12 HOUR PARTY PEOPLE (The Mire)

tempelhof2bberlin-1976

Uber Germanist Owen weighs into the debate on minimal:

It rather pains me to say this, as Berlin – with its healthy contempt for the work ethic, and its still extant left activism – is a far, far saner city than London, and by several leagues more pleasant, more rewarding a place to live. And yet, when – as seems largely to have happened in much of Mitte, Kreuzberg, Friedrichshain, Prenzlauer Berg – an entire chunk of a formerly working city becomes a playground for an international of ‘creatives’, something odd happens. One often got the sense in Berlin that whatever was happening, it didn’t really matter, nothing was at stake: pure pleasure becomes boring after a while, as does the constant low-level tick-tock of a techno designed seemingly for little else than just rolling along. German techno seems fastidious, but not glamorous. An executive music for people who can make a living off DJing or curating here and there is a bizarre phenomenon, as is a futurist cottage industry. The restraint of the music is the effect of a culture with no restraints.

This perhaps makes sense of the link between minimal and hedonism that Philip Sherburne often insists upon. On the face of it, minimal is an extremely unlikely candidate to be considered a pleasure seekers’ music. It’s worth noting at this juncture, that, as Derek pointed out after my last post, there is very little ‘tasteful’ about a Villalobos, Luciano or Hawtin set – what appears tasteful at normal volume becomes something different when put through a club PA. Nevertheless, even at high volume, there is a certain restraint at work here – or perhaps it is better construed as an avoidance (of hooks, big riffs etc.) It could be that this avoidance of the hedonic spikes, the pleasure peaks, of music is the libidinal cost of distending pleasure over the course of a twelve hour party.

Berlin has in many ways become a capital of deterritorialized culture, a base for DJs and curators whose jetsetting lifestyle is indeed a “bizarre phenomenon”. If hauntology depends upon the way that very specific places – Burial’s South London Boroughs, for instance – are stained with particular times, then the affect that underlies minimal might be characterised as nomadalgia: a lack of sense of place, a drift through club or salon spaces that, like franchise coffee bars, could be anywhere.

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