Simon Reynolds
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- badman why? baggy bumhole due to heroin big him up and start again big knob bliss blog didcot parkway didcot parkway didcot parkway don simon laughing with hitler leo's knob libdem like liberal mandem mugged off nme clash old men take hot baths peak toxicity of the padraig (u.s.) dayz poor old joe reynomania scraping the bottom of the barrell the ayatollah the reynolds cannon
why not? Whats the antipathy there?
luka
Well-known member
im not presently trying to stretch my own limits tbh. im not sure you are either. you're in a holding pattern too as far as i can tell.
I think drugs have made certain music sound better in the moment for me but conceptually assimilating that is always done sober for me.
At the moment sure, but that's mostly cos I don't think experimental music has much left to offer me. Sonically, compositionally, whatever.
no sure I get that. and I wouldn't really want to convince you to like PiL cos they're very much of a moment right. I couldn't say they're timeless like King Tubby or Keith Hudson.
But I guess what I'm rebelling against is this thing in music discourse of all positive value judgments centring around a teenyboppers idea of fun and all other emotions are made (if not surplus) then secondary to this fun impulse. It's actually weirdly phallic, despite many poptimists being women. Although there's a straightness, a heterosexuality to it for sure.
I never said you always think that. But it's often a way to blanket dismiss something. Like rhetorical alliteration, there are certain words which can serve as trumpcards which purport to be critical when they are anything but. Fun/excitement/pleasure are this axis in music crit.
I actually sent @blissblogger on his blog (what i consider to be) three proto-proto techstep tracks from the 92-94 era.
Here's what I wrote:
Here's what I wrote:
mixed_biscuits
_________________________
@luka I actually rate you slating PiL, in a way. the soul/rnb fetish has to be kept up on this forum, without going 'soul boy' as it were. Part of the problem with most American and Aussie post-reynolds influenced critics is once they've finished what they have to say about dance music, they revert back to Indie pop.
Hence the love for diabolical and completely hideous shit like Hot Chip, Mr. Twin Sister and Soccer Mommy on our enemy forum. They want to think they get it, and they can write lengthy, sophisticated analyses (sometimes better, more thought out than ours) but the truth is they don't. For them its a bohemian deviation from an independent value set, for us it's a logical evolution/revolution of the imported street beats continuum.
Anyway that music is deeply irredeemable and bland, the worst aspects of stagnant contented white secondary school music extended into infinity.
Hence the love for diabolical and completely hideous shit like Hot Chip, Mr. Twin Sister and Soccer Mommy on our enemy forum. They want to think they get it, and they can write lengthy, sophisticated analyses (sometimes better, more thought out than ours) but the truth is they don't. For them its a bohemian deviation from an independent value set, for us it's a logical evolution/revolution of the imported street beats continuum.
Anyway that music is deeply irredeemable and bland, the worst aspects of stagnant contented white secondary school music extended into infinity.
what they see as interesting pop trends we see as the mutability of black music, it constantly bringing into question the need to exist/what constitutes blackness.
Part of their attitude is that it's totally good and fine for white pop to stop talking to black pop because muh free choice, and I think that's a quyite negative development. It's just the flipside of the soulboy coin, but this time made rock(ist) in the quite literal sense.