Diolch, unwaith eto i’r tudalen Datblygu Trideg ar Facebook, dyma fi’n darllen adolygiad gwych o’r llyfr ‘Blerwytirhwng?’ The Place of Welsh Pop Music gan Sarah Hill (d.s. nid y llyfr gan Hefin Wyn sy’n benthyg o’r un gâ SFA am ei deitl, ond traethawd academaidd cyhoeddwyd
yn America ym Mhrydain gan Ashgate Acedemic Publishers.
Gwelais i fersiwn cynnar o’r deunydd ar Datblygu flynyddoedd yn ôl, ond am wn i1, dyma’r tro cyntaf i fi wybod bod y llyfr wedi’i gyhoeddu.
Ac mae’n costio $99. Un am y wishlist, falle.
Ta beth, dyma ddetholiad o adolygiad ardderchog o’r llyfr gan John L Murphy, un o “top reviewers” Amazon US. Mae’r adolygiad yn werth ei ddarllen ar ei hyd, ond dyma beth sy ’da fe i’w ddweud am Datblygu a bandiau eraill eu cyfnod:
Datblygu, whose sound Hill barely notices (it resembles Mark E Smith’s The Fall), has in Dave Edwards a talented tortured voice. Paeans to bleak economics, failed love, and complacent Welshness all leap off of the page as much as Jarman’s verses. Hill rightly ties into Roland Barthes’ definition of the “grain” of the hand, the body, the voice “the whole carnal stereophony” of Edwards’ vocals. Y Tystion’s duo cleverly updates Gil Scott-Heron’s “The Revolution Will Not Be Televised” to lambast, like Datblygu, the “crachach”(the word’s oddly absent from this volume) establishment which militant youth perceive as having commandeered the gains of the 1960s rebels such as Iwan and settled into the Caerdydd comforts of Radio Cymru and SG4. While Welsh can be broadcast into not only TV and radio but now the Net, whether or not the angrier voices of discontent can find their Cymric shout-out remains to be seen– as with the rest of the globe given the state of our networks. I’d be intrigued to find how indie artists fare in Wales and Welsh with MySpace, filesharing, and raves, but these outlets either postdated Hill’s forty-year limit or were beyond its scope. Certainly, much of her investigation reproduces lengthy lyrical excerpts in her engagingly blunt translation that express not only Iwan’s “Carlo” but embittered disdain and eloquent frustration of those from post-punk, into hip-hop, and raised unwillingly under ‘Magi’ Thatcher.