“(We Don’t Need This) Fascist Groove Thang” is first and foremost a synth-pop/new wave song by the British group Heaven 17 released in 1981. While it was banned on some radio stations it still showed a strong performance on the charts and made its way into the collective consciousness with biting lyrics about both Thatcher & Reagan. It perhaps is emblematic of the political conscious that existed in certain ‘underground’ music scenes, while bridging the gap with the USA by exploring similar sentiments on display in such prominent punk/post-punk places like the Mudd Club. Musically, the song borrows as much from new wave & post-punk, as it does funk and the NY dance scene. While the lyrics explore a rejection of fascism and racism, the music too, rejects a “fascist groove thang” – in this case rigid categories imposed by the music industry.
After reading Tim Lawrence’s Excellent Life and Death on the New York Dance Floor: 1980-1983, the follow up to his also stunning Love Saves The Day: A History of American Dance Music Culture 1970-1979 and part of a book on Kraftwerk, I found myself listening to a lot of music that didn’t fit neat categorization. As an example, New York dance culture was a cauldron of punk, dance, funk, reggae, electro, and hip-hop. DJs would weave disparate genres into a singular vision, while often bringing together people from both uptown & downtown. As much as it was exciting music, it also served as a prophetic vision of how the world could be: one without boundaries and without rigid categories. A rejection of this fascist groove thang, if you will. It is also through this music that I came across the song by Heaven 17 & an excellent cover by LCD Soundsystem.
"As much as it was exciting music, it also served as a prophetic vision of how the world could be: one without boundaries and without rigid categories."
It was no surprise to me that Kraftwerk, an early electronic group from Germany, had a huge impact on dance music. Early hip-hop made liberal use of their tracks like “Trans-Europe Express” and “Numbers,” both serving as a template for what would emerge as electro and eventually influence countless producers of Detroit Techno & Chicago House. Upon reading about their work further, though, I realized the musical project of Kraftwerk went much deeper than technological innovation and creation of new mediums of dance music.
Developing out of the literal and cultural rubble that was post-WWII Germany, the German rock scene of the late 60s & early 70s was a result of a new generation in crisis. No longer were they able to draw upon much of their country’s rich tradition, as it was tainted by the very recent memory of Nazism. Exacerbated by the fact that members of the Nazi party were integrated back into society without much of a fuss, many young Germans were faced with the task of distancing themselves from the recent past while also having ex-Nazi teachers, public servants, and (in some cases) parents. Seeking to create something uniquely German, whilst also rejecting the totalizing force of Anglophone rock, musicians forged a new path forward through tape experiments, electronics, avant-garde music, free-jazz and rock. The result was patronizingly, and somewhat offensively dubbed “krautrock” by the British press, a combination of the ethnic slur for Germans ‘kraut’ and the unhelpfully reductive genre term ‘rock.’ Most bands adamantly reject this descriptor, which, given the inability for the music industry & press to deal with category-defying music, has stuck as a ‘catch-all’ term. These pioneering musicians didn’t want the fascist groove thing, either.
"Inspiration came from those musicians that came before me who dared to imagine new ways of making meaning, culture & identity."
So it is at this point that my musical project had started to take place, while also reflecting a lot on the state of the world: the shambles of which is pushing many to embrace dogma and trade complexity for simple answers. Inspiration came from those musicians that came before me who dared to imagine new ways of making meaning, culture & identity.
With this in mind, my series “We Don’t Need This Fascist Groove Thang” will, musically, attempt the rejection of the following:
- A singular rhythm
- A singular genre
- A singular language
- A singular culture
- A singular lyrical theme
Through this, it is my hope to express my profound rejection of totalizing forces that exist globally, that seek to reduce human differences, and, in most cases, reduce humans. I don’t want this fascist groove thing, either.
While I realize this may be somewhat on the nose, I attempt the project with utmost sincerity & urgency. Art has always been a place where complex expression of ideas can occur, transcending the boundaries between language, culture, history, and geography. It is my hope that this series will inject my lifelong project of presenting under-recognized music and broaden listeners’ horizon with cultural and philosophical significance. It is my profound belief that we are all better when we interact with cultures other than our own with respect and reverence, and I believe one of the best ways to do this is through music.
"To improvise and create something lasting, then, is to understand the context, traditions, and skills that helped shape the practice."
I also believe that a total rejection of structure is both impossible and unhelpful in nature. I believe that structures can exist to promote creativity & flourishing, although many times they do not. Structures that do not fulfill their purpose require serious re-evaluation and, if unsalvageable, a complete overhaul. Even the freest of jazz has some structure to it. Pure-improvisation is impossible, but so is pure-structure. In this sense life is like jazz, an idea I owe to Piet Mondrian, who I “sample” in my cover art. To improvise and create something lasting, then, is to understand the context, traditions, and skills that helped shape the practice. The following quote from Charlie Parker sums it up with force and succinctness: “Master your instrument, Master the music, and then forget all that bullshit and just play.”
And that is exactly what I plan to do. In the face of uncertainty, I’m going to “forget all that bullshit and just play.” I still need a groove after all, but I know that I can’t do it all on my own. So I invite you to join me. I know a better groove is out there: let’s build it together.
Chris B. aka DJ Blue Funk, St. Paul, Minnesota 10/3/2020.
No comments:
Post a Comment