.
aside: i dont get the collective affection for later pink floyd above, particularly not the wall, which i really didnt like, nor for dark side of the moon, which i think that the terminal point in pink floyd's relation to the interesting...their earlier stuff up to ummagumma is excellent. i was obsessed with meddle for quite a while---now it sounds to me like a blues album and gilmour like a good blues guitarist.
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a gramophone its corrugated trumpet silver handle
spinning dog. such faithfulness it hear
it make you sick.
-kamau brathwaite
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