Male C. Pig a.k.a. Svinopolist (piggymouse) wrote,
Male C. Pig a.k.a. Svinopolist
piggymouse

[reading,music,quote] Mike Barnes QotD / Kräldjursanstalten

Дочитал и вот эту книжку (после чего приступил вот к этой). Много думал, в частности о том, насколько два гения с непомерными эго и говёнными характерами могут различаться во всех остальных аспектах (я, само собой, капитанского однокашничка имею в виду).

Барнсовская книжка в целом весьма "тактична", "взвешенна" и "корректна". Период отшельничества Капитана описывается там, к примеру, в таких выражениях: "The popularly held belief – if indeed it can be called that – is that Van Vliet is suffering from multiple sclerosis". Книжка про черепные санки гораздо менее прилизана и с видимым удовольствием расчёсывает старые нарывы – в частности, дрязги с Zoot Horn Rollo и отношения с матерью.

Интересное попалось мне в конце барнсовской книжки. Он довольно подробно перечисляет деятелей, на которых Капитан оказал сильное влияние, и в частности пишет:

Van Vliet's most radical innovations stand as signposts to an increasingly overgrown path. Few have been able to harness the forces he unleashed and recontextualize them into a new, individual take on his legacy – into a new art form. Sweden's astonishing Kräldjursanstalten, who released one album, Voodoo Boogie, and an EP in 1981, were an exception.

The idea of "blurred" music is found at all points from Ornette Coleman's Free Jazz in the early sixties to the free flights of ensemble improvising of mid-seventies progressive experimentalists Henry Cow, and through to the primeval noise overload of nineties Japanese psychedelic group High Rise. But Kräldjursanstalten are one of the rare groups who blur their music in a similar way to that of Captain Beefheart and The Magic Band – although the little-known south London group The Balloons, also with one eponymously titled album to their credit, have been plotting a similar course for twenty years.

The mama heartbeat, the "one", was suspended and the blurring came from the mercurial instrumental interactions which, though largely composed, often sounded free. And the group introduced their own European roots into the equation as a substitute for Van Vliet's blues. Michael Maksymenko, who later played with Beefheartophile guitarist Henry Kaiser, has proved himself one of the few drummers to take the John French approach to rhythm and make it his own. And importantly it all rocked with a vengeance, as did all of Van Vliet's music even when rock was being stretched as far as it could without snapping. The furious cauldron of sound of Kräldjursanstalten's "Den Stora Coupe Finalen" showed the way rock was ready to go, but was left as another signpost in a rarely visited territory. But then to work on such a level of intra-band empathy takes more time, will and frankly more ability than most groups possess.

Замечу в сторону, что по части intra-band empathy Барнс мог хотя бы чисто формально обратить внимание на краут-рок вообще и Can в частности. Впрочем, для него это действительно слегка off-topic.

А главное, это вопрос к публике – кто что слышал про Kräldjursanstalten с товарищем Максименко и заодно про The Balloons? mager? guest_informant? Московские коллеги?

Tags: music, quote, reading
Subscribe
  • Post a new comment

    Error

    Anonymous comments are disabled in this journal

    default userpic

    Your IP address will be recorded 

  • 2 comments