Accessibility (Updated)

It’s becoming increasingly clear, given the (often-niche) nature of the subjects I am interested in and the spheres in which they exist, that accessibility could play a key role in communicating the messages I am interested in, penetrating another bubble – a way of preaching to the unconverted.
I’ve been thinking about the existence of an ‘entry point’ in a work: a moment of comfort in which a hesitant viewer can be receptive, with the intention of easing them into a situation outside of that comfort zone and provide a new environment in which they are presented with a new perspective – my perspective.
The most obvious (to me) of these is in music, where a kind of breaking point seems to exist within people (I believe all people) at which you find yourself unsympathetic or unable to appreciate something that later, with greater exposure and opportunity to properly digest, might be enjoyed.
This brings me back to an old idea developed in my teens – when music and its associated media held a significant place – in the idea of accessibility of cover songs. Presenting a song known by the listener provides the opportunity for them to have an immedate understanding of the song, its context, its structure, etc. and immediately reach a point at which they begin the process of experiencing the song by digesting the actual audio components of the song. The idea here being that a more intensity of approach is possible because the above-mentioned ‘breaking point’ would arguably exist further along the scale. Below is the current list, built upon for the past couple of years (and kept in the notes section of my phone):
Nina Simone – Feeling Good
Screaming Jay Hawkins – I Put A Spell On You
Lead Belly – In The Pines
Sleater Kinney – Call The Doctor
Cold War Kids – Hospital Beds
Throbbing Gristle – Discipline
The Cramps – Human Fly
Iggy Pop – I Wanna Be Your Dog
The Fall – New Big Prinz
Le Tigre – The The Empty
Bikini Kill – Double Dare Ya
The Distillers – The Young Crazed Peeling
Nirvana – You Know Your Right
Neutral Milk Hotel – Oh Comely
The Blood Brothers – Cecilia and the Silhouette Saloon
Throbbing Gristle – Very Friendly
I thought perhaps the introduction of a kind of arch of intensity, beginning with an accessible sound, i.e. something widely considered as such, which gradually builds into something louder, more intense, more aggressive.
Looking at the above list, there’s a clear gradient of songs – from more accessible and more well-known to harder and less well-known. Perhaps flipping the songs, taking those harsher and more aggressive-sounding songs and rendering them in an approachable way, and vice versa. These could then be presented from most-to-least extreme (in sound) or similarly most-to-least extreme (in originator).Colin Stetson – New History Warfare vol. 2 The second of the multireedist’s trilogy of albums

I’ve been noting various electronic musicians and contemporary composers who have made crossover or experimental projects:

Colin Stetson – New History Warfare vol. 2
The second of the multireedist’s trilogy of albums (featuring performance artist Laure Anderson)

Koreless – Sun
A live string quintet rendition of the electronic producer’s track.

Mica Levi – Under The Skin Soundtrack

A doom-laden classical score for Jonathan Glazer’s sci-fi horror



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