|JUNE 15, 2004
on an upcoming Nicole Kidman film in censorship hell. I like the
director's music videos and Kidman as an actress and attractive woman,
and maybe I'm sick but I'm dying to see that weird scene described here!
Sounds like a very unique story.
JUNE 13, 2004
Here are the playlists I did for a two-disc college graduation present
mix CD for my cousin, Sarah.
"Climax" is pretty questionable but, like the awesome font I used on
the cover of disc 2 that contains hearts in some of the letters, I didn't
notice the awkward content until after the whole thing was done, I was
just going by the surface. On the surface, "Climax" is an amazing
song with a ghostly (eerie and bare) beat by Jay Dee. But I remembered
later that the song is about
threesomes, which is kind of a dubious message on a CD made for
a cousin. Fortunately, I don't think there are any other gaffs and
there's certainly no overriding theme, as you can tell by the variety of
the songs. I didn't want to include much electronic music or overload
it with hip-hop. I did want to highlight fantastic songs from the
60s-80s that still sound fresh today and just give her a batch of songs
she'll really like (I hope) from artists familiar and new to her.
I also wanted to give her some music/sounds I made on my computer (no instruments
on these, sadly) from late summer 2002 to January 2003.
JUNE 3, 2004
Very funny diary entry of Demetri
Martin, Conan O'Brien writer and comic. He's talking about
a noisy neighbor. I can totally relate to this; I had a wannabe MC neighbor
last school year so I had the same bass-through-the-walls problem.
MAY 30, 2004
James, bitch!" Still funny, right? .....right?
Punk beefcake Henry Rollins is starting a new record label focusing on rare and unreleased music from the Washington, D.C., area. "A couple of years ago, it hit me that there was some really cool music from my hometown of Washington, D.C., that was either out-of-print or unreleased and I should do something about that," Rollins wrote in his recent newsletter to fans. Dubbed District Line, the imprint's first releases will be Trouble Funk's Live & Early Singles and the compilation :30 Over DC, which features cuts by late-1970s D.C. bands such as the Slickee Boys, Half Japanese and the Nurses.Aw yeah!
I noticed today two
Huh! I think some things have changed in the six years since I took the test; I would have liked a re-test!
For my own records, this is the definitive info on the shelved 2CD Coil-produced Eskaton compilation The Star Shaped Individual in Society, due as early as 2000 and last realistically talked about in 2001. This info is assembled from various sources by me. Artists who contributed:
* Info from Coil's
On how it would sound:
I was going to have a track out on eskaton. All made of harpsichord notes played ultr-fast like conlon nanncarrow meets ligeti. but john/jeff & sleazy/pete have had it forThe Autechre Visual Discography says it was Gescom, not Autechre, appearing.
Lastly, the original title of the compilation was Eschatology.
MAY 27, 2004
This shit is off the hook! Not only is it funny and with decent 8-bit
throwback gameplay, it's full of political facts and figures. Not
a whole lot of it was new to me but it put things in a very interesting
perspective. I highly recommend you play it. On the positive
side, it has tons of pop culture and political figures in it (I'll leave
you to be surprised) and it's very interesting. It's a nice mix of
nerd and hipster slang/references; not too cool or arrogant for
its own good. On the negative side, it is very time consuming (reading
everything and playing it took me almost an hour, although I enjoyed it
thoroughly) and depending on your connection it could be a huge load (there
are online and offline versions available to play). In between, it's
heavily slanted toward supporting John Kerry, who these emo fucks seem
to really think is a savior and the polar opposite of Bush (newsflash...).
In case it wasn't obvious, I do think he's a better choice than Bush by
far, I'm just glad I don't have to vote for him because I think he's one
of the worst Democratic candidates ever. Clark and even Edwards were
better choices just this election! Why does everyone want a moderate,
big money Democratic candidate?
I highly recommend David Bowie's mid to late 70s back catalogue!!!!!!!!!!!!!!!!
Clear Channel is evil evil evil evil evil evil evil. Read this
about them further denying artists due income.
MAY 19, 2004
Never thought I'd come across this: GAYHIPHOP.COM
Cypher Session. Yes, gay rappers do exist and they are ready
to battle you, big boy. (To be honest I just took a look at the link,
I haven't had the chance to read it but it looks funny.)
Dali, auto-sodomized by His own Inspiration. Be sure
to check out the whole gallery, it's all very impressive.
"To kill time is not murder, it's suicide." -William James, psychologist
and philosopher (1842-1910)
MAY 10, 2004
Another quality definition from UrbanDictionary.com: scene.
Choice quote: "Scenesters are perpetually infatuated with ones self, taking
countless pictures of themselves."
I have been having an absolutely terrific time this last week reading Trent Reznor's answers to GOOD fan questions on nin.com. Click here to check it out for yourself and be sure to click on the archives. He even answered one of my questions (I posted one as Travis). It's not only gleeful to read these insightful personally typed responses, it's downright amusing to be exposed to Trent's sense of humor, dorky side, and his surprisingly "emo" sensibility (see the suicide question and answer from 5/10). I never thought he was a god who was way above normal conversation, I had just heard he was an asshole and not a very deep thinker. Plus he has built up a mystique over the course of 15 years which he is perhaps purposely lowering by answering these questions so candidly. I'm really glad he dropped that act and is conversing with his biggest fans because we were thisclose to writing him off after not doing or saying anything in over two years.
I just asked:
i'm sure you're well aware of how contentious "deep," the song itself, was with fans. some liked it but some really didn't, and that was a departure from previously liking everything you've done. in hindsight what do you think of the song? some said it sounded somewhat recycled from the last album while others thought it was merely bland. and some thought it was just a great new song.Let's see if I can sneak in this question as "t.c."
MAY 4, 2004
Cam'ron can be so adorable!!!!!! (no homo). You'll hear what I
mean after you listen to him break down one of culture's latest and most
insecure and unnecessary expressions (Windows
Media stream from Hot 97).
MAY 1, 2004
of US Torture of Iraqi Prisoners At The Abu Ghraib Prison In Iraq.
I could go off on this subject but I won't. All I'll say is I think
that the military privately encourages or at least condones this barbaric
behavior. There may be a backlash now, but I think if they hadn't
been caught it would continue because they perceive the enemy as animals,
making the torture and humiliation acceptable. I think the U.S. (and
military has historically been abusive. Just look at Vietnam.
So as not to come off insensitive and ill informed, I also know it is very
hard being away from home, especially in a foreign land, facing the unknown
with the possibility you may not survive. I don't mean to belittle
or vilify soldiers; I'm sure most of them are good, even those who "lose
it." But I'm not going to make excuses for this. Cracking under
pressure should not entail pissing on brown people and forcing them to
sodomize each other. Look at the photos, it's like something out
of a Nazi concentration camp. Do these soldiers not remember what
side we were on?
APRIL 30, 2004
Listening to hip-hop makes you really appreciate Depeche Mode's production when you go back and listen. And listening to Depeche Mode makes you really want to produce better hip-hop. And damn, they/Martin Gore wrote some great lyrics, too. Some you can't really appreciate until you've kind of wronged somebody (however unintentionally). Example:
ApologiesYou know, I always thought these lyrics were hilarious/plain silly (ask Nick). I think it's just because of the way they're sung. Now that I'm older and have experienced more I can definitely appreciate both the words and the not-so-cheesy-afterall way they're sung.
APRIL 29, 2004
What the hell? Play around with this
Another multimedia hookup! Emcee
battles. Check the video section for some big names and good
MORE MORE MORE MORE MORE!!!!!!!!!! Turntablelab
and Hollertronics' Diplo mixes RJD2, free to listen to in its entirety
over at Def Jux.
Ingenious mixing of the RJD2 track with heavily chopped and twerked choir vocals and the Neptunes-produced instrumental to "Grindin'" by Clipse.
Cat Power is freaked later and there's a good remixing of "Roses" by Outkast.
Here's a 16MB mp3
(direct linked, so Save As) if that's what you prefer.
Yet more mp3's. Garage/psychedelic
rock and lots of it. Take that, rock revivalist poseur bands!
So sick of hearing people rave about the Yeah Yeah Yeahs or whatever Spin
is this month's "it" band. Believe it or not, the original stuff
is much, much better. I'll take the Stooges over the Strokes or the
White Stripes any day, too.
I got the opportunity to ask about the RZA/Rage Against The Machine connection I posted about a few months back. A supposed Rage expert who worked with the band through their label from 1993-1999 popped by a Zack de la Rocha forum for a few days to take questions. His response to how true it is that RZA did 11 songs with Rage:
rza and zack and tom worked on a song together for the x-files movie, but it never got finished. tom also played guitar for a wu tang album, but the track "good thing we brought the glock" wasnt released as far as i know. thats all i know about the rza/rage recording connection.Looks like the X-Files movie soundtrack could've been MUCH better. This song, along with an early version of "Metal" by NIN and a couple other new songs by great artists that I can't remember, would've been great to hear. And FYI, the glock song was released on the last Wu album, it's just not in the credits (click here for lyrics). Musically it does not have guitar so it probably is another mix without Tom.
Nader bullshit, probably the fairest article I've seen so far though.
I can't believe people aren't more concerned with non-voters and Democrats
who vote Republican, not to mention Kerry's own shifting platform and shifty
personality. I love how the writer of this article says he'd like
to vote for Nader but won't, just because. People seem to really
misunderstand the Electoral system and the concept of the swing state.
Some states always go to one party; Maryland is one of those (Democrat).
If it weren't, if it were another Florida, then I'd probably vote Kerry
despite how shitty a candidate he is and probably always will be.
But some states you can vote for Bozo the Clown and not worry about Kerry
or Bush losing because it always goes to that party. So for the writer
to just chalk it up as a nobrainer and continue romanticizing the Democratic
party while agreeing vehemently with Nader is pretty funny to me.
If a girl looks pretty but boring is she pretty boring?
You Got Served: Travis vs.
I finally emailed Pitchfork Media to give them a piece of my mind. I've disapproved of how they handle biz for a long time, and have been vocal about it, but one recent review served as the last straw for me. Brent DiCrescenzo, one of Pitchfork's most notorious reviewers, decided to take his jadedness toward fun music (and, in my opinion, toward blacks doing "white music," which is historically unacceptable over at Pitchfork, a site that routinely trumpets white rappers) out on the new N.E.R.D. album, Fly Or Die. Now, I love this very much and as of this moment it's my favorite album of 2004. However, I can handle a bad review of an album I like. The thing about Pitchfork is that they have a bitter agenda to assassinate anything with too much of a critical buzz. Like the gossip mags that created Bennifer, Pitchfork lives to destroy the musical demigods they build up. Factor in commercial viability and the scathing review writes itself. I could talk all night about the laughably hypocritical and ignorant attitudes Pitchfork as a staff take toward many types of music (one quickie: if it's electronica, they won't give it a good rating unless it's a "breakthrough," some kind of astonishing advancement in the artform, whereas they are quick to give out 8's and 9's to the latest revivalist garage rock nonsense). Suffice to say, they possess a very limited view of what music is and should be.
The worst part of this is somehow they maintain an excellent reputation for their reviews and their fun and down to earth attitude about music when their attitude is anything but. It's hard for me to believe so many smart and cool people can be so oblivious to their agendas. They are not punk; they are the shockingly conservative, style-dictating, taste-policing system smart music fans should be rebelling against, not followingly blindly. In my eyes, most of the reviewers are smug poseurs, wannabe-but-never-will-be Lester Bangs with an ax to grind because they're disgruntled, socially inept dorks who only wish they could create something meaningful. They write frankly terrible creative writing style reviews to cover up the fact that they all have something to prove and to feign "originality" to those who don't know better.
What I would have said in my second reply to Brent, if he would have
emailed me back after getting eaten alive, is something like this:
Below are the actual email correspondences.
>>From: "Travis Christensen" <firstname.lastname@example.org>For what it's worth, I do enjoy and agree with some Pitchfork reviews, some of the time. They just simply don't merit their tremendous reputation. The droves of people who go to the record store buying whatever gets above a 7 (that means it's excellent in Pitchfork code), and not bothering with whatever sacrificial lamb is put to agonizing death on any given day, are very misled and misinformed. I highly recommend to any music fans reading this All Music Guide for professional (ie: not self-indulgent and purposely misleading), extremely fair, and comprehensive reviews.
In case you've never heard of Pitchfork Media before, it's one of those uber-scenester hipster indie shithead mags which allocates its time fawning over either "intelligent" bands like Radiohead or super-underground indie acts that nobody has ever heard of and usually have the word "project" or "experiment" in their name. It's a culture of pretending to be more intelligent and obscure than the next guy so your musical cock will be larger than theirs and all the ladies will flock to you like cosmetic surgeons to Thom Yorke's disturbingly mutilated face.No kidding! The only thing I'd point out, perhaps as a diehard Radiohead fan, is that even Radiohead take their lumps from them now (see what I said above about Pitchfork living to tear down their own critical darlings to not appear so one-dimensional).
Finally, just to make this the "total package" Pitchfork critique, here's a link to my old thread about the site.
link if you want to point people to this Pitchfork essay (without
having to wade through everything else).
This is an old entry I had written on paper but not typed. It predates what I wrote about Nader a month ago (incidentally...). Have I become a "shook one"? Have the Dems got to me? I've actually considered not voting for Nader because he's running as an Independent and not a Green, so it's not like he'd be getting them federal funding (and on all ballots). I think this may be another close call, even though Maryland is historically Democrat. Well, yes, it might be a close call, but whose fault is that? Just like it was Gore's fault he lost (including his home state) to a political lightweight when the economy was on his side (the Clinton administration), it will be Kerry's fault if he loses to a president despised by so many people. Let's not even think about whether or not Gore truly "lost." He should have won by a landslide. I don't think Kerry is even as good as Gore and Gore sucks. They better not dwell on Nader in their campaign; they should focus on the half of the population that doesn't vote, that is when they're not working on making Kerry likable and relevant. Sure, they're trying and I applaud their small success. However, they can't rely purely on Bush hate to get in the White House, they're going to have to really make this guy a good leader and someone who will fight for the majority, not reward the elite.
I just find it hard to believe that someone whose current wife is worth
$700 million is going to increase taxes for the rich. If he says that he's
made enough money already and has no problem giving some back, I don't
believe him. People who make hundreds of millions of dollars stop at nothing
to make more money. They are addicted to wealth. I don't care how philanthropic
they are, people who have that much money do everything they can to sustain
their wealth. That's why CEOs and company owners make so much more than
99% of their employees. Look at the Waltons and the reality of working
at Wal-Mart, who hire illegal immigrants to save even more money. Look
at McDonald's, Nike, Coca-Cola. All of these companies are raking in money
by NOT sharing it with others (ie: the lower rungs of the company). Kerry
being extremely rich is not the only cause for alarm. I don't know how
trustworthy this document (Kerry
Vs. Kerry) is coming from the GOP--I imagine context may explain
of these and on many of these points he's addressing the execution, not
the original plan--but take a look at these 35 crucial issues Kerry has
flip-flopped on. Judging by how recently these supposed changes of mind
took place and are continuing to take place, he seems to be a career liar.
It's sad that realistically we only have these two choices when there are
honest and more qualified people running, regardless of their political
leanings. In the end, I obviously hope Kerry wins but even then the future
"There's so many people just going over the same ground and so many
poor records in electronica that I think people need to start re-assessing
it. I think because a lot of the records use sounds and textures people
are unaccustomed to — it becomes difficult to critically assess them and
see through the bullshit. A lot of it is just lazy rubbish. We're basically
catering to the one percent who want to dig a little deeper, take in the
influences but also move it on. Just get a copy of the MAX software by
Cycling '74 and Reaktor by Native Instruments and you won't buy another
Totally agree! That's why I've kind of grown bored with it and listen
to people like Hood (and The Notwist, Telefon Tel Aviv, Squarepusher,
Bjork, etc.) who combine electronics with traditional instrumentation.
Of course in the purely electronic realm people like Aphex Twin are always
going to have me listening because they are just brilliant and know how
to push the envelope and remain exciting (RDJ doesn't even have to do piano
compositions but those are nice). But really I don't buy much electronica
anymore because it's reached sort of the pinnacle of technical exploration
and has neglected artistic exploration in the process.
I took the liberty to transcribe the first verse of J-Live's "9000 Miles" because it's pretty inspirational and I can definitely relate to it. Now this is a "Hip-Hop Quotable" ("...but you don't hear me though").
My mind speaks mathematics, sometimes I feel EnglishThis is real hip-hop. Verses like this one and pretty much every lyric J-Live's ever rapped are why I love hip-hop and can deeply appreciate it as an English scholar/writer-to-be. This verse is not only written with cohesive flow and perfect style, the images and references are chosen for maximum significance. And if you know much about either music or poetry, you can appreciate J-Live because of his magnificent internal rhyme schemes as well as the fact that he switches his cadence constantly, often within one song. As much as some hip-hop fans talk about Aesop Rock, Cage, and Slug, the only* white emcee I'm feeling is Eminem because he's the only one I've heard who truly has a way with words (to put it crassly, the English language is his bitch). J-Live is even better at this than Eminem (which is saying a lot) and I think it's because he happens to be a (former?) high school English teacher. I love hip-hop because, more than rock, it really focuses on etymology and phonology and I just find that so creative and fresh. Yes, it's like poetry, but unlike poetry I'll listen to it because it has an infectious beat and some of the realest cats would never publish a poem but are unafraid to spit a hot verse about things many poets can't grasp. And don't try to tell me poets are the realest people out there; if I know better as a casual and occasional fan of poetry then you know better.
J-Live's music, including the Always Will Be EP, can be purchased at all good record stores and all major online retailers.
* I actually like El-P's rhymes a lot but he doesn't switch
his flow up enough to be anywhere near Eminem's league (or J-Live's).
from Jack White of the White Stripes, who I want to like but can't quite
muster it. Even more interesting than his opinion, which I imagine
has changed in the year since, is the surprisingly intelligent discussion
it spawned on the web page linked. Personally I disagree with his
opinion to an extent. First off, there are many producers, groups,
and emcees who integrate melody into their music. But also, noise/sound
is crucial to the hip-hop genre, as described in the link. Nonetheless,
with much of the music, there is a certain emptiness, especially when it
relies on a boring and simple musical loop and the lyrics are banal--essentially,
when it's not creative. The importance placed on lyrics and their
delivery, as well as the rhythm which has to be somewhat repetitive in
order to rhyme over, can lend itself to boringness and emptiness
moreso than rock--which, however stale, in my opinion, is guided by melody.
Jack White should realize though that all types of music can be good or
bad and that the so-called restrictions in hip-hop, ignoring the fallacy
of his statement, can be musical assets.
Japanese game, this one clearly inspired by TRON. Very fun.
Coolio do the damn thing on this German "Comeback" program. The
Germans have no idea what they just witnessed.
Very cool Depeche Mode TV appearances archive. Click here
for tons of videos.
More music media! You are getting hooked up in this Do Not Read! You
must check out the "works" section of Dokaka.com.
Dokaka is a Japanese beatboxer who does a capella renditions of death metal
and prog rock, as well as his own original compositions. He recently recorded
with Bjork in New York City for her new album. I wasn't sold on the idea
but as soon as I heard the first song, "Angel Of Death" (originally by
Slayer), I was blown away. You owe it to yourself to listen, it's really
that cool. Maybe when Mike Patton and Rahzel tour again he can open!
Another dummy making some sense! DMX on recording for Def Scam:
"Yes, I'm done with the music because I refuse to have something that I hold that dear to me be taken so lightly," he barked. "I'm being paid like a slave. All artists are. The record company advances you money. You pay for every aspect: promotion, distribution, recording, everything, everybody. Once your [album] comes out, they get their money back — the product should be mine! It's like getting a loan from a bank to buy a house, and once you pay them back, they still own your house.
#2: CYPRESS HILL/What's Your Number -- This is from their new back-to-basics hip-hop album, right? I guess it's just the weed and "party" factor that does it.Speaking of indie kids, NOSTALGIA AND BORROWED NOSTALGIA ARE NOT IRONIC! Sometimes I just want to grab these skinny bastards by the collar when I see them wearing an Exxon, Coca-Cola, John Deer, Play-Doh, Atari, Mr. Bubble, Transformers, or Thundercats T-shirt. Hey, it's cool to remember some old cartoon you watched or some old product you used to use or drink, but it's not that cutting edge. And referencing fads before your time is just pretensious and slapworthy.
Matter of fact, this whole referring to self or group as "indie" thing
gets way under my skin. As much as I love music, I'm so sick of people
defining themselves by the music they like--or by the music they TRAINED
themselves to like. You are not indie, you are not punk, you are not hip-hop.
You are an individual however conformist and emotionally needy.
I've never been a Nirvana fan but Kurt was cool. Here's an awesome
quote I just read from his posthumously published journal, talking about
the his town's scenesters (including Riot Girrls): "I'm not gonna donate
a single dollar to the fucking needy indie fascist regime. They can starve.
Let them eat vinyl." Rest in peace, dog.
Another quote, this one from perhaps my favorite episode
of Real Time. This gets right to the point and really sums
up the way hipsters act (politics as social activity/elitism). "So
what can people who pretend to care, pretend to do?" -Bill Maher
Click here for Subservient
Chicken, by far the creepiest interactive experience I've had yet
online. He will do anything; he even popped and locked! Very
scary, especially when he goes up to the camera to wag his finger at you
for a bad request.
Theft America: must-see animation explaining how 95% of votes from
"convicts" in the Florida 2000 election were actually legitimate.
Their ballots were discarded maliciously thanks to Bush's work behind the
scenes with his brother Jeb and Katherine Harris, who contracted a private
company to build the list with flawed data and opted to not verify any
of the names. Seems like the only person speaking to the public about
this is Nader.
Speaking of cheaters, I just found this distressing information:
The Wall Street Journal reported Wednesday that the major music labels are looking for ways to increase the prices of legitimate digital-download services, from 99 cents per song up to $1.49 or even $2.49 per song. WSJ also found that despite being freed of manufacturing and distribution costs, albums such as those recently released by N.E.R.D., Bob Dylan and Shakira actually cost more to download ($14.99 at iTunes) than to buy as a CD in stores ($13.49 at Amazon.com).The audacity is amazing, isn't it? My cousin Morgan almost downloaded the Outkast double album from iTunes for $20 until I convinced her to let me get it for her at $12.99 in the store. And they want to RAISE the download prices? The music industry is such scum. Even though they're greedy I'm not going to compromise on my vow to buy any album I like (whether I downloaded mp3's and enjoyed them or just trust the artist's output), including major label releases, but they don't make it easy for me.
Another animation: Thought
@ Work. Best Roots video The Roots never did! Funny.
See if you catch the visual gags.
After watching "The Wayne Brady Show" episode of Chappelle's Show
have to take back my boast that I'm blacker than Wayne Brady. Who
knew he had it in him? I can't remember him ever making me laugh
like that. Now what I am wondering is how long until word spreads
about this and his core audience--simpleminded white Americans--raise a
"Liberty" University rules
and punishments. This looks like a parody or a joke but it's
not, it's absolutely bonkers. It's rare occasions like this that
I'm glad I go to Dickinson.
You said it better than all.
Yup, that's one thing I have noticed. White folks (especially uppity white collegiate chicks) LOVE to throw around the term ghetto like they know what they ghetto is about. And then they use that term to reference anything that is associated with black culture. Shit, probably the only time they've been to the ghetto was that one time they went to pick up some "good stuff". Everybody seems to be a specialist on black culture, and, even more surprisingly, everyone seems to have the answer to the situational status of blacks in America: "Why don't you people, like, go to school and get educations so you can make something of yourselves." And whoops, there goes affirmative action from up under your feet.The white (especially upper class white) co-opting of the term "ghetto" gets on my last damn nerve. This person described exactly how I feel when I hear this, which is all of the time.
You said it better than all Volume II
As for "Intelligent Dance Music", the phrase seems sort of absurd if you take it at face value: the notions of rhythm, "melody" and form found in most alleged "IDM" doesn't even come close to the complex intelligence of your average Saariaho or Xenakis composition, and yet the creepy Mensa-style pretensions inherent in this assertion of supposed "Intelligence" persist precisely because its adherents never exit their own charmed circle, and generally speaking, seem unwilling to try anything other than IDM, thus preventing them from ever stumbling across something that might challenge their notion that they're really brainy and special for digging Autechre. Sure, I love Autechre and the Schematic label, but I also like James Brown and Trouble Funk and Basement Jaxx and Daft Punk- does this make me unintelligent? The snooty attitude towards "real" dance music inherent in the term IDM fits all too easily with the stereotype of the bedroom collector geek who is hopelessly alienated from the bodily hedonism of a decent soundsystem/rave/club party and who thereby fashions a resentment based alibi for why he can't get down. Furthermore, if you consider the sociological origins of contemporary electronic dance music in black and gay clubs in Chicago and New York and then consider the overall "whiteness" and "straightness" of the average IDM artist and fan it all starts to look kind of sinister, like people patting themselves on the back because they are so much more advanced than those savages who leap about to their wild drums or something. Sheesh. That said, I belong to the weblist called "IDM" and occasionally enjoy the discussions there, because I like some of the artists who get lassoed into that category (not to mention that we, occasionally, are lumped into that category too), and because you can occasionally find out about interesting records on that list. Like any other community, it allows for networking and exchange of information which is really useful and productive and powerful- but like any community, it always needs to define itself through exclusion, clique-ishness and the fashioning of some "other" excluded terms: rock music, women, noise, "real" dance music. I've noticed that whenever discussions drift towards anything about gender or sexuality on that list the cluelessness factor jumps off the chart. Matmos is IDM if that only means "might be talked about on the IDM list"- but I don't endorse that term "intelligent dance music" because it's laughable. Rather Interesting Records had a nice slogan that kind of says it all: "Remember: Only Stupid People Call It "Intelligent". When we made "The West" we didn't know about the term, but we knew that we were sick of lazy reviewers comparing us to Autechre and we wanted to ditch all those comparisons and reflect the fact that we love Robbie Basho and Hawaiian guitars. A bit more risk-taking all round would be nice...I reserve the right to agree with them, I wrote a fantastic history of IDM last year and have listened to the so-called genre avidly since 1996.
Do Not Read