Creating with limitations: Using the manifesto as a music creation tool
As citizens of this world, we have always felt the need to create. Whether it is art or technology, we have always created, may it for the best or for the worst. Giving birth to something is a very strong need for us and perhaps it is the reason why we created so many different musical genres. These different kinds of music exist because, at a point in time, someone started wondering and has attempted to find answers by creating a notation system, an instrument or a tool.
We are now living in a time when we – more or less – have access to music creation tools. Yet, I feel that when we talk about music we forget to mention a very important thing: how it is made. We forget to talk about the production principles, the decisions taken and, the everyday life of musicians, which, during the creative process, can bring up doubts, worries, and helplessness. In order to face these emotions, some artists decide to take a different direction. A path guided by rules to follow, fundamental principles to use, and sometimes, a manifesto.
But what is a manifesto? Why limit yourself when everything is possible? But then, why not? Perhaps it helps the artist to have better focus? To go straight to the point? It may just be the help needed because creating is complicated enough, tedious and emotionally exhausting. I have come to realize that the reasons why one would use a manifest can be all of the above, but most importantly different for each artist – I am only mentioning a few in order to avoid having to write a book.
In September 1978, Brian Eno writes and publishes his manifesto for the creation of what he calls Ambient Music. In this broad manifesto, he explains why he needs to write it. It is a guide – not of use, but of creation. It is broad enough so that the artist can come back to it at any time when composing ambient music. Eno’s text will also influence many artists who will then use it as a starting point to create – their – ambient music.
This manifesto isn’t the only one facilitating artists to “create” a new musical genre. In 1991, in the US, Kathleen Hanna, lead singer of the band Bikini Kill, publishes in the fanzine “Bikini Kill Zine 2”, the Riot Grrrl movement’s manifesto. It is the realization of their desires of independence, unity but also – and most importantly – of the feminists and humanistic values which are at the core of the movement. As opposed to Brian Eno’s manifesto, the Riot Grrrl’s one is precise, militant and politically charged. It is the foundation of a marginal group among an already alternative movement.
It becomes clear that the manifesto is taking (back) its original meaning which is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. The manifesto has a strong notion of politic activism, as well as its justification and Matthew Herbert’s is one of the most interesting ones. Unlike the previous manifestos, his is personal. He opens it by stating the following:
“This is a template for my own work and not intended to be a definitive formula for writing music, either by me or by other people.”
Therefore, we are presented with a rigid and precise text formulated as a list of rules and limitations that Herbert has to follow – as much as possible – throughout his career. These rules and that manifesto are at the core of his musical practice. Entitled “Personal Contract For The Composition Of Music [Incorporating The Manifesto Of Mistakes]” it presents us the concept of a contract that Matthew has to commit to when writing music. He also states that “the sampling of other people’s music is strictly forbidden” and that “only sounds that are generated at the start of the compositional process or taken from the artist’s own previously unused archive are available for sampling”.
For that particular reason, he has had to manipulate sounds of chicks, the human body food, and yes, explosions. This experimental approach to making music results in defining what it means to live on Earth in today’s context. Thankfully for us and for himself, Matthew Herbert allows himself, from time to time, to make music without his manifesto. During Ableton’s 2016 festival “Loop”, he admits that it is brilliant to take a break and make music without any rules or limitations whatsoever. However, that doesn’t prevent him from feeling a bit of guilt, which may seem strange at first. Yet, if we try to put ourselves in his head and his views about creation, we can only understand his feeling if making a mistake by not respecting them.
In all 3 cases, working with a manifesto has proven to push the artist in creating in a greater space than the one of individualism and ego. It is a way of working that aspires to inspire others to make better, to have a place that makes sense, that is intelligent and that is constantly reflecting on the way the world works.
this article was originally written in French for the music webzine beyeah.net
