Every human being is a unique individual, and inherently valuable; what’s precious about them, moreover, is somehow connected to their uniqueness, their particularity. Trees, on the other hand… well, one’s much the same as another. Agree or disagree with these statements, there are certainly a lot of people who subscribe to both, but today I’m rambling aimlessly on in my inimitable style about aesthetics, and I get the impression that commonplace aesthetic responses reverse those positions.
I don’t usually narrow my analyses of musical sounds and genres to ‘single-issue’ terms, but looking at what I usually say, there’s only an occasional engagement with gender as an active discourse, so I thought I’d have a think about it. Because the central reason I don’t pay much conscious attention is that I’m a bloke, and gender is largely invisible to blokes, as race is largely invisible to whites, and poverty to the rich.
There are some really skilled musicians around with very little to say: there are also some players with a very rudimentary technique who are able to stretch it into work of huge creative ambition. There are many more whose artistic strategies are too dependent on their technical aptitude to permit them to range very widely, or to produce much variety throughout their career, and on the other hand, there are those whose artistic vision outstrips their technical capacity to realise it.
Looking back at the variety of reviews I’ve written in the past few months, variety is the principal thing that strikes me. There are stylistic tendencies, but they have come about through natural enough processes, such as artists who know one another sending me their music to review: as far as my own proclivities are concerned I’m almost freakishly eclectic. This is a tendency I’ve noted in myself for many years, going back to when I was a young punk rocker who also enjoyed listening to the George Benson records I’d inherited from my dad, and it’s become more and more pronounced with time.