MY YEAR-END 10 (+)

I do enjoy the ritual of looking back over the year’s best listening. Of the year-end list categories (of which I basically know two: the representative, comprehensive selection vs the reflection of personal listening habits)– this is definitely the latter. As a music scholar, I sometimes have really weird or unbalanced listening habits. For what … Continue reading MY YEAR-END 10 (+)

CONSPIRACIES AND IDENTITIES

In Cruel Optimism, Lauren Berlant develops their titular concept as a relationship  or attachment to something that is non-trivially detrimental to the subject experiencing that attachment, at the same time that participating in it provides a tether to a sense of identity, belonging, or managing that nothing else available can. For months, the back of … Continue reading CONSPIRACIES AND IDENTITIES

RANCIÈRE AND AFFECT

One of the main ways I try to think about the political implications of improvisations is through Rancière. I won’t go into all of it here, but part of what this involves is linking up Rancière’s political thought with affect theory. I do this not only because Rancière’s politics make sense with the kind of … Continue reading RANCIÈRE AND AFFECT

TUESDAY TUNES: SUSPICIOUS ACTIVITY?

The bass drum alone is worth the price of admission. That tubby, flabby bonk, produced through a tightly tuned and what I’m assuming is a quite thin drumhead, sounds simultaneously ludicrous and the purest expression of the spirit that animates The Bad Plus. Combined with the metal snare drum, also stunningly resonant, the sound of … Continue reading TUESDAY TUNES: SUSPICIOUS ACTIVITY?

BIG FEELINGS, QUEER PHENOMENOLOGY, AND THE OPHELIAS

I’m giving a lecture on The Ophelias next week for an entire hour. I am really excited about this, not only because I will be able to try out some new ideas for the first time in public, but also because I’ll get to talk about many of my favorite things: feminist rock, music history, … Continue reading BIG FEELINGS, QUEER PHENOMENOLOGY, AND THE OPHELIAS

BRIEF UPDATE AND TUESDAY TUNES

I wrote about postmodernism, neoliberalism, and jazz in a recent review for BLARB. You can read it here. I really enjoyed working on that review, and have decided to keep up doing them on this blog. I’ll post short reviews here periodically, starting next Tuesday.1 This spring, I’ll be presenting early research on feminist indie … Continue reading BRIEF UPDATE AND TUESDAY TUNES

FOUR PROPOSITIONS RE: FEMINIST ALT-ROCK

I am starting to do some work around feminism in indie-rock. This spring I’ll be road-testing some ideas, primarily through conference presentations on the music of The Ophelias. I’m sure I’ll write more about this band here at a later point, but I also want to think through where I see a band like The … Continue reading FOUR PROPOSITIONS RE: FEMINIST ALT-ROCK

A VERY PRELIMINARY IDEA

I am curious to know when and how extended chords1 appear in rock music, specifically from the 90s onward. Chord extensions are certainly not unheard-of in rock, but nor are they standard or even common, depending on what sub-genre we’re talking about.2 And that’s the curiosity that I have: when, where, and why do extended … Continue reading A VERY PRELIMINARY IDEA