Simon Reynolds: Retromania
Cover of the German edition (Ventil Verlag, 2012)
Cover of the German edition (Ventil Verlag, 2012)
I.
In chapter 11, Reynolds - a former sci-fi fanatic - indulges in nostalgia for the Space Age; a time of giant steps and final frontiers, as he describes it.
He also mourns the "absence of futuristic-ness" [a] in the fabric of daily life and says neostalgia became an increasingly widespread feeling during the opening decade of the 21st century, though, I have to admit, I didn't feel this "pang for the future that never arrived" [362]; perhaps because I preferred The Flintstones to The Jetsons [b] - or maybe because I hate motorists at ground level and the last thing I would want to see is flying automobiles blotting out the sky.
Whatever the reason, I'm not particularly disappointed the future didn't arrive - for I never really expected or wanted it to. And when it has interfered with the present in the form of advanced (and alien) technologies, it's not been entirely advantageous - are we really any happier or better off now that we experience the world via a series of screens or have outsourced our thinking to AI?
I don't think so: and Reynolds isn't particularly impressed by the digital age, which he describes as more decadent in character than heroic. He wants the world of Star Trek and to be able to beam on board the USS Enterprise - not the future glimpsed in Blade Runner in which it rains all the time, or the grotty on-board conditions of the commercial starship Nostromo, as seen in Ridley Scott's Alien (1979).
II.
Sooner or later, Reynolds was always going to relate this idea of nostalgia for the future to the world of popular music - which I guess is fair enough, considering he's a music journalist, critic and author.
But, if I'm honest, it gets a little boring reading about bands and DJs and genres of music I've never heard of and I can't help wondering at the kind of books Reynolds might have given us had he spent a little more of his time reading literature and philosophy and a little less listening to records ... [c]
III.
Is nostalgia chiefly a "not feeling at home in the here-and-now, a sensation of alienation" [370]? That seems to view it as tied to a model of deficiency and/or lack; a model which, as a Deleuzian, is obviously problematic for me.
Might we not think nostalgia as a form of desire; something positive and productive? By tying nostalgia to the (socially constructed) idea of lack, Reynolds views it as the pursuit of a missing (ideal) object, which is all very Freudian and Lacanian, but is that really where he wants to go?
(I think perhaps he does, but I don't.)
As for alienation ... Why bring in a dated 19th century concept like this; one that relies on the very deficiency model rejected above? Further, if there's no human essence - and there is no human essence - then how can a subject ever really feel or be alienated?
Perhaps Baudrillard is right to say (rather amusingly) that we are today alienated from alienation and that we have moved beyond the dramas of alienation played out in modernity. Either that, or that alienation is now total within an age of simulation in which the individual is fully codified.
IV.
"In recent decades, nostalgia for the future has gradually lost its vagueness and become tied to a specific idée fixe: an archaic and sometimes comically ossified idea of what the future is going to be like." [370]
In other words, it's become a retro-futurist emotion, stimulated by popular culture and in particular a vision of the future that was in large part invented by the Disney Corporation: 'Tomorrowland' (1955) providing the material blueprint for the plastic utopia to come.
Amusingly, Tomorrowland is now a museum - and, after visiting, Reynolds came to much the same conclusion as Bruce Handy writing in Time in 1998: The future isn't what it used to be - i.e., it's "desperately uninspiring and lugubrious" [372] - which is shit in anybody's language.
But is the fault less Disney's and more ours? Have we lost the ability to dream as a culture and "to come up with visionary goals to aim for" [372]?
Possibly.
But again, let's enter a note of caution before throwing ourselves on the floor and bewailing our own inability to imagine the future. For mightn't it be a sign that we have wised up a little as a culture; that the postmodern abandonment of grand utopian visions - particularly when these are tied to dangerous political ideologies - is something we should be proud of.
I certainly don't wish to resurrect the myth of rational progress and recommit to a single telelogical future; I rather like the ambiguity of the present and have no desire for a better world. I believe in the ruins of The City of Tomorrow and if that makes me a cynic, or a pessimist - or even a defender of capitalist realism - well, so be it.
V.
Moving on ... and essentially skipping a couple of sections, we come to the end of chapter 11, in which - to my surprise - Oswald Spengler again puts in an appearance; just what is Reynolds's fascination with this historically significant but intellectually marginal (and marginalised) figure?
He refers us to the Faustian spirit identified by Spengler in his 1931 work Der Mensch und die Technik - a spirit which, says Reynolds, "is the dynamic behind modernism and modernisation, the impulse that propelled both the space race and twentieth-century music's exploration of sonic space through electronics" [394].
That may or may not be true, but this Faustian spirit is also tragic in nature and Spengler is adamant that there can be no prudent retreat into the past - not even one made in order to recover a lost future. He also dismisses optimism as a form of cowardice [d], so, ultimately, I can't see the appeal of his work for Reynolds, though he has clearly been influenced by the latter as this paragraph illustrates:
"When you look at the culture of the West in the last decade or so - the dominance of fashion and gossip, celebrity and image; a citizenry obsessed with decor and cuisine; the metastasis of irony throughout society - the total picture does look a lot like decadence. Retro culture would then be just another facet of the recline and fall of the West." [394-395]
Reynolds suggests that this leaves opens "the possibility of the new coming from outside the West, from regions of the globe where culture is less exhausted" [395]. He specifically mentions China and India - "set to be the economic and demographic powerhouses of the century" [395] - and two cultures which, interestingly enough, Spengler also regarded as high-level, equal in spiritual greatness to the West. Obviously, both are ancient cultures and yet, paradoxically, they "feel 'younger' than us at the moment" [395].
I have to admit, I have my doubts (and concerns) about the idea that the economic and geo-political future belongs to Asia; for there are multiple factors (including some we cannot foresee) that might prevent the global dominance of China and India.
Nevertheless, Reynolds also seems to pin his musical hopes on the non-Western world, now that the "Anglo-American pop tradition is all innovated out" [396]. But again, I'm not sure the Chinese Communist Party will allow an explosion of "popular energies and desires" [396] amongst the young.
And the last time they encouraged such it resulted not in the Summer of Love, but the atrocities of the Cultural Revolution, so those who advise the West to simply rest and outsource the future to Beijing should be careful what they wish for.
VI.
I smiled to hear that even William Gibson has given up on the future; that he prefers these days to speak of atemporality and the digital Now.
When I was in the philosophy department at Warwick in the 1990s and the CCRU was a thing (if it ever was a thing), Gibson's 1984 novel Necromancer was required reading. Unfortunately, I found it to be one of the most boring books I have ever attempted to read - right up there with Naked Lunch (1959) and Silas Marner (1861).
However, I agree with Gibson that the 21st century is richer, stranger and more complex than any imaginary future and that science fiction, therefore - at least in the traditional speculative sense - is now redundant: the future is here already and our task today is to explore the alien present [e].
Reynolds, however, isn't of this view: "Gibson's perspective is so completely other to my own that I'm flabbergasted." [397] I'm sorry about that, although it's always nice to see a piece of 18th century British slang being used.
VII.
And now, the end is near - chapter 12 - the final chapter: 'The Shock of the Old' ... Time for Reynolds to address those questions he posed, but perhaps failed to fully address along the way.
Questions such as: Given that I enjoy many aspects of retro, why do I still feel deep down that it is lame and shameful? [403 - italics in the original].
I'm tempted to suggest it's because, Simon, you still labour under the illusion of psychic depth. If you were a little less soulful - became a little more floral - you'd miraculously find much of the shame you experience (which seems more moral than instinctive in nature and which often serves to hinder your enjoyment) simply fades away.
Of course, becoming-flower isn't easy. But, if a wasp can manage it, I'm sure you'll be able to find a way (and can always turn for advice to Deleuze and Guattari writing in A Thousand Plateaus).
VIII.
Reynolds admits that his understanding of rock and pop is very much infused by the "belief that art has some kind of evolutionary destiny, a teleology that manifests itself through genius artists and masterpieces that are monuments to the future" [403]. The funny thing is, he says this in part due to the fact he was born in 1963 - 'The Year That Rock Began'.
But I was born in the same year, and my understanding of popular culture isn't weighed down by this belief. Perhaps that's because I was born under a different star sign [f]; or perhaps it's because I took the work of postmodernists such as Lyotard more seriously than Reynolds and have made terms such as irony, incredulity, and insouciance watchwords rather than belief, teleology, destiny, etc.
Again, by his own admission, his obsession with and loyalty to music served only to consolidate his outmoded ideas and beliefs:
"Although by the early eighties modernism was thoroughly eclipsed within art and architecture, and postmodernism was seeping into popular music, the spirit of modernist pop carried on with rave and the experimental fringe of rock. These surges of renewal served as a booster shot for me, reconfirming the modernist credo [...]" [404]
That's a really rather terrible admission of bias; superhonest, but shocking. And for me it confirms Jamie Reid's idea that music prevents you thinking for yourself [g].
Reynolds continues: "There is an argument that the linear model of progress is an ideological figment [...] [404] - well, yes, I made exactly this argument earlier in this post.
But despite having his belief in progress badly shaken by recent events, Reynolds sadly chooses to avoid the argument and instead just doubles-down on his position: "As a died-in-the-wool [sic] modernist [...] I would find it hard to break the habit of a lifetime [...] Giving it up would feel like giving in, learning to settle for less." [404]
Again, that's honest, but disappointing: he sounds like one of those Japanese soldiers stranded on a Pacific desert island for many long years and refusing to accept the war finished long ago. I know some people admire holdouts - and perhaps there is something admirable about an act of defiant resistance - but ... well, there are surely better hills to die on than that of popular music.
IX.
Reynolds doesn't like flatness and so he won't think much of Pancake Tuesday, Jane Birkin's physique, or the Deleuze and Guattari text recommended earlier.
For as the title suggests, Mille plateaux is all about flat terrain and molecular politics, rather than mountain peaks and what Reynolds describes as the momentous and by which he refers to molar events and the idea that these alone bring about significant historical change or progress.
As an object-oriented philosopher, I subscribe of course to a flat ontology, which is to say, to the idea that all objects exist on the same plane of reality and I can't help suspecting that Reynolds would not care for this model of being; that he rather likes hierarchical structures that allow for judgement.
Or perhaps he just has a fear of feeling emotionally flat and this explains his need of newness and constant stimulation, including, during his rave days, the entactogenic drug ecstasy [h].
X.
Another thing Reynolds does not like is stillness; he wants things to keep moving - and moving forward at pace. But hasn't he heard that sometimes one can be quick even when standing still (that speed and intensity do not necessarily require movement)? Stillness isn't synonymous with stasis and stagnancy.
I refer him once more to Deleuze and Guattari, and their notions of lines of flight and deterritorialisation; neither of which are progressive ideas - there's no linear movement from A to B - but both of which allow for radical change and the breaking away from established habits, structures, and identities so as to invent new ways of thinking and acting.
Stillness is a keyword for me now; as it became for Roland Barthes in his late work on the Neutral and I'm pretty sure the latter also writes in praise of flatness too.
XI.
This couple of sentences made me smile:
"This attachment on the part of young people to genres that have been around for decades mystifies me. Don't they want to push them aside?" [408]
Apparently not!
But is it any more mystifying than why the author of Retromania should wish to cling on to ideas from the late-19th and early-20th centuries to do with progress and making everything new.
Maybe young people don't give a shit anymore about when a genre was first invented and don't feel that "vague nostalgia [...] for a lost golden age when music had power and integrity" [410] that Simon and Sandi Thom think they should.
Maybe they prefer music that is less potent and less meaningful, but also doesn't demand that they adhere to it with fanatic loyalty and at the exclusion of all other interests; maybe they don't need mythical rock gods (or even the NME) to tell them what to think and feel any longer [j].
XII.
Reynolds's closing remarks on the economics and politics of pop culture in an era of postproduction were provocative. I particularly like the bit about meta-money and meta-music being connected at some fundamental level (although I don't know if it's true outside of Marxist analysis):
"Culture, as the superstructure to the economy's base, reflects the gaseous quality of our existence. The insubstantiality of the economy revealed itself, horribly, a few years ago. We are still waiting for the music-about-music bubble to burst." [420-421]
For Reynolds, it is fashion which provides the "nexus between late capitalism and culture" [421] - the point where they intermesh. If video killed the radio star, fashion killed popular music; infecting the latter with its "artificially accelerated metabolic rate, its rapid cycles of engineered obsolescence" [421].
The logic of fashion has polluted the sweet river of time that once flowed gently but inexorably from past to future. Or as Reynolds writes: "Fashion - a machinery for creating cultural capital and then, with incredible speed, stripping it of value and dumping the stock - permeates everything." [422]
As a philosopher on the catwalk, I smiled at this. But I also feel I have to push back a little - even if Reynolds himself slightly qualifies the above by conceding that the fashion-isation of the world "can't totally explain the rise of retro rock" [422].
Firstly, it's a little surprising that a self-professed modernist like Reynolds should so dislike fashion - the most modern of all modern phenomena. But then lacking any telos - any final purpose - I suppose fashion was always going to seem trivial and superficial to Reynolds.
One might have imagined, however, based on the experimental and radical nature of the music he privileges, that he'd rather approve of the manner in which fashion ruptures the order of referential reason, dissolving old values and conventions. It may only provide the illusion of change, but there is a genuine passion at its heart: the passion for empty signs and cycles and for making the insignificant signify and it's this which makes it of interest (to me at least).
XIII.
If fashion is for Reynolds is a non-starter and if "it is now pretty clear that pop is living on borrowed time and stolen energy" [422], then where do those who care about cultural vitality and rescuing lost futures go from here?
Reynolds says he'd "love to nominate hauntology" [423] as the answer to this question and as "the alternative to the curatorial model of art" [423]. But he can't bring himself to do it. For he knows that in many ways even those figures he admires working in this area, such as Ariel Pink [i], "are postproduction artists too, rummaging through the flea market of history and piecing together the audio equivalent of a junk-art installation" [423].
By his own admission, this leads to a tricky question for Reynolds as an Ariel Pink fan and champion of the hauntological in general: what exactly is this music's contribution?
"In fact, what in today's musical landscape is rich enough, nourishing enough - which is to say, sufficiently nonderivative - to sustain future forms of revivalism and retro? Surely, at a certain point, recycling will just degrade the material beyond the point that further use-value can be extracted." [424].
That seems a fair observation. But surely then, when this point is reached is precisely when people will - from necessity - create new sounds. So he should find comfort in this idea - and that thing he cherishes called hope.
And indeed, he does: concluding his study with a line that might have come from Fox Mulder's bedroom wall: "I still believe the future is out there." [428]
So, there was really nothing to worry about all along ...
Notes
[a] Simon Reynolds, Retromania (Faber and Faber, 2012), p. 362. Future page numbers will be given directly in the text and refer to this edition.
[b] Strangely, however, I prefer Lt. Ellis in her silver mini-skirt [click here] to Loana in her fur bikini, although I'm not blind to the appeal of prehistoric women: click here.
[c] His brief reading of Fernando Pessoa's Book of Disquiet on page 369 is excellent and I only wish Mr Reynolds wrote more on Portuguese poets and French thinkers such as Baudrillard - whom he mentions several times, but never really engages with - and spent a bit less time discussing rap music, rave culture, and obscure electronic groups from the 1990s.
[d] Oswald Spengler, Man and Technics: a Contribution to the Philosophy of Life, trans. C. F. Atkinson, (Alfred A. Knopf, Inc., 1932), p.103.
[e] That's really not such an outlandish view; J. G. Ballard said much the same thing way back in the seventies; i.e., that sci-fi should stick to exploring the all-voracious present and mapping inner space and the impact of modern technology on the human psyche. For Ballard, in sum, the job of the writer is to invent reality as we already live inside a fictional world order. See the Preface to the French edition of his novel Crash (1974): click here.
[f] I was born on 13 Feb and that makes me an Aquarian; Reynolds was born on 19 June and that makes him a Gemini (and so more prone to belief and less sceptical in character) - or so I'm told by someone who takes this kind of thing seriously.
[g] I'm referring to Jamie Reid's 'Stratoswasticastor' design: click here for details on punkrocker.org.uk
[h] See Simon Renolds, Generation Ecstasy (Routledge, 1999), in which he takes the reader on a tour of the world of rave culture and techno music as a dosed up and blissed out insider. For Reynolds, MDMA was the essential ingredient or catalyst; the magic pill that allowed for a communal and transformative experience bordering on the spiritual (although he does also acknowledge its more troubling aspects).
[i] Reynolds names the American musician and singer-songwriter Ariel Pink as (probably) his favourite artist of the 2000s, even if his hypnogogic sound is "woven out of blurry echoes of halcyon radio pop from the sixties, seventies and eighties" [xxiii] - i.e., the "grand period of primary pop productivity" [423].
[j] As a father of children, Reynolds recognises that younger people do not think the same way that people of his generation think; do not care about the same things: "they're not the least bit interested in the capital 'f' Future, barely ever think about it" [425-426] and their urge to escape the present is satisfied "through fantasy [...] or digital technology" [426].
Other posts in the Retromania series can be accessed by clicking here.
