However, the paper goes further by arguing that The Weeknd's music possesses an eerie quality due to a clash between upbeat, dance rhythms and dark lyrics which depict The Weeknd's constant plunging into recreational sex and drugs although they do not satisfy him. Exhibiting what Fisher terms depressive hedonia and interpassivity, The Weeknd is an example of the retreat into privatized suffering which cannot recognize its social character. This paper revamps Fisher's term by focusing on the music of the Canadian artist The Weeknd. He singles out party hauntology as a specific subset of hauntology in pop music in which uneasiness looms behind a facade of excess and pleasure. In his book Ghosts of My Life, Mark Fisher borrows Jacques Derrida's term hauntology and repurposes it to describe a sense of a lost futurity haunting contemporary music.
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