"I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really"
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Wyatt’s genius move here is how casually he punctures the mythology of “the scene.” In a few plainspoken lines, he reframes what could be read as ideological betrayal - choosing pop over avant-garde purity - as something closer to bad geography. “Misunderstanding” is disarming: it suggests nobody was villainous, just misaligned. That’s a quietly radical stance in rock history, where genres often behave like factions and taste becomes a moral credential.
The key phrase is “swimming the wrong way.” It’s not a grand manifesto; it’s the image of a body moving against a current, exhausted less by the music itself than by the expectations around it. Wyatt’s career (Soft Machine, the Canterbury orbit, later solo work) sits exactly in that tension: experimental structures and studio oddities paired with an almost stubborn affection for melody, tenderness, and the direct hit of a song. Pop, for him, isn’t “selling out”; it’s a different kind of ambition - clarity over complexity, feeling over virtuoso signaling.
There’s also a subtle class-and-access implication. Pop music is the common language, the thing you don’t need a password to enter. By calling the avant-garde scene a “misunderstanding,” Wyatt hints at how subcultures can become self-referential machines, rewarding difficulty for its own sake. His tone stays gentle, but the critique lands: if you have to keep insisting your music is important, you may already be losing the plot.
The key phrase is “swimming the wrong way.” It’s not a grand manifesto; it’s the image of a body moving against a current, exhausted less by the music itself than by the expectations around it. Wyatt’s career (Soft Machine, the Canterbury orbit, later solo work) sits exactly in that tension: experimental structures and studio oddities paired with an almost stubborn affection for melody, tenderness, and the direct hit of a song. Pop, for him, isn’t “selling out”; it’s a different kind of ambition - clarity over complexity, feeling over virtuoso signaling.
There’s also a subtle class-and-access implication. Pop music is the common language, the thing you don’t need a password to enter. By calling the avant-garde scene a “misunderstanding,” Wyatt hints at how subcultures can become self-referential machines, rewarding difficulty for its own sake. His tone stays gentle, but the critique lands: if you have to keep insisting your music is important, you may already be losing the plot.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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