interview in DJ, LFO's Mark Bell argued that mass availability
of cheap software programmes is blunting musicology: "There
are so many producers using software [rather than 'machines'] to
produce and so much of it is music by numbers. People think modern
electronic music is experimental but it's not, the tones and frequencies
were explored 60 years ago
The difference between making music
with software and working a track through machines is like playing
football with a Playstation rather than in your local park."
Fancy, we are now in a world where 'machines' are the luddite's
objects! So Bell would concede his new Sheath album is hardly
the groundbreaker of the first LP, but at least there is quality
in them there bleeps and squeaks.
else has been filling our ears and adjusting our cameras? Is
the musical lingua franca of the day, urban r&b, beginning
to look a bit des temps perdu? Missy Elliot in
sickening Gap!!!!!!! Ad with child book writer Madonna.
Relentless exploitation of form by every poppish up-and-coming
or indeed established act. Oh sure the Neptunes'
latest lp was top of the charts on both side of the atlantic
but those perfectly-formed stutter beats are getting tired.
They themselves seemed to have realised by doing the odd dancehall
of the garage scene have gone back in time. Decrying the futuristic
side of Horsepower Productions, Darqwan, Phuturistix
et al, this lot are now being bracketed as 'urban house'
as the garagers look to a bit more linear four-beat to keep the
funk. Spoony and co have been going back on it for a while. 'House
FM' is one of the popular pirates, but it gets as much missed calls
for the rewind, the mcs checking the last three numbers for their
coded recognition. In some cases it's the 95/96 'speed' strain they
played anyway: ie, it's backward looking. But there are handy commercial
similarities with the funkier strands of mainstream house.
their energy up by looking back too, House & Techno Inc has
been mining the 80s themes, and ravier sounds have been creeping
in for a while too. Scene 'giants' The Chemical Brothers
doff cap on B-side 'Nude Night', yet A-side with Lips' Coyne
sounds like U2!!! Reports of clubbing's demise have to be ignored.
When a pill is less than a pint it will remain a viable youth culture
option for instilling neurosis, psychosis and erasing brain cells...
the garage-breaks scene is where drum & bass was when it went
more techy - still 'forward' but too cutting-edge for the happy
uncomplicated masses. There are links to the wider breaks and d&b
scenes. Others, like Wookie, are doing their own thing; look
for his stuff on Casual.
to rock, and Travis' Healy was accusing all non-travisites
as lying to themselves about the quality and the attraction of their
music. We must like it, he twanged. No, our musical guidebooks are
set in 2003 and we really are too sophisticated to fall for this
plastic celt shit. Not according to him. Yet Rabid's music
and those of their nu-acoust pop contemps remain mostly a contagion,
the aural equivalent of eating stale Ginster's while car fumes foul
your senses at Watford Gap. Elsewhere, their mainstream collaborators
radio 1 continue to grind teeth. Northern Irish Colin and Scottish
Edith are certainly enthusiastic enough. Every tune, band, gig and
festival is presented with ultra-subjective misguided passion -
every act 'genius'. No wonder listeners turn off in droves to the
auntie's popular music offering when everything is viewed in rose-tinted
Simon Munnery on Resonance
fm: "Saying one thing and doing another - that's hypocrisy.
Saying many things and doing nothing - that's democracy."