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Products of the counterculture rooted in the historical avant-garde, these recordings by musicians in the s and s rejected musical conventions of song structure, meaning and competence in their attacks on an emerging music industry. While such extreme recordings bring to the fore the uneasy relationship between art and rock, avant-garde recordings by pop musicians are not antithetical to rock, but part of its discourse of rebellion. This article demonstrates how recordings of this kind ranging from the hippie era of the s to the postpunk era of the late s functioned more as aggressive acts of resistance to social and musical convention than attempts to elevate popular music to a higher level of art. Writers on popular music have demonstrated various ways in which the avant-garde has contributed to the common historical narrative of rebellion in rock by examining subjects such as the development of art rock out of English art schools Frith and Horne , the Situationist strategies of the Sex Pistols Marcus , and the interaction between artists and musicians in the New York post-punk scene Gendron One might presume that aggressive sonic features of musical attack, such as chaotic sounds, absurd lyrics and amateur musicianship, would be as widespread in rock as aggressive visual aesthetics are in painting and sculpture. But this is clearly not the case as many critics and fans typically dismiss recordings by rock musicians who overstep the boundaries of acceptability in rock music with extreme avant-garde recordings. Such self-destructive attacks on the emerging music business in the s and s echo the Dadaist and Surrealist impact on art institutions earlier in the century and invoke similar apocalyptic aesthetics of death and madness. Whether created by hippie-era musicians invoking countercultural ideals of social and aesthetic revolution or by post-punk musicians reacting to a decadent music industry, these recordings constitute a distinctive type of rock music that negates all manner of oppressive structure, even at the cost of alienating listeners with unlistenable noise. As such, the freak out suggests a kind of madness, either invoked by musicians as a countercultural weapon against the sanity of mainstream culture or perceived by listeners who sometimes explain away such unlistenable records as temporary madness by their favourite musicians. First and foremost, anarchy predominates in the way sounds seem to be erratic and uncoordinated, producing an overall sense of chaos or of being out of sync. There is no clear sense of song form and these tracks are often overly long, sometimes taking up an entire side of a vinyl record album. Secondly, absurdity is often pushed to the point of complete irrationality, either non-teleological in that these recordings seem to go nowhere or, if they have a goal, it is based on an irrational belief that the sounds can work some kind of magic. Defying meaning, rather than making meaning, freak out tracks feature vocals that seem to be utter nonsense, either fragments of recognisable language or unrecognisable gibberish chosen more for sound quality than semantic meaning. Thirdly, while performers of freak out recordings evoke amateurism, this is clearly by design. Whether musicians lack conventional technical skills or simply give the appearance of incompetence by making music that sounds disjointed, this valorising of amateur performance values is in line with hippie ideals of open participation and punk ideals of DIY musicality. The freak out affirms the notion that anyone can do it. Unfinished Music No. If you listen to it, maybe you can add to it or change it or edit or add something in your mind. Yoko Ono cited in Rockwell For many rock fans and critics, Two Virgins was seen as a nadir in the career of John Lennon and evidence of the follies and failures of rock musicians whenever they stray too far from the accepted conventions of rock and into the realm of high art. But a brief consideration of the contents of the album and the context in which it was made reveal an expression of resistance to making a commercial product and a deliberate refusal to construct a cohesive work of art. While Yoko wails, sings and makes animal-like noises, John occasionally shouts while maintaining a background of disconnected sounds using guitar, piano, organ, tape recorded sound effects and fragments of old records from a turntable. Snippets of conversation between the two of them give it a real-time feel and an air of domesticity, with what sounds like a tea break coming at the end of Side One that is almost inviting to the listener. Presenting music as a perpetually incomplete process, Two Virgins is the antithesis of the high-toned art rock that the Beatles had perfected the previous year with the album Sgt. Following the avant-garde ethos of rejecting all convention and institutions, such recordings seem designed to deliberately confound all listeners, even critics who try to be open-minded and seriously consider such works. Critic John Rockwell, for example, grants John and Yoko much more leeway for their experimentation than the average Beatles fan, but miscasts the purpose of rock musicians who experiment:. And they often lacked the craft to shape their newly liberated imaginations. John Lennon was too clever to be that crude. But it took Yoko to bring out his tendencies fully for both liberated expression and primal self-indulgence. Rockwell Not only does Rockwell take an aesthetic position that seems awkward for a rock critic, he also underestimates the power of rock music that is inspired by art. Beyond the utopian concept of the album, Two Virgins was a very direct attack on the Beatles in , by that time a fully developed musical and financial institution built on craft and beauty, as well as an oppressive pressure-cooker of a business that damaged relationships between long-time friends. As Lennon felt increasing hostility from his band mates toward Yoko, his collaborations with her became more than just new avenues for liberated expression — they became aesthetic weapons. During the s when highbrow culture was bemoaning the death of the avant-garde because it had actually sustained the very system that it was supposedly trying to destroy Mann , the avant-garde was very much alive within popular music as rock musicians began employing similar strategies of resistance to — and exploitation of — the culture industry. We are inventing a new and original world. Watts created just such an environment in a freak out session that was recorded and released as an album called This Is It! As this idea of invoking experiential madness as therapy and resistance began to motivate similar underground gatherings in the s, rock music began to play an important role in countercultural events. Armed with a plentiful supply of LSD and bolstered by the idea that collectively freaking out could therapeutically bring about Buddha-like enlightenment in any participant, Kesey created the Acid Tests, a series of about a dozen multi-media events designed to get young people to take acid and dissolve their egos in hopes of transforming society. The temporary insanity instigated by Kesey was meant to be a kind of rite of passage in which the individual, provided with free LSD, would become immersed in an alternative environment of free expression, interaction and experience without boundaries, and could eventually return to everyday life a newly enlightened person. Everything is closed circles between people. The Acid Test LP, Although the house band for the Acid Tests was an early incarnation of the Grateful Dead, the sound of these events was a chaotic blend of Grateful Dead music, the amateur Prankster band and anyone else who felt like making noise. A multi-media freak out with connections to the New York neo-avant-garde art scene and the happenings that had become fashionable at the time, EPI was a series of multi-media events delivering sensory overload and, like the Acid Tests, featured a legendary house band, the Velvet Underground, to guide the trip. But unlike the Acid Tests, there were few traces of optimism and critics viewed the trip as a bad one. Although in retrospect, these shows were perhaps no more assaultive than typical rock concerts or dance raves today, they sharply contrasted with the peace and love philosophy then promoted by the counterculture. The album package itself was an image of sensory overload, blasting a message of radical social critique that resembled a Dadaist manifesto. Most importantly, in the liner notes Zappa defined freaking out as. The participants, already emancipated from our national social slavery, dressed in their most inspired apparel, realize as a group whatever potential they possess for free expression. Zappa , caps in original. As Watson interprets the track, the reference to ritual is more than just a parody of Stravinsky, but a symbolic sacrifice of the character Suzy Creamcheese who represents innocence deflowered and corrupted Watson But deflowered and corrupted by what? Or the hedonistic, drug taking, free love counterculture that he seemed to be celebrating? As the tape speed of the voices increases, the final vocal sounds evoke the laughter of children, perhaps suggesting that the sacrificed child has been reborn. While his invited guests freaked out in the studio, Zappa was the control freak, carefully organising these sessions in advance Walley 61 and manipulating them in the editing process. The collective free expression that Zappa championed in his manifesto was perhaps less about emancipation from social slavery than a way to add tone colours to his individual compositional palette, enabling him to better critique society and even the counterculture itself. Perhaps the greatest irony was that while RSMM and the entire album seemed to celebrate psychedelic drugs, Zappa was fiercely opposed to all drugs and even published a public statement that year denouncing all forms of drugs ibid. While it is open to question whether or not Zappa was representing the counterculture or simply exploiting it, Zappa was clearly employing avant-garde technique not for the kind of experience advocated by Kesey, but for the purpose of making art. Artists who produce an organic work … treat their material as something living. They respect its significance as something that has grown from concrete life situations. For avant-gardistes, on the other hand, material is just that, material. Whereas the classicist recognizes and respects in the material the carrier of a meaning, the avant-gardistes see only the empty sign, to which only they can impart significance. The classicist correspondingly treats the material as a whole, whereas the avant-gardiste tears it out of the life totality, isolates it, and turns it into a fragment. Throughout his career Zappa was always a realist, not a madman, and constantly responding to current affairs that provided the impetus for his work. Strategies of instigating a delirium of the senses through media overload, dissolving egos, and messing up minds with chemicals to circumvent any goal are linked to a death obsession in rock that is hardly limited to the psychedelic era, but seemed to be everywhere in the late s. Themes of death permeated psychedelic rock from the Mothers and the Velvet Underground to the Beatles, the Stones and the Doors, and for a brief moment freaking out was a fashionable expression undertaken by many musicians in mainstream pop music that seemed to be leading nowhere. As explored by the Beach Boys on the album Beach Boys Party , the party track created the illusion of people seemingly enjoying a party with the band in which anyone could participate by clapping, banging on bottles or playing bongos. Conceived this way, the party track seemed to offer the promise, or at least the illusion, of a unified counterculture. Featuring several stoned party tracks with giggling voices spouting nonsense that are sometimes sped up, Smiley Smile has since become a cult favourite and even praised for pushing the boundaries of conventional song form, but this disturbing version of the ordinarily squeaky clean Beach Boys alienated their fans and was a commercial failure at the time Harrison Also on the London scene was Soft Machine, a band that explicitly cited the Dadaist pataphysics of Alfred Jarry in their music. While extended versions of this minimalist joke were embraced as hip Dadaism in France, it generated hostility among audiences in the UK G. Bennett Like their colleagues Pink Floyd, Soft Machine soon underwent personnel changes and began developing multi-movement progressive rock suites in a more listener-friendly and professional style that dispensed with Dadaist pranks. More of a party spoiler, freaking out helped bring an end to the party of psychedelic pop just as it was getting started, making the genre one of the shortest historical periods in rock Borthwick and Moy In a music industry that began marketing rock as an art form, rock musicians in the late s either looked backward, as in the return to roots for the Rolling Stones, or looked forward, as in the development of progressive rock by Pink Floyd and Soft Machine. Rock music of the new era would not be based on audience participation in a wild freak out, but on audience consumption of music made by professionals who carefully controlled their craft. While many rock musicians of the s proceeded to develop their craft in a thriving music industry, some rock musicians continued dabbling in absurdist anarchy despite critical and public antagonism toward avant-garde gestures. Even the more sober-minded, Cologne-based group Can experimented with extended jamming in the studio to capture spontaneous freak outs with eccentric and unstable lead singers such as Damo Suzuki and Malcolm Mooney babbling nonsense lyrics. The German commune band most dedicated to Dadaist anarchy was Faust, a band formed by impresario and journalist Uwe Nettlebeck with a manifesto proclaiming the therapeutic properties of the absurd Koch and Harris Lester Bangs portrays Reed as delighting in a sadistic relationship with his fans, his critics and his record label, as he reports Reed trying to convince RCA to release it on their classical Red Seal label, insisting that references to Beethoven were hidden within the impenetrable walls of feedback on the record Bangs While many record buyers demanded refunds shortly after it was released, Bangs celebrated the album as one of the greatest of all time, thus canonising it as a landmark punk album, but undoubtedly one with as few listeners as Two Virgins. Like the s bebop movement that can be seen as both an evolutionary and a revolutionary force in jazz history DeVeaux , s punk reveals just as many continuities as disruptions if one looks at bands involved in avant-garde experimentation see Reynolds and Hegarty Public Image Limited aka PiL , Throbbing Gristle, Psychic TV, Nurse With Wound, Coil and Current 93, are a few of the UK post-punk, industrial and post-industrial groups that celebrated destruction of song form, amateurish values of musicianship and conceptual absurdity, demonstrating that the freak out was not over. The sloppy performance of conventional song forms by the Sex Pistols may have been homologous to the social anarchy behind the UK punk movement, but Lydon — a record collector with a taste for rock avant-gardism — explored sonic anarchy further with his group PiL that developed a distinctive style of ineptitude. An obsessive record collector and devotee of krautrock, Stapleton and his friends set out to collect as many freak out records as possible and followed three basic guidelines: long tracks, no songs and drug-related album covers Stapleton Having never touched musical instruments before, the three novices went into the studio with no rehearsal and recorded the album Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella as a spontaneous freak out, becoming the band Nurse With Wound. In punk DIY fashion, Stapleton packaged the album himself and created a lifelong career for himself independently selling his surrealist-inspired music. Genesis P-Orridge of Psychic TV and David Tibet of Current 93 have both expressed fondness for the consciousness-altering spirit of s psychedelic rock and have expanded on its darker side in their own music. But all of these recordings are unfinished in the sense that they deny completion. Freak out tracks resist becoming rock songs by rejecting beat, melody and song form, and in their fragmentation they also resist becoming organic musical objects for aesthetic contemplation. Such sonic attacks should not be misinterpreted as poor imitations of avant-garde tradition or efforts to gain highbrow cultural accreditation see Gendron , but as attacks that are immediate and of the moment in their lack of any clearly defined goals. One explanation for this madness might be that musicians use it as a pose of authenticity, still regarded by some scholars as an essential part of the aesthetics of rock see Moore and Gracyk Allen Ginsberg declaring his authentic insanity against a sane world certainly helped make him a countercultural hero, but the Monkees declaring their authentic selves trapped within an inauthentic music industry left them as sacrificial victims of the marketplace. Just as avant-garde aesthetics in the art world had empowered artists with the ability to transform anything they touched into art Rosenberg 11 , the music industry endowed charismatic rock stars with a similar artistic license and at the height of the counterculture some rock musicians and artists seemed to share similar goals. The marriage of pop star John Lennon and Fluxus artist Yoko Ono symbolised the mutual efforts by rock musicians and avant-garde artists to integrate art and daily life through collective creation and reception of music unhindered by any boundaries between performer and audience. But whereas the avant-garde had obliterated the old hierarchy of values in art, generating new styles of conceptualism incomprehensible to the mass audience, yet recuperated by museums see Calinescu —8 , the rock experimentalists can claim no such triumph within popular culture. The raw, anarchistic nonsense of the freak out seems designed to resist coming to fruition as either a successful work of art or slice of entertainment that could serve any function in the marketplace of popular music. Compared to the soft sell pop resistance of today — if such pop is indeed resistant — the extreme freak out records of the past still scream and spark more controversy than the Dadaist readymade objects that quietly reside in art museums. While the Beatles remain the most iconic symbol of the romantic ideal of the rock band, creating authentic art and selling it — still today — within a commercial music industry, albums like Two Virgins are still actively engaged in resistance. Albiez, S. Bangs, L. Psychotic Reactions and Carburetor Dung. Edited by Greil Marcus. New York : Vintage Books. Bennett, G. Soft Machine : Out-Bloody-Rageous. London : SAF Publishing. Bloomfield, T. Popular Music, 12 1 , Borthwick, S. Popular Music Genres : An Introduction. New York : Routledge. Theory of the Avant-Garde. Minneapolis : University of Minnesota. Calinescu, M. Durham, NC : Duke University. DeVeaux, S. Berkeley, CA : University of California. Gendron, B. Chicago : University of Chicago. Gracyk, T. Rhythm and Noise : An Aesthetics of Rock. Harrison, D. Covach and G. New York : Oxford, Harron, M. New York : Pantheon, Hayden, T. Boulder, CO : Paradigm. Joseph, B. Grunenberg and J. Liverpool : Liverpool University Press, Keister, J. Popular Music, 27 3 , Koch, A. Popular Music and Society , 32 5 : Kuspit, D. Psychostrategies of Avant-Garde Art. Cambridge : Cambridge University Press. Lochhead, J. American Music , 19 2 , Lynskey, D. Mann, P. The Theory-Death of the Avant-Garde. Bloomington, IN : Indiana University. Marcus, G. Cambridge : Harvard University. Mason, N. San Francisco : Chronicle Books. Matheu, R. The Stooges : The authorized history and illustrated story. New York : Abrams. Moore, A. Popular Music , 21 2 , Reising, R. Popular Music and Society , 32 4 , Reynolds, S. New York : Penguin. Rockwell, J. Cott and C. Rosenberg, H. New York : Horizon Press. Roszak, T. The Making of a Counterculture. Sculatti, G. Sinclair, J. Bloom and W. New York : Oxford University Press, Spitz, B. The Beatles : The Biography. New York : Little, Brown and Company. Stapleton, S. Walley, D. New York : Dutton-Sunrise. Watson, B. New York : Schirmer Books, Wiener, J. Wolfe, T. New York : Farrar, Straus and Giroux. Zappa, F. Liner notes to Freak Out! Ash Ra Tempel and Timothy Leary. Seven Up. The Beach Boys. Smiley Smile. The Grateful Dead. Anthem of the Sun. Lennon, John and Yoko Ono. Two Virgins. The Mothers of Invention. Freak Out! Nurse With Wound. Pink Floyd. The Piper at the Gates of Dawn. Lou Reed. Metal Machine Music. The Rolling Stones. Their Satanic Majesties Request. CD, Abkco , original LP The Acid Test. The Velvet Underground. The Velvet Underground and Nico. He also co-authored an article on progressive rock in the journal Popular Music. Voir la notice dans le catalogue OpenEdition. Navigation — Plan du site. La revue des musiques populaires. Contre-cultures: Utopies, dystopies, anarchie. Jay Keister. Chronologique : , Conclusion: Unfinished Music as Resistance. Bibliographie Albiez, S. Frith, S. Art Into Pop. London : Methuen. Ginsberg, A. San Francisco : City Lights Books. Hegarty, P. New York : Continuum. Nuttall, J. Bomb Culture. New York : Delacorte Press. Watts, A. The Joyous Cosmology. New York : Pantheon. Watts, Alan. This is IT! CD, Locust 48, original LP The Stooges. Fun House. CD, Elektra original LP Filmographie Bob Rafelson, Haut de page. La revue Volume! Suivez-nous Flux RSS. Dans tout OpenEdition. Dans Volume! Accueil Catalogue des revues OpenEdition Search. Tout OpenEdition. OpenEdition Freemium.

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