Pin It
The Quartery looks back on three decades of local rock.

Openers 

Triangle Rock in Retrospect

A century after the flowering of the Industrial Revolution, sculptors like Picasso, González, and Smith scoured factory yards and rubbish heaps for saucepans, sieves, bolts and screws, which they would weld together to create figures of strange and extraordinary beauty. This new kind of sculpture, called assemblage, changed the world's perception of what it was to create art. No longer did a masterpiece have to be chipped from pure marble, or cast in bronze. Suddenly, it could be made of samples.

Many decades have passed since the advent of recorded music, and now the same wave of modernism that motivated Picasso is hitting music today. The old genres of rock 'n' roll, pop, hip-hop, punk, R&B, metal, and hardcore have begun to dissolve. These days, what band doesn't define its sound by a collision of labels? It's as if most groups have become chemists, crashing molecules together to fashion new atoms of song. And that's in live music. In studios, hundreds of successful performers are erecting aural sculptures of their own from the fragments of recordings from all over the planet. DJs like Moby now surpass in popularity the old guitar giants, and kids in basements are almost as likely to be sitting down at synthesizers than strumming out chords.

To echo these shifts in the world of sound, The Independent is ending the eight-year reign of the Rock 'n' Roll Quarterly and will launch in August a new music supplement. We will continue to retain the tight focus and in-depth, beyond-the-review coverage of the old RRQs, but feel it is time to push ourselves and our readership to discover where music is heading in the new millennium, and where it will take us along the way.

In RRQ's farewell issue, six of our writers have delved into the rock sounds of the last 30 years. These articles will take you from Arrogance's 1969 birth in a UNC-Chapel Hill dorm room, through the Brit-embellished '80s, the sheer power and perversity of the '90s scene, and into today, where we see that while the impulse behind all this great music remains, the form will continue to change. "Rock 'n' roll is dead," Pete Townshend sang in his famous and prescient paradox. "Long live rock." --the editors

  • The Quartery looks back on three decades of local rock.

Comments

Subscribe to this thread:

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in MUSIC: Rock & Roll Quarterly

Facebook Activity

Twitter Activity

Comments

Great article!

by Paul R. Tyler on Welcome to Comboland (MUSIC: Rock & Roll Quarterly)

90's raleigh-rocker, check out our February 2012 "Corrosion of Conformity: An oral history of 30 years": http://www.indyweek.com/indyweek/corrosion…

by Denise Prickett on Talking about our generation (MUSIC: Rock & Roll Quarterly)

Most Read

No recently-read stories.

Visit the archives…

© 2014 Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation