2 pages on grime? wtf.
whats the point of a new expanded edition unless theres going to be proper new chapters on whats happened since then?
word
Whatever he may have ascribed to it initially, for me, Grime stands apart by its intense concentration on the vocal content.
Further, while people may (obviously) dance to it, it doesn't strike me as motivated first and foremost by a desire to make people dance.
There was lots of stuff in the original - that wasn't part of the nuum, either - the American stuff, for starters, plus glitch, neo-Detroit, trip hop, the free party stuff... (edit: snap!)What was the electroclash chapter like... and what's it doing there? Hardly nuum material is it?
To be fair (a phrase that's getting a lot of usage in this thread...), the original book didn't only cover 'nuum music - there were chapters on IDM, trip-hop etc
It kind of fed into the whole mnml thing though. To be honest, I wouldn't want to pass judgement on it without reading what he has to say first...but microhouse was of very limited interest to the most boring of producers, djs and floors if you ask me. its already forgotten, for most lucky people.
Yeah. Part of me wonders whether there's some thought-povoking reason for the implication that microhouse is more relevant than grime, and part of me wonders whether there was pressure from publishers who buy into the 'grime is a creative dead end' line and think that too much focus on it might damage sales, but part of me wonders whether living in the US and hearing stuff on the internet is really an ideal vantage point for figuring out what's actually going on in UK dance music...seems to me some people would like to forget they ever championed grime, lets be honest.