QUEEN - JAZZ @ 45

 

Celebrating its 45th anniversary today is the seventh studio LP from Queen, Jazz, which was released on November 10th, 1978. While it was a commercial success at the time, it followed a pattern of ups and downs for the group throughout the decade, being viciously ridiculed by critics at the time of its release, though radically reassessed in later years in the wake of Freddie Mercury's passing.

Though Queen's rise to superstardom was initially a continuous trajectory upward, after the breakout success of Bohemian Rhapsody and A Night at the Opera in 1975, the band began to suffer through an oscillation of expectations. They continued so sell millions of records, but the persistent expectation to exceed past successes meant they were constantly unfairly dismissed if a record didn't, in some tangible way, seem to surpass what had come before. It's an impossible position to be in as a band. After Rhapsody, A Day at the Races, was met with mixed reviews and suspicion, until News of the World came along the following year and blasted away all the doubts that critics had been pelting the band with, but then Jazz came along and the press seized at the opportunity to feast on the band's flesh anew. Of course, The Game followed next and knocked everyone sideways before the band fell afoul AGAIN with Hot Space. And on it went...

When it came time to record Jazz, the band were staring down the barrel of massive tax bills in the UK, which meant that recording at home simply wasn't economically feasible. They had to scramble to avoid being crushed by the taxman and initially opted to record in France as an alternative. It was while they were attending the nearby Montreux Jazz Festival, likely the inspiration for the album's title, that fate would have them run into David Bowie, who was recording Lodger at Mountain Studios. Bowie recommended the band relocate to that studio and they were impressed enough with the facility that they moved operations there in July, the day after the jazz festival's completion. In fact, they liked it enough that the band would eventually buy the studio and make it their permanent base of operations going forward. On July 19, Brian May's birthday, the band attended the 18th stage of the 1978 Tour de France, which inspired Freddie Mercury to write the lead single, "Bicycle Race". They spent a total of about three weeks in Mountain Studios, only taking a few days off for Roger's birthday on the 26th, when they allegedly trashed a Montreux hotel. Mercury was reportedly seen swinging on a cut-glass chandelier in the hotel during the party! After wrapping up in Montreux, they returned to France to finish off overdubs before sending the mixes to New York for mastering.

For the packaging of the album, Roger suggested the minimalist disc graphic he'd spotted as graffiti on the Berlin Wall. The internal gate-fold photo showed a wide angle shot of the band's gear displayed in Mountain Studio. With Bicycle Race and Fat Bottom Girls picked as the premier double A single for the album, the band concocted a promotional event held at Wembley Stadium in the UK. They staged a nude female bicycle race that would provide images for the poster, included with early pressings of the LP, and the single's sleeve, although they had to paint on bikini bottoms to avoid protests for the single cover. There are also reports that Halford's, who supplied the bicycles on loan, hit Queen with a bill to replace all the seats due to "improper" use. Though the band saw it all as a bit of "cheeky" fun, they came under fire for their objectifying of women. Critic Dave Marsh wrote in his review in Rolling Stone, "Fat Bottomed Girls" treated women "not as sex objects but as objects, period (the way the band regards people in general)", and finished by famously tagging Queen "the first truly fascist rock band".

Most other contemporary reviews of the album were similarly disparaging. Mitchell Cohen of CREEM called Jazz "absurdly dull" and filled with "dumb ideas and imitative posturing". Village Voice critic Robert Christgau said the album was not wholly bad, even finding "Bicycle Race" humorous, although he said Queen sounded like the band 10cc "with a spoke, or a pump, up their ass". Sales of the album and its singles were certainly respectable, but the tactic of releasing another double A-side single didn't pay off as well as it did with We Will Rock You b/w We Are the Champions from the previous album. With critics of the era behaving like a tank of hungry sharks, any signs of weakness were a clarion calls to start the feeding frenzy. Queen were CLEARLY on their way OUT, so you'd better get your bite in before they sank into the abyss.

In the years since its release, Jazz has most certainly been given a repeal of such undeserved harsh judgments, with both critics and fans coming to recognized the album's strengths. Within its baker's dozen songs, the band took fans on a breakneck, whiplash inducing thrill ride of styles and techniques. Rather than a chaotic hodgepodge, it's a roller-coaster ride, from the bizarre mania of Mustapha, to the menacing funk-rock of More of That Jazz, the band keep listeners on the edge of their seat through every turn. Numerous songs became live staples and Don't Stop Me Now, in particular, became Freddie Mercury's most quintessential composition, embodying the singer's philosophy and attitude in a way that has even been scientifically recognized as one of the most catchy songs ever written!

Personally, while I loved the album at the time it came out, and still do, back at the end of 1978, I was beginning a journey into a different realm. Though I started that year by joining the official Queen fan club, and stocked up my wardrobe with Queen T-shirts, badges and belt buckles (and I DID go to high school with ALL of it on!), by the end of 1978, I'd discovered music by RAMONES, The Clash, Sex Pistols, DEVO & Elvis Costello, so Jazz was kind-of the "beginning of the end" of my obsession with Queen. 1979 would not see them issue a new studio LP, only the uneven, poorly received Live Killers, and while I bought The Game in 1980, it was the last Queen LP I'd spend my money on for at least two decades. But nostalgia brought me back to the boys eventually and I still appreciate giving this record a spin now and then.

ONE AND DONE

ARTISTS WHO RELEASED ONE LP

I recently posted a daily series for a week on "One LP Wonders".  This involved digging up some bizarre, obscure albums by bands/artists who released one album and that was it, there was nothing else from that configuration of people. This means one completed studio album, not live albums nor compilations of unrelated or previously unreleased tracks. I aimed to dig up stuff that didn't get much attention, but deserves it. The following are arranged chronologically. 

The United States of America (1968) 

In 1963, aspiring avant-garde composer and musician, Joseph Byrd, was in New York, studying music and participating in the Fluxus experimental music movement along with contemporaries such as John Cage, Morton Feldman, LaMonte Young, David Tudor & Yoko Ono.  While there, he met vocalist and fellow music student, Dorothy Moskowitz.  The two began a personal and professional partnership which would see them relocate to LA later that year. 

After a time, Byrd, who was rather politically motivated and had joined the Communist party, decided that popular music, specifically the more psychedelic rock of the late 1960s, would be a suitable vehicle for him to express his musical visions while also communicating his radical political views.  To this end, he recruited 3 additional band members to augment his various electronic keyboards and Dorothy’s vocals.  The band coalesced with the addition of Gordon Marron (electric violin, ring modulator), Rand Forbes (electric bass) and Craig Woodson (electric drums, percussion).  Together, this quintet would create their one and only self titled 1968 debut. 

Byrd chose the name of the band for deliberately provocative purposes, reasoning that it was similar to hanging the flag upside-down, as a symbol of distress and to  draw attention to the problems facing the country.  The band’s structure was unusual for the time not only for the emphasis on the then emerging new electronic instruments (synths and ring modulators, etc), but also for its lack of guitars.  With no real experience creating “rock” music, Byrd went into composing and arranging the album with the sensibilities of a contemporary, experimental classical composer, something he later regretted due to his naivety.  However, the resulting recordings were striking in their strangeness and unique approach to the medium. 

At the time of its release, the album gained little traction and the group quickly disintegrated in a frazzle of personality clashes and musical differences as they each pulled in different directions.  This even went as far as petty instances of “volume wars” between musicians on stage and fisticuffs after shows.  The group duly disbanded and it’s members pretty much all went on to more rewarding careers.  Byrd went on to do film and TV scores and teaching, Moskowitz also took up teaching and making children’s music while the others had mostly successful session musician careers. 

It would be years later that the album would be recognized for its truly pioneering approach and incorporation of cutting edge electronic instrumentation along with the likes of groups like Silver Apples.  Personally, I discovered the LP in 1983, shortly after moving to Vancouver.  I was sharing a rental house main floor with some band mates and the manager of the property had a small garage in the backyard which was filled with his massive record collection.  It was wall to wall, floor to ceiling, packed with shelves full of thousands of records.  He took a liking to us being musicians and gave us free access to search through and borrow records.  The United States of America stood out for me immediately when I looked at the cover and saw pictures of the electronics.  I was not disappointed by what I heard.  I recorded a few samples from it on reel to reel, but it wasn’t until 2004 that I finally got a CD copy and had a chance to enjoy the album in all its remastered glory. 

Today, it persists as a distinct product of a strange time. For it to stand out against the backdrop of so many other musical achievements is truly remarkable. 

Cromagnon (1969)

Cromagnon’s eponymous 1969 release (alternately titled “Orgasm” or “Cave Rock”, depending on the re-issue) stands as a singular outlier artifact of 1960s psychedelic rock. Calling it “rock music” is even a bit of a stretch. In so many regards, this album exists well outside just about any convenient classification and even this fact seems anomalous. The core group founders, Austin Grasmere & Brian Elliot, were primarily known for their group, Boss Blues, who released a couple of very conventional and unremarkable psyche-pop singles in 1967 & 1968. By 1969 however, Grasmere and Elliot were possessed by some sort of very strange, inexplicable muse when they embarked on this pastiche of noise, tribalism and altered states. There are moments on this album that could have dropped in from the future by groups like Nurse With Wound. Indeed, there’s much about this album that is completely anachronistic to the times and belongs in another era that wouldn’t become defined for another decade or two. 

The album is something of a hodgepodge of styles and techniques with mad experimentation the only unifying thread. Sometimes things work better than others, but there’s always a sense of wonder in the attempt. What they were trying here is simply so unprecedented that the results of it still don’t quite jive with anything else that was going on at the time nor since. From the opening, Caledonia, with it’s thundering drums, screeching bagpipes and whispered vocals, the stage is set for something completely different. And you get it with the abrupt shift into the next track. It’s built around incoherent grunting and torturous screaming and a sparse percussion with some unknown noises going on in the back. The madness continues with a percussive free-for-all (courtesy of random people plucked from the street outside the studio) on the third track, which also incorporates a myriad of voices intoning “sleep”, while you know you’re not getting any with this racket. The weirdness continues along until we get a bit of a respite on the 5th track with something almost musical, in the spaghetti western vein, with the fifth track, Crow of the Black Tree. This one wouldn’t have been out of place on the first Psychic TV album or as something by Current 93. The rest I’ll leave for you to discover on your own.

Obviously, at the time of its release, it garnered little in terms of audience appreciation or attention, but it eventually became infamous for its idiosyncrasy. It’s creators, on the other hand, seem to have sunk into obscurity after its release. As a result of its snowball effect in terms of its notoriety, it has seen numerous re-issues, both on LP and CD, over the intervening years since its original release. I came across it sometime in the 2000s when I spotted a CD reissue listed in the Forced Exposure online catalogue and couldn’t resist checking it out. It’s not for the faint of heart, but it rewards those who appreciate true, bold experimentation.

Mustafa Özkent Ve Orkestrası - Gençlik İle Elele (1973)

Beginning his career in 1960, Turkish guitarist, Mustafa Özkent, quickly became an in-demand session musician, arranger and producer, but it was a unique group effort which has transported his name outside of his native country and given him his reputation as a musical “Dr. Frankenstein” beyond his Middle Eastern roots.  After spending his career in the 1960s and the beginning of the 1970s doing session work in Turkey, he secured a recording contract with Evren Records, a company renown for their high fidelity recordings.  In 1973, he set about assembling an “orchestra” of hand picked instrumentalists.  With this band assembled, they began working on a collection of Mustafa’s original compositions which would be released that year under the title, Gençlik İle Elele, Turkish for “Holding Hands with Youth”.

The album offered up a veritable “Güveç” (Turkish stew) of cross cultural references, combining elements of traditional Anatolian folk music with western pop influences of funk, psychedelic rock and jazz. The album cover featured a chimp mischievously manipulating a reel to reel tape recorder, securing the album’s perception as the oddball concoction of a mastermind of sonic non sequiturs.  Though it’s initial release in 1973 failed to generate significant attention, over the years, it began to lurk within the nether regions of cultish collectibles until it was eventually reissued in 2006.  This reissue brought the LP to a whole new audience and widespread, long overdue, acclaim.  I came across it only recently as I was spelunking through Discogs’ database, looking for unusual lost gems to add to my library.  This one caught my attention because it cut across so many disparate musical categories.  It has since become one of my favorites in the realm of vintage instrumental grooviness.

This was Özkent’s first release under his own name (and the only one as a “group”) and, while his subsequent solo albums have sustained his reputation for musicianship, stylistically, he never again managed to capture the sense of kitschy “Middle East meets West” funky fresh goodness which reverberates from every groove of this album.

Wolfgang Riechmann - Wunderbar (1978)

Wolfgang Riechmann began his musical career in 1966, lingering around the Düsseldorf music scene. His early projects included the group, Spirits Of Sound, founded by Wolfgang Flür, who would go on to join the “classic” Kraftwerk lineup from 1975-1986, and Michael Rother, who would also spend some time in an earlier incarnation of Kraftwerk as well as founding the bands Neu! and Harmonia. In 1977, Riechmann joined the progressive rock group, Streetmark, essentially taking over for their 2nd LP, Eileen. He then decided to go solo for his next recording project, recording the 1978 LP, Wunderbar. Here, he wrote and performed everything except the drums. Tragically, before the LP’s release on Sky Records, Wolfgang was randomly assaulted and stabbed to death by a couple of drunken thugs on the streets of Düsseldorf. His one and only solo LP stands the test of time as a classic example of German synthesizer music on the cutting edge of the genre. We can only imagine what more he could have done had he survived, but at least we have one solid collection of his brilliant works.

Masstishaddhu - Shekinah (1988)

Masstishaddhu was a one-off collaboration between Mike Watson, Richard Rupenus & Sean Breadin.  All three were associated with John Mylotte’s ritualistic improve collective, Metgumbnerbone and there are also connections to other experimental projects such as The New Blockaders, Bladder Flask & Nihilist Assault Group.  In 1988, this trio recorded the two side-long drone pieces for the LP, Shekinah.  It was released on Steven Stapleton’s label, United Dairies, in an edition of 1000 copies.  Stapleton also provided the cover graphics.  The album would eventually get a small CD re-issue in 2000 on Psychedelic Pig, a small mail order label which only released a handful of rare experimental titles before folding in 2005. As such, it has remained an obscurity among most fans of dark, occult-inspired ambient and drone music. 

I came across the release when it originally showed up as an import in Vancouver, shortly after its release.  As an avid Nurse With Wound fan, its being released by UD was something that caught my attention as potentially interesting and I wasn’t disappointed.  The two side long drone pieces feature moaning voices, guttural groans (reminiscent of Tibetan religious music), sinuous strings and primitive percussion.  It’s all beautifully recorded and mixed in high-fidelity, which is uncommon given the production values of most of the other projects tangentially connected to this.  Most of those were recorded on primitive cassette formats with little in the way of studio polish.  The addition of proper recording quality makes this a particularly enjoyable listen as it captures all the nuances of the voices and instruments being used.  If you’ve got any sacrifices or special magical moments requiring a suitable soundtrack, this is a fine option for summoning a serpent or some other denizen of the deep.

Trancendental Anarchists - Cluster Zone (1994)

In the 1990s, Kim Cascone’s Silent Records was something of a hotbed of electronic music, especially stuff on the more ambient end of the spectrum. At the time, being the pre-internet days of having to go and buy books to get knowledge, I was very deep into my esoteric and occult literature. Kabbalah and Crowley were dominant in my library and I was looking for music which reflected that. Bands like Ambient Temple of Imagination had caught my ear and it was through their association with Silent Records that I came across Trancendental Anarchists and their 1994 CD, Cluster Zone. Created by Australians, Pam Thompson & Paul Bambury, my research on them has turned up very little beyond a few guest credits here and there on a smattering of not-so-notable projects. As such, this one CD stands as their primary contribution to the world of music, but what a wonderful contribution it is! The album offers up 8 longish pieces, soaking in the thick atmospheres of ancient mysteries and melding in hypnotic, techno-tribal rhythms to send you into your inner-space journeys. It’s perfect chill room material and really lets the listener lose themselves in the mood of each piece. It’s a collection of moods and movements that was fairly neglected then and now. I’ve come across little indication that this has garnered any real following over the years, but it does deserve some attention as one of the more nuanced and intricate tapestries of sound out there for the “coming down” set. Thankfully, the re-activated version of Silent Records has reissued the album in digital form for a new generation of tweakers and travelers to discover.

Daiquiri Fantomas - MHz Invasion (2013)

Founded in 2010 by Sicilians, Marco Barrano and Dario Sanguedolce. Daiquiri Fantomas released their one and only LP to date, MHz Invasion, in 2013.  Aside from a couple of Cdr singles from the album, the duo has yet to realize a follow up.  Since it’s been 6 years waiting, I decided these guys qualified for the “One and Done” category, as it seems like they’re pretty much over and out at this point. Other than this album, only Dario has any other releases to his credit that I can find, which consists of one solo track on a 1993 compilation album.  So, for all practical purposes, this is the beginning and end of the line for this duo, which is a shame because this album offers a truly inspired collection of retro sci-fi progressive-rock, electro-acoustic excursions into the outer realms.  With one foot in the past and one in the future, the duo combine a spectacular array of acoustic and electronic instruments in order to engineer their distinctive brand of post-modernist music.  This is another release I discovered while rummaging through the Discogs database, playing their genre and style filters off against each other until I narrowed my results down to this unique combination of influences and styles.  These include modern classical, progressive rock, jazz, psychedelic rock, electronica and pop music.  If science fiction, Italian style and 70s fetishism are your thing, then this is the album for you!

IS MUSIC A DEAD ART?

 

Let's begin by defining what I mean by the term "dead art". In essence I'm referring to an art form which is no longer capable of significant technical or conceptual progress and no longer has the capacity to instigate change on a cultural level. An example of what I would consider a "dead" art would be painting, at least in the sense of something hanging in a traditional gallery somewhere. Perhaps it can be said that certain forms of graffiti still manage to trigger controversy and commentary. A practitioner such as Banksy is an example of someone able to inspire discussion and make political statements through their art. Street art aside, I don't see anything happening in that particular branch of the visual arts world which is likely to cause much of a stir or inspire anything to happen beyond its canvases. At most, paintings now simply decorate a room.  Perhaps the work of Warhol may have been the last time paintings had any particular impact on the larger cultural landscape other than, for example, soliciting outrage at the expense of a "stripe" on a canvas.  

I"m old enough to have experienced at least three major cultural shifts within my lifetime which I can say were, more or less, directly linked to a particular musical movement. In my childhood, the late 1960s, there was the psychedelic explosion. Though the primary impetus for that change was a narcotic, specifically LSD, its route through western culture was entirely paved by music. It was rock & roll bands who were sounding the clarion call and it was songs about altered perception which seduced the youth of the era into "tuning in, turning on & dropping out". Without bands like The Beatles, Pink Floyd, The Grateful Dead and others, the word would never have been able to reach as many people as it did.

In my adolescence during the late 1970s, it was the three headed Cerberus of "punk", "new wave" & "industrial" music which broke kids out of their doldrums and got them thinking, dressing and behaving in new ways.  It was a rebellion against the status quo and conformity which had set in after the comedown of the hippies left their parents dropping the love beads and packing up the station-wagons that drove them out into the bland mediocrity of the suburban landscape.  

In the spring of my adulthood, the final revolution came about through the entwined twins of hip-hop/rap music and electronic rave culture spearheaded by acid house and techno music in the late 1980s and early 1990s.  Starting in the early 1980s, before the cancerous spread of gentrification and rising property costs, the warehouse was the scene where exploration and experimentation could happen.  You could get a cheap space for a couple hundred or less per month and pay for it by selling unlicensed booze at weekend parties a few times a month.  Designer drugs, mobile sound systems, isolated locations and trance inducing music sent youth back into tribal states of ecstasy and transcendence. Though a callback to the spirit of the 1960s in the case of the rave scene, the hip-hop crowd veered into the raw street rage of gangster culture.  It shone a glaring light on issues such as police brutality, racism, class discrimination, poverty and injustice.  In either case, it was again a time when adults were afraid of what their kids were getting into.     

Outside of my own personal experience, music as a driver of cultural influence practically only goes back to roughly the beginning of the 20th century.  Before that, you only had folk and traditional music available to the general public and those forms tended to reinforce and sustain existing norms rather than drive changes to them.  On the other extreme, with "classical" music, you might have some influence within the upper crust of society, but very little beyond it.  Religious music, like folk music, tended to sustain tradition rather than spur innovation.  It's not until the advent of recording technology that the idea of true "popular" music comes into play as the populace gain access to mass produced music mediums and playback systems accompanied by radio broadcasts.  Also, the push to innovate, driven by the industrial revolution and its technological advances, begins to trigger changes in music technology and techniques, and consequently, culture.  

The first popular music form to trigger controversy in the general public comes with the birth of jazz.  Elitist art movements like the Futurists and Dadaists may have inspired extreme experimentation with sound, but it was not something that noticeably effected the masses and remained a novelty of the galleries and wealthy art circles.  Jazz, on the other hand, came up from the black communities and was entirely driven by the "grass" roots (pun intended).  This was music that was accessible by the average person and was one of the first times music was seen as being a degenerate influence on youth.  It impacting dress styles, dance, sexuality and social issues.  The ideas of losing one's inhibitions and free expression were built into the very DNA of jazz and these have been a recurring theme throughout every musical epiphany and paradigm shift which has occurred since. 

In the 1950s, there was the birth of that great BEAST, rock and roll.  Here was a hybrid between white western swing music and black boogie-woogie blues with a backbone borrowed directly from native American aboriginal music, thanks to the Creole merger of Louisiana post-slavery blacks and "Indian" blood.  This combination proved combustible beyond anyone's imagination and sent the entire north American continent into a spin, one which would ultimately bust out onto the world stage and influence youth around the globe, from Europe to Africa to Asia.  Rock & roll was the proverbial "Pandora's Box" and, once that lid was open, all manner of wicked spirits flew out.

When you line all of these movements up, you have a 20th century popular culture which was continuously and repeatedly impacted and influenced by musical movements.  In each case, these changes were derided  and dismissed by conservative, "adult" overseers as subversive, perverted and destructive to the moral fiber of the youth and the nation.  There was a sense of threat and menace perceived by the "powers that be" which drove them to do whatever they could to stifle and inhibit the spread of these movements and, without exception, those efforts not only failed, but likely resulted in even more popularity for whatever it was they were trying to stop.  

Throughout the 20th century, there was also a marked and obvious change in the styles, techniques and technologies used to create music.  Something that was popular in the 1950s sounds completely different from something popular in the 1960s.  Take any decade or even the span of a few years and a major evolution could take place.  Anyone with even a basic familiarity with 20th century popular music can listen to virtually any tune and peg, fairly accurately, when it was made.  The style of playing, the recording techniques, the way it was mixed - all these clues tell the tale of when that recording was made and often where and by whom.  

Flash forward to the 21st century and things seem to have reached a kind of impasse in terms of forward momentum and cultural significance.  Since the 1990s, I can't think of any significant cultural shift which has been driven by music.  Technological changes such as computers, internet, smart phones and wireless networks have had far greater impact on our lives than any art form.  The machinery of the popular media has become so efficient at assimilating creative product, that nothing seems to be able to upset the cultural "apple cart" these days. 

Stylistically and technically, music has essentially plateaued.  We're two decades into the new millennium and I can put on a recording from 1995 and put it next to something form 2015 and only the most sophisticated, knowledgeable listener would be able to distinguish their origins.  For several decades, beginning with the unfortunately termed "Krautrock" of the early 1970s, electronic music was at the forefront of innovation and experimentation.  From the "motorik" rhythms of Kraftwerk and Neu to the ambience of Cluster & Eno to the pulsing sequencers of Tangerine Dream, the German music scene blasted the lid off and broke away from the rigidity of American blues archetypes.  After this, experimentation flew off in all directions through post punk, industrial, techno and a plethora of sub-genres, constantly evolving throughout the 1980s and 1990s.  But it all kind of stalled out after that.  Beyond the shifting of tempos between drum & bass and dubstep, the genres seemed to stabilize and consolidate and, with only minor variations since, they've remained relatively constant and consistent.

Culturally, no one gets upset about what a music personality does these days except for the most trivial and sensational issues of bizarre conduct or eccentric individual behavior.  Today, when Kanye West stirs up the media, it's because he's boasting about himself or proposing some laughable indulgence.  The days when politicians would discuss a Johnny Rotten in parliament or a president would put a John Lennon on a subversives list are long gone.  Rap music is more concerned with money and status these days than social justice, for the most part.  At least that's the kind of content that ends up in greatest rotation and gains the highest profile.  And those who do seek to make critical statements are commodified to the point where they are no threat to anyone in the establishment.  They are all neatly and safely packaged and peddled to the appropriate pauper for consumption.  

It seems that most art forms go through a similar arc in terms of their evolution.  They begin in primitivism, as an expression of the masses, evolve into more refined, classical complexity in the hands of the elite and then expand into more experimental realms such as abstractionism, surrealism, modernism and impressionism before ultimately culminating in various forms of post-modernism, which creates hybrids between all of these various branches.  Once you get to the stage of post-modernism, works tend to become self-referential and the commentary becomes an internal dialogue.  That point where the art is able to interact with and influence people and culture on a large scale begins to diminish and disappear.  The medium then tends to fade into the background as mere decoration or embellishment. 

This is where we seem to have arrived at in terms of the art of music.  It now seems to be no more than a structural component rather than something that stands on its own.  People spend less and less time sitting down and listening to music anymore or taking any kind of message or influence from it.  It's mostly just something that's happening in the background. It's no more than a form of "wallpaper" or distraction and not a primary focus of attention.  It's not that that there's anything intrinsically wrong with that, but for someone who grew up with music that made revolutions, I can't help but express a sort of lamentation for the loss of that capability.  Parents don't get scared by their kids records anymore.  Sure, they may not like them or find them objectionable for aesthetic reasons, but they rarely worry that their kids might join some subversive movement because of whatever is hiding in those grooves.  Even that terminology is irrelevant now as most people don't use physical media anymore except as a fetishized object for some hipster sense of nostalgia.

It's not that no one is doing "good" music.  As subjective as that may sound, there are very real standards which can provide a sense of value and quality for any piece of music.  Talented artists are creating quality recordings and performances.  It's just that the sense of a sharp, cutting edge has gone.  I can't look out there anywhere and find anything that gives me that quiver in my gut feeling that something "dangerous" is going on. 

If there is any art form remaining which can get the hackles up of the establishment, I'm not sure I know what it is or where to find it.  I suppose the most dangerous, subversive medium on the planet these days is the dark web, but this is more a place of criminals and perverts than revolutionaries.  If they do exist there, they're doing a pretty shitty job of pulling the pins on this nightmare we're all trapped in.  At a time when we are staring down the barrel of extinction level global catastrophes, we need that revolutionary voice now more than ever.  We need something that can wake us out of this zombie like trance that keeps us lumbering ever closer to the precipice awaiting our final stumble.  If it's out there, I have yet to see it.