(This is Andy Synn‘s review of the new album by the Swiss band Schammasch, which will be released by Prosthetic Records on November 8th.)
I’m sure it hasn’t escaped the attention of our readers that there’s been a lot of discussion recently about what constitutes “art” – what art is, what it “should” be, who should be allowed to call themselves an “artist” – when it comes to cinema.
And, obviously, this is an issue which extends to the music world too.
I know many people are particularly concerned with what role the intended audience should play in the creation of any piece of art.
Should an artist remain totally disconnected from the wider world, focussing on their own thoughts and feelings, to the exclusion of all else, with no thought to who their viewers/listeners will be?
Or should they consider how people will engage with and interpret their work, and aim to play with the perceptions and expectations of their audience as a way of provoking a certain reaction?
One of these approaches treats art as a form of “pure” expression, the other as a form of “deep” communication, and though both have their defenders and detractors, the truth is that they have both led to the production of some great works of art over the ages.
Which brings us, finally, to Hearts of No Light.