In a world where the “Top 40” is seemingly the predominant music preference, it is important to recognize the vast array of genres that are available and the effect they have on society.
In the realm of mass media, music is a medium that is often ignored.
Hailing from the UK, “The Wire” magazine has mastered the art of publishing information regarding undervalued genres such as: free jazz, improvisation, glitch, drone, avant-garde, experimental, industrial, dub step and many more.
Its writers include acclaimed music critics such as theorist Kodwo Eshun and writer Ian Penman, and musicians Lee Renaldo and Brian Eno. Because the magazine contains exceedingly specialized content, seasoned music listeners and culture junkies worship “The Wire.”
Alas, Lady Gaga fans be weary, for “The Wire”'s articles will only leave you befuddled and possibly disturbed after reading a gritty review of the most recent album from the drone band Merzbow.
“The Wire” assumes that all of its readers are familiar with the irrevocable undercurrents of music that are too often overlooked.
The magazine is also invited to curate music events, attend festivals and report on many fascinating cultural happenings around the world to add to their coverage of the arts.
“The Wire” has been working to bring the unsung heroes of the artistic universe into view for the masses for over 25 years now.
Being a fan myself, I delved into a collection of essays edited by Rob Young, titled “Undercurrents: The Hidden Wiring of Modern Music.” At times, I felt oblivious to the people or events in which the book referred to, but pressed on hoping I would be witness to a bevy of information regarding some of my favorite musicians.
The book contains four sections: “Electrification,” “Occultism,” “Mechanism” and “Freedom.” Each of these headings contains around five essays from different authors regarding the aforementioned subjects.
The first section begins by summarizing the history of radio and applies it to the digital expansion society is currently experiencing. As expected, “McLuhanisms” infest the first twenty pages or so.
Writer Erik Davis explains people's relationship with space and the esoteric concepts of radio frequencies potentially being picked up from beyond the veil.
Next, the magic of the microphone is examined, and idols such as Billie Holiday and the Beach Boys are referred to for their remarkable ability to communicate their innermost emotions with the help of recording devices.
The final essay in the chapter explores the Do It Yourself (DIY) attitude of modern musicians and praises “Powerbook powerhouses” such as Christian Fennesz and anti-genre pioneers AMM.
Part two covers occultism beginning with Marcus Boon’s essay on drone music and the comparisons in defense of it.
Boon argues that the enormous, macabre sounds that bellowed from cathedrals of medieval Europe were never viewed as marginal; therefore, drone music is a repercussion of a once admired and forgotten art that should not be considered excusable.
Next, editor Rob Young says his piece on the over-crowding of our society and how it’s reflected in modern music elements such as: glitch fuzz, and hectic fragmentations.
Refreshingly, an honorary chapter to archivist/musicologist/mystic Harry Smith and the archaic storytelling of his “Anthology of American Folk Music” follows.
But finally, the book dives into the otherworldly realms of solar myths and their ever-fascinating presence in music.
There is never a dull moment while reading about the “Afronauts” that have been sent here to “funkitize” the world with their music. Writer Ken Hollings constructs this allegorical phenomenon in music swimmingly.
“Part Three Mechanism” raises the question, “Are humans necessary to create music?” The essays tactfully explore the ways machines have freed and imprisoned musicians since the beginning of sound.
Furthermore, Biba Kopf paints a vivid image of the krautrock and progressive rock scene and its ability to use music as a mechanism for catharsis in a post-WWII society.
The final section of the book, “Freedom,” opens with a series of chronological lists of futurist notions from 1909-1975. It then burrows into the lyrical world of spoken word, and the juxtapositions between sound and poetry.
The next few essays have an air of arguable redundancy as they illuminate the innovations and controversies of composers such as John Cage, Karlheinz Stockhausen and John Zorn.
The book concludes with an enthralling piece on the art of “backstabbery” in music, and New York’s drug-induced free jazz period.
“Undercurrents” presents a fine collection of eloquently written literature concerning some of the most fascinating and underappreciated facets of music. Popular music media make it difficult for these treasured forms to thrive, and they won’t go down without a fight.
The writers involved at “The Wire” magazine are the crusaders in this battle, and Rob Young has concocted an impeccably informational music Bible for all to admire.
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