some retromania-related reading:
A Pop Matters article looking at the resurgence of cassette culture by Elodie Roy, who I interviewed for that Fanzines Resurgence article five years ago account of her paper-and-print publication Applejack.
"Exithippies' reading of modern British tribal history is gloriously
wrong, like a bad dream about a Simon Reynolds book. That has to be more
interesting than another band who have boned up on exactly how it went
down thirty years ago (or whenever), and can replicate the tics, cliques
and tunnel vision to a tee"- from Noel Gardner's Straight Hedge column for Quietus, which looks at a bunch of neo-punk bands, including Japanese outfit Exithippies who "obsessively mine two stylistic seams: neolithically primitive noisecore
with vacuum cleaner blare and incomprehensible grunts, and
barely-more-refined Castlemorton-style zombie rave", i.e. two genres that never actually merged despite the lifestyle crossover between squat punx and squat raves/travelers. Sounds both typically Japanese in a Boredoms/Acid Mothers Temple jump-cut archival-import collage mode, and like what will be increasingly common as a strategy of recycling and recombination as the resources of the past become depleted.
Most of the bits on Youtube of Exithippies don't sound very Spiral Tribe-y though - just like your typical frenetic crustpunk cacophony - except for this one -
which, conversely, doesn't sound remotely crustpunk.
Poet Mark Scroggins on Susan Howe's Bibliography of the King's Book or, Eikon Basilike and its connections to hauntology in both the Derrida/Specters of Marx sense and as a musical genre-not-genre.
An interesting article, but I would have to say that his opposition of rockism versus hauntology is off-point -- rockism's other is pop (and more recently its ideologification from the early 2000s on as poptimism). Hauntology is off somewhere else altogether.
Yes, there are rockists who have a hang-up with live performance as the site of authenticity and presence, as the liminal space where the rock community comes together, but that is only one strand - and a particular old-fashioned one -- within a larger set of assumptions, biases and beliefs to do with significance, seriousness, substance versus surface, rebellion, etc (most of which I agree with or at least am in sympathy with). You can be a records-man with not that much investment in live performance and still be rockist about your recordings (I'm the living proof of that). You can be rockist in your value system when celebrating/analysing/taking pleasure in hip hop, post-rave electronic dance music, dub 'n' dancehall etc -- all of which have largely left behind the live-performance paradigm. Again, I'm a good example of this myself. (And of course, it really shouldn't need saying at this point: rockism in essence has nothing really to do with electric guitars or the four-man band. The rockist mindset/value system preexisted rock -- jazz was its previous site - and it will post-exist it too)
Further, Hauntology, in so far as it is a post-millenium discourse of seriousness and mind-expansion that posits the idea of music that is in some way dissident, counter-hegemonic, unsettling, etc etc is not just not opposed to rockism, it is arguably rockism's continuation, the next level of it, its afterlife. Again, yours truly -- nu-rockist and hauntology-fan simultaneously - is the unliving proof of that.
(And FHI, I have read Specters of Marx and its sister-volume Ghostly Demarcations -- just didn't find (and still don't) much in the way of overlap between its contents and the music discussed in that Wire piece. Barely any in fact. )