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I haven't heard any of those songs. Well, I've heard Cardiology and I've heard Isolee, but I haven't heard the Isolee remix of Cardiology. I woudn't call either formally innovative :) I probably set the bar on that a bit higher than you tho. Because I have heard Jacques Le Cont, and I thought...

<i>I mean, I haven't come across much "formally innovative" music at all this year, but practically all of what i have come across has been dance music!</i> I can't be bothered getting into one of those long meta-threads about definitions. So why don't you just tell me what formally innovative...

<i>'hey you can't say anything about hip hop coz it's black' point might require some nuancing...</i> Except I didn't say that :) Although this particular over-reaction is what you typically see from people who don't want to take race into account. <i>Music can have no impact on the...

The only definition of "dead" that works=nobody is pushing a genre forward formally. Which leaves room for lots of music, good and otherwise, to continue to be made in genres that are also, technically speaking, dead. Whether it matters that the genre is dead depends on how much value you...

<i> any comment about hip hop and race would have to bear in mind that a signicant proportion of its audience is, and has been for some time, white.</i> Sure. And the relevance of that is... what? <i>The fact that a few, a very few, indeed a handful, of black males have managed to acquire...

Ah, but you didn't make the generalization... :) (Let me sketch my counter-argument anyway: one of the most long-term effects of 400 years of oppression and deepest of deep forms of structural racism in a capitalist society is lack of capital. Capital accumulates and is handed down across...

<i>George Bush is neither lazy nor incompetent. he would not have been able to steal the election, TWICE, if he was either. the puppet theory doesn't pan out either. dissmissing GW as dumb or a tool is only empowering him. face it, he is a very able and very selfish man who doesn't give a fuck...

a) This probably has more to do with 50 feeling threatened by Kanye taking the spotlight than anything else. Second time he's dissed him recently. Beef is how hip-hop generates publicity. It's about time someone had beef with Kanye. Amazing it took this long. b) 50 is allowed to disagree with...

I dunno. Trill is solid, but it doesn't really hit the heights often enough. Chamillionaire's album is better.

I love Do You Want To :) Difference is, post-punk happened twenty years ago. The music MIA is supposedly despoiling is happening now.

<i>Quietly waltzing in rather than bursting onto the scene in a blaze of Record company orchestrated PR and Marketese?</i> I think you mean "making crap records that are easy to ignore rather than really catchy ones that people spontaneously get excited about the moment they hit the internet"...

<i>why not pour derision on those who really deserve it, such as Williams, or more pertinently Franz Ferdinand and the Futureheads?</i> because they aren't treading on turf that certain people are heavily personally invested in, that's why...

I think if you'd just drop the terms "real thing" and "authenticity" altogether, and instead say what you actually mean when you use those terms--anything from "working class" to "young men with limited education, no financial resources, and troubled upbringings" would be preferable--it would...

<i>-- could someone present an argument so powerful that it dissuaded me out of my own enjoyment of a record, the example given being 'renegade snares'</i> I have to confess to finding Renegade Snares rather <i>brittle</i> these days. Now that the initial wonderment of the drum programming has...

k-punk sez... <i>So on this account, popists would reject any discussion of image, fashion, record covers etc?</i> Not really what I meant. I've always thought of popism, in one sense at least, as being about liking Kylie, or MIA, or Buju Banton, regardless of whether you feel strictly in...

<i>...fidelity to the 'music alone', surely the very cornerstone of rockism?</i> at this point i've read countless thousands of words on this popism/rockism thing, and I don't know how anyone could possibly consider fidelity to the music alone the very cornerstone of rockism. to my mind, that...

<i>It is rather plain to observe that some posts here are borne out of a frustration in the minds of some, that the hopes and desire of a generation were not successfully transferred on to the next</i> I don't know who you think you're talking about, but just for the record, I'm a mere babe of...

<i>but the idea of a non-American rock is surely a non-starter to say the least...</i> I agree. One reason why Britpop was so shite. <I>Not sure I'm seeing the difference...</i> What I'm trying to say is, I think the way in which these bands' nationality came to bear was not through them...

I always think of Britpop as being an attempt to reconstruct an entirely English rock tradition, independent of America. I don't know if I would quite see Beatles/Stones/Who as being refracted <i>through</i> English cultural tradition, so much as simply having an unavoidable distance from...

<i>1. There WAS no r and b derived American pop until it was invented by those groups. 2. Those groups were as English in their own way as The Kinks... (Village Green didn't come out till 67 btw, and the early Kinks hits were massive in influencing garage punk, 'Louis Louis', all that...