That's one thing about Reynolds -- he's very adept at nailing the long view,
especially for a genre most of us are so enmeshed in, that it becomes very
difficult to be objective. He discusses a few things I've had rattling
around in my brain the past few months:
1) There's a *lot* of great electronic music being made right now...
Sometimes I wonder if my standards are shot, just because I've been giving
so many good ratings lately. A few weeks ago, I realized that I gave great
ratings to about ten *straight* records, a completely random sample of
electronic releases in the past few months that just came across my desk one
after the other. And they were uniformly *great*. Just for the record,
they were:
Persona - Maximal (VC)
Adam Freeland - Tectonics (Ultra)
Russell Mills - Strange Familiar (Instinct; actually a reissue)
Doctor Rockit - Indoor Fireworks (Lifelike)
Theo Parrish - Sound Signature Sounds
L'Usine - Charydis (Isophlux)
Sutekh - Periods Make Sense (Force Inc)
Zammuto - Willscher (Apt. B)
2) There's a lot *more* electronic music being made than anytime before...
Obviously, this is Reynolds' main point in the article, but it's so true.
Compared to when I started listening to this stuff (early '90s), there must
be at least a hundred labels/artists for each one operating back then. I
think it's great too -- more artists means better work, which means more
people will grow accustomed to electronic music, which in turn means this
whole thing'll grow as an important musical subculture. Onward and upward,
I say!
.John.
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