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Zusatztext [An] incisive overview. Informationen zum Autor Simon Morrison is a music historian specializing in 20th-century music. He is the author of Bolshoi Confidential (2016) and Lina and Serge (2013). The latter was featured on BBC Radio 4 (as “Book of the Week”), BBC World News (TV), and WYNC. He was written the New York Times, New York Review of Books, London Review of Books , the TLS , and Time . Klappentext Having designed Roxy Music as an haute couture suit hand-stitched of punk and progressive music, Bryan Ferry redesigned it. He made Roxy Music ever dreamier and mellower-reaching back to sadly beautiful chivalric romances. Dadaist (punk) noise exited; a kind of ambient soft soul entered. Ferry parted ways with Eno, electric violinist Eddie Jobson, and drummer Paul Thompson, foreswearing the broken-sounding synthesizers played by kitchen utensils, the chance-based elements, and the maquillage of previous albums.The production and engineering imposed on Avalon confiscates emotion and replaces it with an acoustic simulacrum of courtliness, polished manners, and codes of etiquette. The seducer sings seductive music about seduction, but decorum is retained, as amour courtois insists. The backbeat cannot beat back nostalgia; it remains part of the architecture of Avalon , an album that creates an allusive sheen. Be nostalgic, by all means, but embrace that feeling's falseness, because nostalgia-whether inspired by medieval Arthuriana or 1940s film noir repartee or a 1980s drug-induced high-deceives. Nostalgia defines our fantasies and our (not Ferry's) essential artifice. Vorwort Explores the making and marketing of Roxy Music’s last album Avalon (1982) along with Bryan Ferry’s transformation from rock avant-gardist. Zusammenfassung Having designed Roxy Music as an haute couture suit hand-stitched of punk and progressive music, Bryan Ferry redesigned it. He made Roxy Music ever dreamier and mellower—reaching back to sadly beautiful chivalric romances. Dadaist (punk) noise exited; a kind of ambient soft soul entered. Ferry parted ways with Eno, electric violinist Eddie Jobson, and drummer Paul Thompson, foreswearing the broken-sounding synthesizers played by kitchen utensils, the chance-based elements, and the maquillage of previous albums.The production and engineering imposed on Avalon confiscates emotion and replaces it with an acoustic simulacrum of courtliness, polished manners, and codes of etiquette. The seducer sings seductive music about seduction, but decorum is retained, as amour courtois insists. The backbeat cannot beat back nostalgia; it remains part of the architecture of Avalon , an album that creates an allusive sheen. Be nostalgic, by all means, but embrace that feeling’s falseness, because nostalgia—whether inspired by medieval Arthuriana or 1940s film noir repartee or a 1980s drug-induced high—deceives. Nostalgia defines our fantasies and our (not Ferry’s) essential artifice. Inhaltsverzeichnis 1. On Modernism 2. On Avalon 3. The High Road 4. The After-Party Notes Bibliography ...
About the author
Simon Morrison is a music historian specializing in 20th-century music. He is the author of
Bolshoi Confidential (2016) and
Lina and Serge (2013). The latter was featured on BBC Radio 4 (as "Book of the Week"), BBC World News (TV), and WYNC. He has written for the
New York Times, New York Review of Books, London Review of Books, the
TLS, and
Time.
