The wholesale packaging of electro has an inevitability of occurence that matches an inevitability of process. Whilst the machinations of
Read MoreHomewrecker Recordings exists on multiple levels (as label, ideology, politics and practice) in a multitude of locations (North America, Europe
Read MoreSimon Reynolds : Energy Flash (Picador 1998) Rob Young : Harder! Faster! Louder! (The Wire, Issue 176, October 1998) Crash!
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The record industry is in the process of being outflanked by means of the very processes that it has come to rely upon. Since the 60s its continual efforts to create new needs has meant that it nurtured an everchanging musical soundscape that is now mutating at such a pace that it cannot keep track long enough to harness these musical evolutions in the direction of profit.
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Shadowing Conceptual Art and Fluxus, Walter Marchetti is perhaps one of those many involutionary figures who have stealthily stepped only at the edges of an institutional recognition. Howard Slater approaches the subversive composer in this article from Datacide 8, originally published in 2002.
Read MoreElectronica as a scene has coagulated primarily as a media concern – in that the media itself needed to bolster
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Electronically composed sound, communally celebrated has the effect of some collective plateau phase. Music becomes a device, a prosthetics that leads to a hypersensitization – an overspill that establishes a field of flow between listeners.
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