yeah of course, but the logic is still very much inverted... we value music that matters because we think people in the future will say it matters. The degree to which it matters in the future is tied up with why that was important at the time it was made but if we in the present are at pains to...
I dunno, anything trying desperately hard to be timeless will probably age the most.
I think this whole line of questioning by music (or any other) critics has become a bit over prominent
'how with the album be remembered?'
'but will people care about this film in 15 years?'
I don't care...
the night follows me over to B-town for a one-off at the brilliant Villa venue on Landsberger Allee, Friedrichshain.
FACT link here and press blurb below....
Dirty Canvas touches down in Berlin for a UK takeover! Combining the raw sounds of the UK underground, Dirty Canvas is one of London’s...
this is true but it might be worth looking at whether hardcore continuum had a significant starting point before debating the end. stelfox's claim of a (longer) general lineage of jamaican sound system culture in the uk kind of resonates with me but hardcore did seem have a fairly dramatic...
one word of warning if you do decide to step up to luka in the ring...he's also both the ref and the judges. he says I have the right of appeal (via dissensus) but I'll pass for now and make it clearer on the rematch.
anyway, good doin battle with ya luka
£18 on Can's Tago Mago when I was a student in Leeds in 1988. As a proportion of income and with inflation that's probably the equivalent of £500 now, so its strange that I never spent any more on a record
Limited edition test presses for Silverlink feat Badness and Jammer “the message is love” available at
www.myspace.com/dirtycanvas
(if the Rude Kid test presses are anything to go buy, these will go very quickly!)
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