I’ve recently returned from a month in coalition Britain, and I’ve been trying to figure out how, if at all, the general ideological tenor of the country has changed. Certainly Radio 1 is much more reactionary than it used to be; I think it’s managed to get worse every time I go back to the UK, but, now, with a new Tory government, it seems to be on a full-bore rush back to the DLT-days of the 80s. Well, actually, that’s not quite right, and the truth is possibly more disturbing: the Radio 1 of the 80s was about DJs in their 40s and 50s broadcasting for their patronizingly imagined younger audience, but today’s Radio 1 is built around young people patronizing themselves (and I know pop music isn’t that exciting at the moment, but surely there’s no excuse for Biffy Clyro).

Even as emotionally invested as I am in Radio 1, though, the reactionaryness of the coalition is obviously more worrying, although it does occur to me that there is a way in which New Labour was more neoliberal than the coalition are. Read more↴

It took me an unconscionably long time to listen to Rihanna’s Rated R (and, given my slow pace of blogging of late, even longer to write about it); unconscionable because it’s such a great record, a development of some of the best features of Rihanna’s earlier records. Luckily, the forthcoming release of “Te Amo” gives me an excuse for finishing this half-written post.

It may have taken me so long to get round to this because, for reasons I no longer understand, I wasn’t that impressed with “Russian Roulette” when I first heard it. I think to get it I needed to hear it in the context of some of the other tracks on the album. It was coming across the marvelously bizarre video for “Hard” on MTV that got me to look again at the album. “Hard” encapsulates the theme that is explored throughout the album: objectification as self-preservation, feminine superficiality as a kind of cold armor with which to avoid the pain which comes from interiority. Read more↴

The problem with MIA’s new video is not, as Anna Pickard claims, that it is “too shocking,” it is that it is not shocking enough. The video’s big “reveal,” that the state’s violence is directed at the redheaded, turns any possible shock into pure silliness. Read more↴

Despite his reactionary politics, I have a bit of a soft spot for Roger Scruton. This  stems from taking an aesthetics course as an undergraduate, in which Scruton was the only analytic author who actually discussed aesthetics, who was interested in the sensory qualities of actual works of art. His genuine skill in explaining how the sensory qualities of music relate to its cognizable structure is, however, certainly used for evil in this viciously ignorant article on modern pop music. As Ian Mathers says, it’s a spectacular example of “erudition squandered on a man who refuses to actually engage with the things he wants to demonize; demonizing them because he doesn’t understand.” But it’s instructive to see Scruton going so wrong here, because it illustrates something interesting about aesthetics. Read more↴

In other music news, the new J Stalin album, Prenuptial Agreement, is AMAZING. It’s the best hip-hop record I’ve heard in a long time, probably since The College Dropout. It’s great enough that there’s a rapper called J Stalin; it’s really icing on the cake that he produces tracks as great as, say, “Red and Blue Lights.” One thing I find interesting about the album, and probably one of the reasons I like it so much, is how much some of its synths and beats sound like grime, particularly certain Ruff Sqwad tracks or some of Target’s productions for Roll Deep. This occurred to me a little bit when I heard Philthy Rich’s recent album, but it’s really true of J Stalin. My favorite track on the album, “G in me,” is a great example of how well this grime-hyphy movement works. I guess where grime took dance music and moved towards hip-hop, J Stalin is moving in the other direction, but I’m glad they both end up in such a great place, musically.

The title of this post comes from J Stalin’s “Rockin Wit Da Best”; I hope it’s the Trotsky reference it appears to be. Also, when did people start using the expression “hot mess”? I don’t think I’d heard it six months ago, and now it’s the title of songs by Ashley Tisdale and Cobra Starship (who I was going to call “incomparably shit,” but of course their shitness is precisely comparable to that of 3OH!3), and crops up in a couple of tracks on Prenuptial Agreement and Animal.

What is it about Kesha that disorients people’s critical faculties? I suppose the Uffie comparisons sort of make sense, inasmuch as they’re both young women sort-of-rapping over electro-ish beats (the difference being that Kesha has funny lyrics and tunes). The same logic I suppose might lead to the Lady Gaga comparison’s, too, although the connection here is much more tenuous. The closest comparing the two might get to illuminating might be a SATs style analogy: Gaga is to New York as Kesha is to Los Angeles; the combination of a party-trash aesthetic and naive, heart-on-the-sleeve self-psychologizing is endearingly Californian. The comparison that’s most bizarre, though, is the suggestion that “Tik Tok” is a rip-off of Kylie’s “Love at First Sight”; well, the riff has a kind-of similar rhythm and contains a few of the same notes.

More than the desperate reaching for comparisons, though, I’m surprised by the vitriol of some of the reviews of Kesha’s album. I wonder if, say, some of the Amazon reviews aren’t a kind of rockist return of the repressed. Perhaps this is the truth of the Lady Gaga comparisons: a displacement of the criticisms of inauthenticity or shallowness that are so often leveled at pop artists, which people however feel somewhat uncomfortable leveling at the enthusiastically supported Gaga. Of course, Kesha isn’t anything like as interesting as Gaga, but her record is generally quite entertaining, especially the slightly 8-bit “Kiss N Tell,” and the Daphne and Celeste-esque “D.I.N.O.S.A.U.R.”

I wonder if part of the reason for the Gaga comparison is the paucity of American pop music to compare to. Or, rather, the disavowal of the relevant pop music, the R&B and hip-hop which Kesha’s electro-ey beats were surely influenced by. If you want a comparison, a  much better one would be Menya, though Menya are significantly better than Kesha (their funny filthy tracks are filthier and funnier, and their introspective tracks more affecting). Also, it’s clearly a sign that I’ve been reading too much Hegel that Kesha singing “I am in love/with what we are/not what we should be” makes me think of the preface to the Philosophy of Right.