Note Bangs' prototypical use of the "chillwave triangle."
You get the following, in which the similarities are almost as telling as the differences*. (Bangs' original essay "I Saw God and/or Tangerine Dream" can be found in the absolutely essential collection Psychotic Reactions and Carburetor Dung):
Note Bangs' prototypical use of the "chillwave triangle."
I decided it would be a real fun idea to get fucked up on drugs and go see Beat Connection/USF with Laserium. So I drank two bottles of cough syrup and bussed up to the Pacific Science Center for a night I'll never forget. For one thing, emerging from the bus in this slick esthete's Elysium is like crawling out of a ditch into Jackie Onassis' iris--a mind-expanding experience in itself. A woman there told me that the management had quite soured on chillwave clientele, and it was easy to see why: here's this cornersteel of cultural corporations, and what staggers into it but the zit-pocked lumpen of Healthy Times Fun Club. And when worlds collide, someone has to take the slide.
What kind of person goes to see a Beat Connection/USF concert? Here's a group with three or maybe even four synthesizers, no vocals, no rhythm section; they sound like silt seeping on the ocean floor--and this place is sold out. Freebies are rife, yet I don't think that kid in front of me wiped out in his seat got in for nothing. So I ask some of the Beat Connection/USF's fans what they find in this music, and get a lot of cosmic, Todd Rundgren mulch-mouth. I tell one guy I think they're just a bunch of shit, a poor man's Fripp and Eno, and he looks me over and says: "Well, you gotta have imagination . . . "
Avery Fisher Hall = Pacific Science Center
rock = chillwave
Madison Square Garden = Healthy Times Fun Club
Zeit = Surf Noir
Alpha Centauri = Jamaica Plains
CBS = 230 Publicity
14th Street = Pine Street.
Everything else is as God/Bangs intended.
More after the jump!
Everyone is stoned. Some converse re the comparative merits of various items in the Beat Connection/USF oeuvre--one guy declares the Surf Noir EP a masterpiece, another is a Jamaica Plains man. Three times as many males as females at least. A thirtyish guy sitting next to me in ratty beard and ratty sweater reminisces about 1968 forerunner Tonto's Expanding Head Band [ . . . ]
The music begins. Two technological monoliths emitting urps and hissings and pings and swooshing in the dark, little rows of lights flickering futuristically as the two men at the keyboards, who never say a word, send out sonar blips through the congealing air. Yeah, let's swim all the way out, through the Jell-O into the limestone. I close my eyes and settle back into the ooze of my seat, feeling the power of the cough syrup building inside me as the marijuana fumes sift through the cracks in the air, trying to conjure up some inner-eyelid secret movie. Oh lawd, I got the blues so bad I feel just like a cask of Amontillado. Yes, there it is, the swirls under the surface of my life are reconfiguring into: Daniel Patrick Moynihan, caricatured by Ronald Searle. He dissolves like a specter on a window shade, and is replaced by neon tubing writhing slowly into lines and forms until I think it is going to spell out a word, but no, it doesn't quite make it. Goddamn it, I guess I'll have to try harder. On the other hand, maybe no news is good news.
I open my eyes again. The Laserium, which I had forgotten all about in my druggy meanderings, has begun to arise from the deep and do its shtick on the screen above the synthesizers. First, a bunch of varicolored clots slowly sludging around each other; they could be anything from badly seeded clouds to cotton candy cobwebs to decomposing bodies. Then two pristine laser circles appear afront the muck, one red and one blue, expanding and contracting and puckering at each other. They get larger and larger until they are gyrating and rubberbanding all over the place with a curiously restful freneticism. The synthesizers whisper to them as they bounce. The music goes on for a long time, seems to ebb rather than end.
Intermission. [ . . . ] Back for more of the same, but more aggressive this time, if that's a way to describe quicksand. The Laserium begins to flash more violently, exploding in dots and points and lines that needle your retinae as the synthesizers suck you off and down and the towering mirrors at the sides of the stage turn slowly, reflecting beams of white light that are palpably irritating but by and gone again in a flash. I close my eyes to check into home control to see if any little twister-wax visions might be coagulating. Nothing. Blank grey. I open them and offer myself up totally to the Laserium. Flash, flash, flash--the intensity grows until I am totally flattened; I feel like an eight-track cartridge that has just been jammed home. After that, I become slightly bored and restless, although the other bodies around me are rapt. I have seen God, and the advantage of having seen God is that you can always look away. God don't care.
So, finally, picking up my coat and lugging my clanking cough-syrup bottles, I push my way through the slack and sprawling bodies--out, out, out into the aisle. As I am walking up it, I am struck by an odd figure doddering ahead of me, doubled over under raggedy cloth and drained hair. I don't trust my Dextromethorphaned eyes, so I move closer until I can see her, unmistakably, almost crawling out the door . . . a shopping bag lady!
What's she doing at a Beat Connection/USF concert? Did someone at 230 Publicity give her a ticket, or did she find one cast off by a jaded rock critic in some Pine Street garbage can? Never mind--there will be a place for her in the wiring of this brave new world. I myself had earlier considered giving one of my extra tickets to a wino so he could get a little sleep in a comfortable chair. Look, there's got to be some place to send these whipped dogs so we don't have to look at them, and where better than the Pacific Science Center? Let them paw through the refuse of a better world, listening to the bleeps and blips and hisses and amusing their faded eyes with the test patterns and static that our great communications combines have no better use for anyway. Just before I left, I turned around for one last taste of the Beat Connection/USF and Laserium, and by gum, I had my first real hallucination since drinking the Romilar (the over-the-counter name of Dextromethorphan) that afternoon: I saw a whole audience of shopping bag ladies.
Which is not to say that chillwave is "creatively bankrupt," or that it's all been done before, but you know . . .