Flaming Lips' Zaireeka (33 1/3)

Mark Richardson

ISBN 10: 0826429017 / ISBN 13: 9780826429018

Verlag: Continuum Inter. Publis., 2009

Beschreibung

Gebraucht - Sehr gut Ungelesenes, vollständiges Exemplar; in sehr gutem Zustand, leichte Lagerspuren, als Mängelexemplar gekennzeichnet -Zaireeka is the anti-headphone and the anti-mp3. It purposely makes the two biggest developments in end-user music in the last 30 years irrelevant. Zaireeka is not mobile. It is not personal. It is not solitary, cannot be easily controlled, and can't easily be consumed in small doses. So another way to think of Zaireeka is as a one-off piece of technology that comes in a highly inconvenient dead-end format.The Flaming Lips' 1997 album Zaireeka is one of the most peculiar albums ever recorded, consisting of four CDs meant to be played simultaneously on four CD players. Approaching this powerful and complex art-rock masterpiece from multiple angles, Mark Richardson's prismatic study of Zaireeka mirrors the structure the work itself. Thoughts on communal listening and the 'death of the album' are interspersed with the story of the Zaireeka's creation (with assistance from Wayne Coyne) and an in-depth analysis of the music, leading to a complete picture of a record that proved to be a watershed for both the band and adventurous music fans alike.\\nOriginalBarCode: 9780826429018 114 pp. Englisch. Bestandsnummer des Verkäufers 7018169

Bibliografische Details

Titel: Flaming Lips' Zaireeka (33 1/3)

Verlag: Continuum Inter. Publis.

Erscheinungsdatum: 2009

Einband: Taschenbuch

Zustand: Sehr gut

Über diesen Titel

Inhaltsangabe:

Released in October 1997, the "Flaming Lips' Zaireeka" was met with some critical praise and more general puzzlement. The album comes as four separate CDs intended for playback at the same time. Which means, of course, that four CD players are required. And four amps. And eight speakers. And at least four sets of hands to make them all go. "Zaireeka" requires several people to get together for the express purpose of listening to music; there's nothing to dance to and nothing to look at. It's almost quaint, really. There was a time when people sat together to listen to records; and, "Zaireeka" celebrates this disappearing moment. It is, in other words, an album that does away with the very thing that caused recorded music become a phenomenon so quickly in the 1920s and helped it stay that way ever since: it is not convenient. Ten years later, convenience continues to drive the music business from the top-down and the listening experience from the bottom up. Digital music has become divorced from physical reality; with an MP3 file played on devices using flash ROM, the whole thing happens without a single moving part. Headphones, the sound delivery technology most in favor, blur the borders between device and listener, all in complete isolation. We're shoving the speakers into our ear canals; the music is literally inside of us even before it's left the wire. And so, the human experience of music in the developed world is proceeding along two parallel lines: we're either retreating into a private world of solitary consumption, or we hear music in the background, in coffee shops or on commercials, where it is ambience, part of an environment. Which is part of what makes "Zaireeka" even more fascinating now than it was at the time of release. In addition to being a fantastic album of imaginative psychedelic pop and arguably the Flaming Lips' masterpiece, it was first the final shot fired in the struggle for the rock album to maintain the centrality it had enjoyed since the late 1960s. It defies segmentation. The effort it takes to hear the record properly ensures that the music will be listened to carefully. It's music that even the interested will experience only a few times in their lives; it involves hard work. So listening to "Zaireeka" is a rare event, and it's also a social experience.

Über die Autorin bzw. den Autor:

Mark Richardson is the managing editor of Pitchfork. He was a contributing editor to The Pitchfork 500 and his writing on music has appeared in publications including the Village Voice, LA Weekly, and Metro Times Detroit.