May 27, 2010
Dubstep’s a slave 4 U

Perez Hilton recently noted Britney will collaborate with Yorkshire dubstep producer Rusko.

It took ten years for the latest underground music to go mainstream in the US.  Boy was that slow to catch on.  The wobbly bass music once born as dubstep became an aesthetic parody several years ago.  With its subsequent, sluggish normalization, it’s now finally ripe for US corporatization.  Despite the memetic acceleration under network culture, it took a remarkably long time.  Really, is the “underground” that hard to map?  I doubt it.  Chock it up to populist tastes. 

Depressingly, a lack of fresh ideas in contemporary electronic dance music leaves us with little headroom as a not-so-recent innovation has yet again become subsumed in the name of profit.  It’s ironic in an age where we’d expect new or hybrid formats to emerge with increasing frequency that it takes this long for a fad to catch on without a new one to emerge. 

If it cheers you up, try playing this and this at the same time, though it would only be EBM all over again.        

March 5, 2010
parallel universe

January 10, 2010
Kottke on Avatar.

Downloading and uploading hopes and dreams.

January 7, 2010
the club and headspace networked

It’s safe to say at this point that house and techno music have taken a neoclassical turn.  With mnml techno falling out of favor, house and techno are squarely in an era of reckoning with the canon.  With the shift came the questions of provenance and aesthetics.  Familiar arguments for authenticity drawn along geographies resurfaced (e.g. Detroit or Europe).  2008/2009 saw a revival in deep house as the next trend.

But if anything, having existed largely subculturally despite being subsumed by the mainstream at times, house and techno’s definitive history — notwithstanding the many efforts to establish such a narrative — is continually questioned.  If these questions have always been raised within the music itself (as in Willie Wonka’s “What is House?”) and published as part of the music (see Tim Lawrence’s liner notes of the Can You Jack? compilation, republished here), then with increasing frequency these discussions now take place on the net, initiated by primary sources and every subsequent generation.

It’s clear the blogosphere exists no longer as prosthetic to an underground musical movement, but as an integral space in which it unfolds.

From the mnml ssgs blog:

“And hey, maybe nightclubs are good spaces for these kinds of explorations; I personally think they are also mostly quite hostile to the development of interesting music and social life.

So: we need new venues, new models, new spaces – three (that already exist, but that I feel are full of interesting potentialities) spring to mind.

…this online space, the blogosphere, which, you won’t be surprised to hear from me, I feel has undoubtedly been the 00s’ greatest space of possibility. But it is incredibly delicate, more like the accidental niche created by informational capitalism than the concerted or deliberate outcome of a struggle over space. I really don’t think we appreciate how fragile this space is, how quickly and easily it could be shut down (or just leveraged in to some kind of pay-per-view Murdoch wet dream), and where we’d be left after the death of the chill-out room, the record store, the squat party, or any kind of party held without police permission if it did. “

December 26, 2009

Copyleft

Here, 91.1 FM Jersey City WFMU General Manager Ken Freedman discusses the Free Music Archive, an interactive library of legal audio downloads.  If non-commercial radio stations like WFMU provide the public with a free way to listen to music, then the Free Music Archive “provides a legal and technological framework for curators, artists, and listeners to harness the potential of music sharing” on the internet, where we see escalating prohibition of content.  Critically, all content on the site is cleared for use for anyone to remix, broadcast, or podcast.

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