{"id":313,"date":"2013-01-23T19:51:02","date_gmt":"2013-01-23T19:51:02","guid":{"rendered":"http:\/\/culturedallroundman.com\/?p=313"},"modified":"2015-06-14T18:10:56","modified_gmt":"2015-06-14T20:10:56","slug":"heteroglossia-in-the-music-of-ariel-pink","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/heteroglossia-in-the-music-of-ariel-pink\/","title":{"rendered":"Heteroglossia in the Music of Ariel Pink"},"content":{"rendered":"

\"arielpink\"<\/a><\/p>\n

I sometimes think that popular music criticism \u2013 taking popular music very broadly as a whole, and the criticism of popular music as something distinct from the criticism of classical music (a distinction which generally holds strong, in spite of a number of crossover artists or artists whose music draws from and fits alongside classical composers and compositions) \u2013 lacks critical and theoretical terms by which the art concerned may be discussed. Artists are frequently placed within movements, whether on a musical basis or, increasingly, because they are perceived to be part of some other aesthetic or media group or trend (take, for instance, the suitably nebulous notion of \u2018tumblr-wave\u2019); their music is discussed in terms of genre, and the deviation from and amalgamation of established genres; and production techniques and the fidelity of recordings may also receive mention. Yet there are relatively few terms which seem to seek to analyse what popular music is doing in the same way that theoretical terms abound in and are a fundamental part of literary criticism.<\/p>\n

Typical of many, I first came to really know the music of Ariel Pink through Ariel Pink\u2019s Haunted Graffiti\u2019s 2010 album,\u00a0Before Today<\/em>; which was one of my favourite albums of that year and served as encouragement towards listening to more of Pink\u2019s music. Pink and his band\u2019s latest album,\u00a0Mature Themes<\/em>, likewise became one of my favourite and most listened to albums of the past year. A couple of months ago, I attended their concert on the back of the album at the Melkweg in Amsterdam, and profoundly enjoyed it; and in contemplating its various aspects \u2013 from Geneva Jacuzzi\u2019s bold and detached, highly performative opening act; to Pink\u2019s presentation, singing through the first several songs from the steps at the rear of the stage, his back to the audience, his face transmitted in close-up via Jacuzzi\u2019s video-camera; to the music itself \u2013 I thought about Bakhtin\u2019s concept of heteroglossia and feel that it serves well to describe the structure and the matter of Pink\u2019s compositions.<\/p>\n

Heteroglossia is defined by Bakhtin as \u2018another\u2019s speech in another\u2019s language, serving to express authorial intentions but in a refracted way\u2019. It translates literally from the Russian,\u00a0\u0440\u0430\u0437\u043d\u043e\u0440\u0435\u0447\u0438\u0435\u00a0(\u2018raznorechie\u2019), as \u2018different-speech-ness\u2019. Applied by Bakhtin primarily within the realm of literature, it essentially defines the way in which all language, in use, draws sometimes explicitly and deliberately, but always implicitly from each of its previous uses, thereby bearing numerous possible meanings and intentions and leading in innumerable directions. It explains that whenever we speak or write, our words carry with them the voices and motivations of other people and other groups, and that meaning is therefore uncertain and contested.<\/p>\n

Bakhtin opposes heteroglossia to unitary langage, which is described as centripetal rather than centrifugal (that is, directed towards the centre rather than moving outwards and away from it), and which attempts towards \u2018guaranteeing a certain maximum of mutual understanding and crystalizing into a real, though still relative, unity\u2019. The utterance is the core expressive unit wherein the opposition between unitary language and heteroglossia plays out. Thus every utterance is defined as a \u2018contradiction-ridden, tension-filled unity\u2019, and:<\/p>\n

\u2018The processes of centralization and decentralization, of unification and disunification, intersect in the utterance; the utterance not only answers the requirements of its own language as an individualized embodiment of a speech act, but it answers the requirements of heteroglossia as well; it is in fact an active participant in such speech diversity.\u2019<\/em><\/p>\n

Ariel Pink\u2019s music is heteroglossia in musical form. It is music as \u2018contradiction-ridden, tension-filled unity\u2019. The work of few other musicians embodies within it so many competing voices, and where there do appear areas of potential conflict \u2013 be they in questioning, conversational or argumentative lyrics, or in the music, in the use of samples to take one possible instance \u2013 they tend to be subsumed by the artist\u2019s central presence, constituting in the end a singular musical statement and presenting a coherent point of view. Likewise, where other artists utilise vocal harmonies, the effect, and the affect, is often something communal. By contrast, the multitude of voices in Ariel Pink\u2019s music are never subsumed.<\/p>\n

Pink\u2019s music is heteroglossic primarily on the level of individual songs, where Pink\u2019s voice often achieves remarkable, sudden and layered shifts in pitch and tone (a facet of his singing which was particularly apparent live); and where seemingly disassociated lines are interspersed or throwaway expressions interrupt or addend that narrative provided by the verse. \u2018Pink Slime\u2019 features a combination of spoken English and spoken Spanish, singing in two distinct pitches \u2013 with backing which alternately corresponds to and complements Pink\u2019s vocals, mumbles, repeats the title, or else expresses in \u2018uhs\u2019 and \u2018ahs\u2019 \u2013 and intermittently surging synths. Breaking amidst the falsetto, bass and sound-effects of \u2018Beverly Kills\u2019, the alternately sleek and frantic exclamations \u2018Can\u2019t stop the press!\u2019 and \u2018I can\u2019t break the headline\u2019 entwine and dissipate, resolving without verbal conclusion into twirling synthesizer.<\/p>\n

The movies are explicitly referenced, and there is a borrowing and a manipulation of movie lines in \u2018Kinski Assassin\u2019, where Pink sings \u2018I will always, I will always, have Paris\u2019. Pink evokes without setting his evocations within a solid past or present context; and his modification of Casablanca\u2019s famous line is dialogic in the Bakhtinian sense in that it doesn\u2019t merely show that movie\u2019s influence, but provides an interpretation which can alter our viewing of the actions and emotions in the film. The difficulty of finding concrete meaning in anything, and in expressing in a singular and consistent way, is formulated in \u2018Mature Themes\u2019 in the succession of lines,\u00a0\u2018I\u2019m sorry but it\u2019s true, \/ truth is shameful and vile, \/ so I\u2019m not real and I won\u2019t call you \/ and I want to talk about mature things (daily)\u2019. There is uncertainty too in the chorus, where it is unclear whether Pink sings \u2018I want\u00a0it<\/em>\u00a0to be good\u2019 or \u2018I wanted<\/em>\u00a0to be good\u2019, his repetitions of \u2018to be good\u2019 increasingly desperate so that the word \u2018good\u2019 loses any simple sense. More, throughout the album, across songs, the range of musical genres and the different modes of mixing on display \u2013 with Pink\u2019s vocals sometimes at the forefront and clear, sometimes deep, muddied and surrounded \u2013 increase the sense of a music full of different speech.<\/p>\n

Pink\u2019s music has been discussed within a dichotomy of sincerity and insincerity.\u00a0Pitchfork, in their blurb rating\u00a0Mature Themes<\/em>\u00a0the 21st best album of 2012<\/a>, question the sincerity of the cover of \u2018Baby\u2019 which closes the album; and a similar sentiment characterises\u00a0their discussion of the song itself in their list of 2012\u2019s \u2018top tracks\u2019<\/a>. \u2018Baby\u2019 \u2013 a cover of a previously obscure song from brothers Donnie and Joe Emerson\u2019s 1979 album\u00a0Dreamin\u2019 Wild<\/em>; uncovered over the past few years and re-released in 2012 by Light In The Attic Records \u2013 is an ethereal combination of soul, funk and hopeful longing, to which Pink adds whispers and moans and doo-wop, Flamingos-style \u2018shoo-bops\u2019. I\u2019m not sure that it is adequate to question Pink\u2019s sincerity in the song, or to to identify the locus of his music\u2019s interest as its fluctuating between the poles of sincerity and insincerity. For Bakhtin, even at the peak of high poetry as a centralising linguistic force, the \u2018heteroglossia of the clown sounded forth\u2019 at street level, in everything from mythology and folk tales to bawdy songs. However, the use of language for comedic, ironic or parodic purpose alone, while it may be double-voiced, ultimately remains within an individual dialogue. It fails to be truly heteroglossic in the way that Pink\u2019s music always is, even when covering another artist\u2019s work, even when it does attain moments of communality as it markedly does in \u2018Round and Round\u2019, special precisely because the moment is brief and a shift in its own right.<\/p>\n

I don\u2019t mean to suggest in discussing Ariel Pink in this way that there is something especially literary about his art, or that he is alone in achieving a decentralisation of popular music. Yet I think this decentralising is one of the effects of his music; and I think the concept of heteroglossia provides an interesting way of thinking about him as a musician. It is notable that, despite his fluent Spanish, Pink works predominantly with and within an American musical tradition. Deleuze and Guattari\u2019s concept of a minor literature, in their work\u00a0Kafka: Toward a Minor Literature<\/em>, shares points of similarity with Bakhtin\u2019s concept of heteroglossia. Where heteroglossia decentralises and disunifies language, minor literature aims to \u2018deterritorialise\u2019 it. Deleuze and Guattari argue that \u2018A minor literature doesn\u2019t come from a minor language; it is rather that which a minority constructs within a major language\u2019, and it is this that Pink\u2019s music achieves: with a dialogic understanding of American culture, and with the heteroglossia that is a part of his compositional practice and an inherent facet of his voice, he makes a searching, significant and experimental \u2018minor\u2019 music out of major American pop culture.<\/p>\n

<\/div>\n

Deleuze, G. & Guattari, F.\u00a0Kafka: Towards a Minor Literature<\/em>,\u00a0and Bakhtin, M.\u00a0Discourse in the Novel<\/em>, in Leitch, V.B. (ed.)\u00a0The Norton Anthology of Theory & Criticism<\/em>\u00a0(Second Edition: London; Norton, 2010)<\/p>\n

Bakhtin\u2019s Discourse in the Novel<\/em> is available as a PDF file from the Iowa State University\u2019s website:\u00a0http:\/\/www.public.iastate.edu\/~carlos\/607\/readings\/bakhtin.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

I sometimes think that popular music criticism \u2013 taking popular music very broadly as a whole, and the criticism of popular music as something distinct from the criticism of classical music (a distinction which generally holds strong, in spite of a number of crossover artists or artists whose music draws from and fits alongside classical […]<\/p>\n","protected":false},"author":1,"featured_media":3194,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3878,3879,3880],"tags":[316,1402,1507,3719,2093,2459],"class_list":{"0":"post-313","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-literature","8":"category-long-reads","9":"category-music","10":"tag-ariel-pink","11":"tag-gilles-deleuze","12":"tag-heteroglossia","13":"tag-long-reads","14":"tag-mikhail-bakhtin","15":"tag-philosophy"},"jetpack_publicize_connections":[],"yoast_head":"\nHeteroglossia in the Music of Ariel Pink<\/title>\n<meta name=\"description\" content=\"An exploration of the music of Ariel Pink - 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