Culture

Keith Flint, the fearsome looking frontman of British electronic dance group The Prodigy, has died at the age of 49. With him, you fear, has gone one of the most important music movements of the last 30 years. The Prodigy is, or was, a strange group, all things considered. They emerged from the rave scene of early 90s Essex, with hits such as ‘Charly,’ ‘Everybody in the Place’ and ‘Out of Space’. The latter became a popular, upbeat, conciliatory anthem the band ended every show with, whilst ‘Everybody’ just missed out on number one. But the group went mainstream with a much darker brand of music than the ‘kiddie rave’ of their debut work.

It was Stravinsky himself who suggested that, in order to preserve its difficulty, the opening bassoon solo of The Rite of Spring should be raised by a semitone every decade. And it was a performance by Birmingham Royal Ballet in 2005 that convinced me that he wasn’t entirely joking. The audience nattered away over the opening bars; the unlucky bassoonist wobbled and cracked. Clearly, this orchestra was not remotely prepared for what was about to hit it. Rhythms splintered like shrapnel and misplaced entries spattered across every silence. As they hurtled into the final Sacrificial Dance, you could almost hear the prayers of musicians audibly struggling simply to hang on. It’s still, without question, the most thrilling Rite of Spring I’ve ever heard.

Broadly speaking, there are two kinds of approach to performing Schubert’s Winterreise, though sometimes there’s doubt or dispute about which one a given performer has taken. According to Jonas Kaufmann, Hans Hotter, for me the greatest of all performers of the cycle, as of so much else, insisted that the performer should be a narrator, not the Wanderer himself. But Kaufmann rightly insisted that Hotter’s various recordings are dramatic, with Hotter enacting, not narrating the monodrama. So it’s not always easy to tell. There was no doubt, though, in Christian Gerhaher’s recent performance of the cycle at the Wigmore Hall, with his long-time accompanist Gerold Huber, that we were witnessing the journey and sufferings presented directly.

The Guardian last week published a ‘we, the undersigned’ letter from 50 ‘artists of conscience’ urging the BBC to boycott this year’s Eurovision Song Contest because it’s taking place in Israel. ‘Eurovision may be light entertainment,’ they wrote, ‘but it is not exempt from human rights considerations — and we cannot ignore Israel’s systematic violations of Palestinian human rights.’ The signatories included such luminaries as Julie Christie, Peter Gabriel, Roger Waters, Vivienne Westwood and Ken Loach. Ken’s inclusion will have come as a surprise to those Israelis who saw his film I, Daniel Blake in Tel Aviv a couple of years ago.

Grade: A– I’m here to make you feel old. It’s now nearly 20 years since the pleasing, laconic, Stones pastiche of ‘Bohemian Like You’ hit the charts, the breakthrough song of these faux-indie Portland slackers. They were ever a little despised, even then, partly for their pop sensibilities and partly because there is indeed something supremely irritating about them. Courtney Taylor-Taylor’s confected, ironic vocals, for a start. Courtney Taylor-Taylor’s name, for a second. Everything was a knowing pastiche, the catchy slabs of krautrock, the electronic noodling, the interminable hippy mantras. But they could write songs, at least — and they were cutely inventive with noise. Not much has changed — neither the format nor the derision.

Like Theresa May with her thrice-spurned deal, the London Symphony Orchestra is pressing ahead with plans for a concert hall to be achieved at a price that no-one believes and for which it has no visible resources. Like Mrs May, the LSO is relying on friendly journalists to distract the public's attention from the huge black holes in the plan, hoping against hope that momentum alone will carry the day against all reasonable logic. You can see why they keep trying, though. The LSO promised Sir Simon Rattle it would build him a new hall if he signed on as music director.

The teenage girls are often right. They were right about Sinatra and they were right about Elvis. They were right about the Beatles and the Stones. They were right, too, about the 1975, whose emergence in 2013 playing tuneful and accessible pop-rock with unusually self-questioning lyrics was driven by a large and voluble following among those teenage girls. Naturally, that led a swathe of male critics to write them off. One dismissed them on the baffling grounds that their songs were ‘ridiculously catchy’, as if that were a bad thing; the NME proclaimed them the worst band in the world Six years on, the critics have caught up.

We increasingly accept the collision between life and art. Whether we’re puzzling over the real identity of Elena Ferrante, choosing our own adventure in Bandersnatch, or boycotting the latest Polanski film, we’re buying into culture that’s more mirror than window. But wasn’t it ever thus? It’s a case Barbara Strozzi would certainly argue. The most-published Italian composer of her age, a musician whose work could stand alongside Cavalli, Rossi, even Monteverdi, was caught throughout her career in the double-bind of biography. You have only to look at her famous portrait — gazing insolently out at the viewer, breast bared — to see the erotics of performance at work.

Won’t somebody think of the Woolwennials this weekend? Precisely one decade has passed since Britain lost the true hero of the high street. And for those aged over 24, whose childhood weekends were wasted in its labyrinth of kitsch, this Woolworths anniversary stirs up communal grief. So spare a knowing nod to fellow rustlers of the DVD bargain-bucket, a reassuring squeeze to the hand clutching the cola-bottle scooper, and a sympathetic cheek-stroke to the vacant-eyed browser of discounted superhero pyjamas. Together, somehow, we’ll muddle on. Nostalgia, like love, is blind – and the world is filled with hackneyed wasn’t-it-wonderful articles of bygone Britain. And, yes, Woolworth worship is the very stuff of satire.

In this week’s books podcast we’re going to the wars. My guest is Ed Vulliamy, the veteran war correspondent who has written a fascinating memoir called When Words Fail: A Life With Music, War and Peace. In it, Ed talks about how his lifelong love of music — he saw Hendrix at the Isle of Wight — has threaded through his terrifying adventures in conflict zones from Bosnia to Iraq to the Mexican/American border; and of how music really can salve the soul when everything else is broken. He describes his own terrifying experiences with PTSD, snagging the last interview with BB King, and how playing “Kashmir” over and over again while roaring unembedded around a battle-zone led him to a friendship with Led Zeppelin’s Robert Plant.

Grade: A– 1898: two Parisiennes and a housemaid secretly invite each other’s partners to the Paris Opera ball and… c’mon, you can guess the rest. It’s Christmas: you don’t want Götterdämmerung. You want luxury, you want tunes and you want irresponsible fun. Richard Heuberger’s waltz-operetta Der Opernball is basically a deluxe box of musical liqueur chocolates, and it’s never been easier to guzzle the lot. Heuberger was a moonlighting music critic (he famously remarked that Schoenberg’s Verklärte Nacht sounds ‘like someone smeared the score of Tristan while the ink was still wet’), and he was working to a tight deadline.

It’s a strange compliment to pay a composer — that the most profound impression their music makes is of an absence. I can’t claim much prior experience of the composer Mieczyslaw Weinberg, who died in 1996: a vague sense of a Shostakovich-like figure who had a bad time of it under Stalin, and the composer of an opera, The Passenger, for which great claims are made by people whose judgment I respect but who probably, on balance, spend too much time with their heads in Eastern Europe. By the end of the first evening of this ‘Weinberg Weekend’, devised by Mirga Grazinyte-Tyla and the City of Birmingham Symphony Orchestra, I felt slightly ashamed about that. Gidon Kremer played his own violin transcription of Weinberg’s 24 Preludes for solo cello.

Two poets named Shelley have graced the English language. One was Percy, and the other is Pete. Just as an intellectual is someone who can hear the William Tell Overture without thinking of the Lone Ranger, so a true lover of a three-minute pop song is someone who, hearing the words ‘Shelley’ and ‘Manchester', thinks not of ‘The Masque of Anarchy’ and the Peterloo Massacre, but of ‘What Do I Get?’. ‘Ever Fallen In Love (With Someone You Shouldn’t Have)?’, ‘I Don’t Mind’, and the dozens of other songs that Pete Shelley wrote and sang with Buzzcocks.

Grade: D+ I promise you this isn’t simply class loathing. Yer toffs have contributed to British rock and pop and it hasn’t all been unspeakably vile. There were moments when Kevin Ayers held our interest, for example, and even Radiohead. And then there’s that man of the people, Joe Strummer. So let’s excuse Mumford & Sons their weighty class baggage and just concentrate on the music, which is irredeemably awful and makes Coldplay sound like the MC5. Someone has given them beats, cute little digital beats, to set beneath the faux folk which once irritated and now just bores one into a stupor. There is also that thing beloved by people who cannot write songs — atmospherics: ominous cymbals, metronomic piano, an overwash of organ and sonorous synths.

Grade: A+ Ooh, you can have some fun with this when the unwanted guests swing by this Christmastide. These are the ‘greatest hits’ of a serially indulged caterwauling loon with the political disposition of a spoiled seven-year-old, redone to make them even worse than they were before. So, put on ‘Why’ as you hand around the cocktails and the seasonal canapés. Trumpeting elephants, angry crows, an ominous synth and Yoko howling ‘Why? Whhhhhhhhhhhhy? Wok Wah Wheeeeeeeee! Ag ag agag ag! Whhhhhhy?’ Like a particularly angry and talentless Diamanda Galas. But don’t let a smile give the game away as this unendurable, pretentious garbage resounds around the room. Instead, flip to ‘It’s Gonna Rain’.

Let’s get the ‘was-it-good?’ stuff out of the way first. Yes, it was good. It was better than good. It was incredible, fabulous, dazzling. It was whatever adjective you want to throw at it. I can’t recall seeing a more engrossing pop production, ever. You don’t just get great songs — come on, you’re not going to quibble about ‘Once in a Lifetime’, or ‘Burning Down the House’, or ‘Slippery People’, or ‘Road to Nowhere’, are you? — played by brilliant musicians. You get them presented in a way no one has thought to present a rock show before. That way was to remove all fixed points from the stage.

Grade: A+ Easily album title of the year, maybe album of the year. A true bravura offering from these supposedly tired old men. Cypress Hill are now in comfortable middle age, almost as old as me, ffs. But they were ever ludicrously inventive and idiosyncratic, right back to that first album in 1991, which wrote the template for many lesser and even more profane hip hop gods. This one is mired in psychedelia, as even Charles Moore might have guessed from the title. There are very knowing nods to, especially, early Jefferson Airplane — although the guitar sounds more like Barry Melton than Jorma Kaukonen — and Sly and the Dead and Moby Grape.

Grade: B– Ooh goody — a parade to rain on! You wouldn’t believe the hyperbole expended by the rock critics on this middle-class French lass, real name Héloïse Letissier. Or maybe, being used to such mass gullibility, you would. ‘Bogglingly intelligent’ and ‘a thrillingly uncompromising artist, playing with ideas of gender, identity and individuality to pop-bright melodies’, for example. Her first album in English, Chaleur humaine, was similarly bestrewn with pop-hack ejaculate, to the extent that it resembled a plasterer’s radio. Why? Oh, check out the back story. Very gender fluid. Leftie. French. Channelling early 1980s electro pop and dance. And here she is with her hair cropped and calling herself Chris.

When Soft Cell first appeared on Top of the Pops in summer 1981, miming along to their version of Gloria Jones’s ‘Tainted Love’, it felt like a moment of palpable newness. Well, it certainly did if you were prepubescent and really had no idea what sex actually was. Romantic love — in either its glory or disappointment — was the everyday subject of the pop song, but here was this funny little fella in black, with studded accessories, singing of a love that was ‘tainted’. I had no idea what he got up to when the lights went out. I knew that homosexuality existed — in the same way that California condors existed, and Olympic athletes existed.

No one any longer denies the immense significance of Wagner’s musical-dramatic achievement, even if they find it repellent. But his reputation as a writer — of operatic texts, autobiographical and biographical memoirs, practical essays on how to conduct particular pieces, vast and less vast theoretical works, ranging from speculations on opera and climate to theologico-political musings — is not high. Nor should it be, except for the more ‘occasional’ pieces. He was in fact a major contributor to mauvaises lettres, and no kind of systematic thinker, however much he might have liked to be. His only prose that is consistently readable comes in his letters, some of them enormous, all of them full of life and colour.