Artist Christian Marclay had a retrospective, at the White Cube Gallery, in Bermondsey, London.
Portion of the White Cube exhibition is levelled up with a show space for artistes and a vinyl pressing machine – the notion being that specially custom-built live presentations are chronicled then constrained on the spot onto vinyl records.
Remember those classic, big cd type records during the 70s and 80s?
This appears like a precise impression of the traditional fever around recorded music. Vinyl is a classic which definitely soars high recently.
Vinyl sales have improved ominously over the years and any self-respecting music lover will be keeping up on a 180 gm pressings or crate-digging in antique shops for 12 inch records and oddities.
It’s recurrent like a chant these days that records have a deeper sound, and the sound of compact discs is simulated and stiff, proving that analogue is much enhanced than digital.
But the cost of this is just mere condescension, preferring older know-how over the new and contemporary?
Supposedly, digital MP3 music may sound appealingly rowdy, but a well mastered cd, played back on a sensibly notable hi-fi, bids the kind of precision and enhanced listening involvement that at a certain point you could only possibly attain with vinyl, except if you had the money to spend for a absurdly luxurious sound system.
So what’s the renaissance of vinyl truly about? Reminiscence is in the air, and in the circumstance of vinyl, it comes concealed as a forte, maven arrangement for unswerving audiophiles that’s swinging on a prevalent impetus.
Ultimately, it’s still about the music. My own piece of melancholy, some of my warmest recollections are of listening to cassette tapes on a monophonic tape player, with a lone earphone part.
The truth is, it doesn’t really matter how you playback or rerun the types of music you revel in. It’s the passion, how you internalize, and lastly, it’s what you’re listening to that really counts.
Nenhum comentário:
Postar um comentário