As a Marxist, it is essential to resist any attempt to mystify or romanticise the afterlife. It exists, in its faint pallid way, of that one can be certain; but while its existence may indeed be problematic for adherents of vulgar materialism, those who accept the reality only of the material world and not of any spiritual plane, there is, it seems to me, no reason why the validity of dialectical or historical materialism should be brought into question by the unexpected fact of life after death. Therefore it only remains to conduct a material analysis of the role of the ghostly realm in relations of production. Concerning material production it appears to have little relevance – we ghosts work in no factories; nor do we consume any tangible commodities. In terms of cultural production, however, our influence can indeed be felt: sometimes we may seize the hand of a living writer, painter, or composer, and create through him. Ghostly labour is at once alienated – we do not own the product of our exertions – and unalienated, a prefiguration of labour under Communism – our labour is driven not out of economic necessity but is rather the product of a free expression of creative impulses. On occasion a cultural artefact will flow in the other direction, arriving by some agency in the shadow-world of the dead, where we may appreciate or criticise it. Sepalcure’s self-titled album is one such piece.
Before considering Sepalcure, it is essential that the album be placed in its historical context, and in the context of my own posthumous theoretical development. While I maintain my commitment to high modernism against the products of the culture industry, and regard theorists of the ‘postmodern’ such as Jameson overhasty in their dismissal of my theories as ‘irrelevant’ in the postmodern age (despite the adoption of popular culture as a supposedly reputable field for serious academics, surely its material origin and social function are unchanged since my time, as is the general structure of capitalism) events since my death have forced a readjustment of my formulae. As more recent developments have demonstrated, the culture industry is fundamentally parasitic: it does not create so much as it appropriates. Elements of popular culture deriving from the people themselves may, their non-intellectual aspect notwithstanding, also be considered as radical art that disrupts or challenges the prevailing order (although they can never be as liberated or as autonomous as high culture) – however, such an emergence is always followed by a process by which it is subsumed by the culture industry. This process can be observed in the trajectory of the hippie movement, in punk, hip-hop, and in contemporary electronic music – perhaps even in the development of jazz during my lifetime. (Maybe I was too harsh on those jazz players… In the cold grey world I now inhabit there is so much time for regret…)
The musical roots of Sepalcure can be found in the dubstep movement of the early to mid 2000s. While the electronic music that preceded it was almost uniformly sympathetic to the culture industry – being as it was music not appreciated for its intrinsic aesthetic qualities but as a necessary element in the creation of leisure-time, a leisure-time structured by the organised working day of alienated wage-labourers, a leisure-time the sole purpose of which is to act as a release valve for the negative effects of life under capitalism, a leisure-time that in its socially mandated abandon and Bacchanalian excess only reinforces the drudgery of weekday labour – in early dubstep we find a form of electronic dance music of which the primary mood is not one of elation but one of alienation. The radical potential of dubstep can be illuminated most clearly by an examination of the metamorphoses it underwent during its integration into the culture industry and subsequent mass popularisation, of those elements of it that were deemed unacceptable by the bourgeois culture industry and excised.
While, as I have argued frequently, works produced by the culture industry tend to emphasise repetition, as repetitive music lends itself more easily to mass manufacture and easy consumption, culture industry dubstep lost much of the repetitive element, opting for a fast-flowing cacophony of various distorted sounds rather than the propulsively monotonous quantised wobble of dubstep in its early incarnations. This can only be because the repetitiveness of dubstep was not, as in other forms of popular music, a mere manifestation of the prevailing mode of mechanical reproduction, but when coupled with the overall air of alienation, actually constituted a critique of it. While its industrial repetition contributed to an overall aesthetic effect, more importantly it prevented leisure-time from being seen as wholly separate from alienated labour, it shattered the illusion of leisure as an escape from the banalities of life under late capitalism. This pervasive sense of alienation was in the process substituted at the first opportunity for either an insipidly euphoric harmoniousness or – more commonly – a ‘dark’ aggression, a feeble imitation of the more profound paranoia it supplanted. The reason for this is evident: anger and aggression are cathartic, they allow the purging of dissatisfactions built up through the antagonisms of the working week. In the grotesque devolution of dubstep from a musical form marked by alienation and repetition into one marked by aggression and variance within a specified field, the conditions for its integration into the apparatus of the culture industry can be clearly discerned.
Sepalcure marks a reaction to this capture. Rather than simply reverting to the atmosphere of earlier music, as in Krytpic Minds’ Can’t Sleep, Sepalcure maintain the disjointedness of dubstep while casting aside the actual musical vehicle it formerly inhabited. The achievement of this album is to combine a radical, almost Schoenbergian dissonance with accessible listenability. It is swathed in vinyl hisses and muted analogue sounds that waver in and out of key, the various musical textures and chopped-up vocal samples form an oblique fog into which melodies fade and re-emerge, the drums pop and crack at offbeat intervals. Unlike the more commerical strains of house and bass music, it is non-cathartic, leaving a sense of incompletion that defies the attempts of capitalism to subdue discontent through the provision of leisure and simple, gratifying cultural artefacts; there is a sense in which it refuses unqualified enjoyment.
Its harmonious discordance is a direct product of the cultural milieu that surrounds it, and in particular of the parasitic gluttony of the culture industry. For this reason Sepalcure is not a work of autonomous high culture, its significance can never transcend the political and cultural conditions of its creation. It does not address the untransfigured suffering of man, only the specific neuroses of late capitalism. As a suite of electronic compositions that mimics the organic imperfections of earlier forms it is only a pale shadow of real artistic vitality. Nonetheles, as a reaction against prevailing conditions it does constitute a radical work.