Category Archives: Lead Story
Chicago’s Blane Fonda Goes Back To Prom
The spectacular peculiarities known as The Punk Rock Prom returns to Indy this weekend. Venture yourself down to Fountain Square and immerse in the celebration as The Hoosier Dome opens its doors to boys and girls of every age. You will find bands like Diarrhea Planet, Green Room Rockers, One Inch Punch, and more ready to turn that prom dress into a sweaty mess of rock and roll, punk, and ska afterglow.
Coming down from Chicago, Blane Fonda returns to the Prom with the intensity and fun that is like no other. These guys are pumped making their live gig solid gold. So iron out your Sunday best and put on your dancing shoes because these guys are going to rock your ass! This is the band you only wish played your high school prom.
I spoke with the group about the upcoming weekend, as well as their recent release Foolish Croon.
Piradical Producations presents:
Punk Rock Prom 2012
https://www.facebook.com/events/393864713968781/
Saturday, May 5 at The Hoosier Dome
http://
Blane Fonda
Diarrhea Planet
Green Room Rockers
One Inch Punch
Danny Rebel and the KGB
Link: Blane Fonda
You are participating in this year’s Punk Rock Prom. What do you plan to wear for this special occasion?
Anything goes! It’s Punk Rock Prom! You might see Ties, Vests, Sportcoats, Headbands, Hats, Shirts, Pants, Cumber buns, Dinosaur masks, Cuff-links, Belts, and most importantly: Dancin’ shoes.
If any band that should play at a prom, it’s Blane Fonda. And for this particular prom, you will be sharing the stage with bands like Diarrhea Planet after all. What do you have in store to liven up the night and what can people expect out of a Blane Fonda performance?
The reason we love playing PRP and keep coming back is the energy the crowd gives off – and no doubt, they get a lot of that energy from the other bands that night – Diarrhea Planet is a great example of that. There’s nowhere else we play where we get the same type of feeling. We bounce the energy the fans give off to us right back to them through our own music, and they give it back to us, and round ‘n round we go until the last note of the evening. I’m sure at some point in the show, Mark (our singer) will join the crowd on the dance floor and get wild. On the same note, we also encourage the crowd to sing/shout along with us, and as always, fans are invited onstage to participate during “In Search of The Giant Squid”…if you think you can keep up 
“Foolish Croon” is chock full of energy. What was it like recording these songs and how does the band capture the spirit emotion and style within the confines of a recording like this? Did the result capture this? How does an album title like that reflect on the band?
We captured the energy of our new album through the original song writing process, mostly. We hunkered down for months doing pre-production on stuff we had already almost 99% finished, and we wrote some brand new songs completely from scratch. Some of the songs practically wrote themselves, while others needed further tweaking and it was a bit more—shortening, lengthening, adding key changes (oh we love key changes). Not to mention, we had another dozen or so songs written that didn’t even make it on this album. On the other hand, the actual recording/tracking process was a very individual process. Mainly because of our schedules and our former producer’s schedule, we tracked everything separately. It was a totally opposite approach considering how much of a group effort it was to write all the songs. Next time around, I think we all agree that we’ll all be together as much as possible through the entire recording process from soup to nuts.
Your sound lies in the middle of dance pop and punk prowess, how does the Chicago music scene fit (or not fit) into what you do and how has that influenced the band?
Chicago is an amazing city and we love it here, but I’d be lying if I didn’t say that there can be conflicting interests between the vastly different types of bands all trying to claw their way to the top. And sometimes even the crowds that turn out to a show aren’t sure what they’re seeing right in front of them the first time they come to a Blane show. It’s a huge city though, so you have to expect that. It’s just funny to us when we play a show in Chicago and feel on top of the world because the crowd is eating up every song, but you can always find a few people standing there, looking around, and worried about what everyone else is doing or thinking, or if it’s acceptable to dig this band…”I dunno, are they ‘cool’ yet? Am I wearing the right shirt? How do my jeans look?” People have to get over that and just have fun. That’s why we love playing for our fans in Indianapolis. It doesn’t matter if people have never seen us once, or are veteran fans that have come to every show we’ve ever played in Indy. Everyone is on the same level and just jumps into it as soon as we start. That’s why we’re always excited to play out there for you guys.
Do you get interesting interpretations on your music because of the non-defined genre the band lies in (it’s not distinctly punk and it’s not dance) and if so, how do people perceive this?
We create the music that we would love to listen to. It’s pretty simple. Our band is made up of 5 guys with a lot of diverse musical backgrounds and influences. But at the same time, we have a lot of overlap in our styles as well, and that overlap is the music that we create. I think during the writing process if we try to hard to be like, “Lets write this song that sounds like Queen”, then we can fall short. But if we’re like, “Lets develop a song off a guitar part that sounds like something Brian May would write,” then I think we can make a really strong song around that feel. As far as people’s perception of us, I’d say people can call us whatever they want as long as they’re calling us something. One time we had a write-up that said we sound like a cross between Meatloaf and U2. Neither of those bands would any of us consider a conscious influence (maybe sub-consciously?), but hey, we’ll take it!
The band has recently explored several various cover songs on the website. Can you tell me the reasoning behind this and why these songs? It’s a part of a kickstarter campaign, correct? Can you indulge in details and how it’s going?
The Kickstarter campaign was a great experience for us as a band. We had a donation amount set that if you donated X amount of money, we’d record and shoot a video of a cover song of your choice. ANY cover song. This left a lot of options of our fans, and we had a vast array of covers that people wanted to hear us play. Everything from The Cure, to Counting Crows, to the Animals. The covers are all finished up and sent-out now, I think we just have an original song or two left to compose and we’re done.
If my research is correct, the band is consistently writing new material. What kind of things are you working on and is there a new album in the works?
The great thing about our band is we’re always writing new material when we’re not rehearsing or learning new covers. It’s fun, and we think we’re pretty good at it, so why not? At the moment, we’ve been blessed with the opportunity to work with Sean O’Keefe and Greg Panciera here in Chicago. Sean mixed Foolish Croon beautifully, and Greg jumped in a couple of months prior to work with us after half of the album was already tracked. They’re brilliant guys and are helping us make our next big single which we will be releasing digitally to anyone who purchased Foolish Croon. It will probably be a while before we record another whole album, but don’t be surprised to see singles popping up once in a while to keep things fresh and to keep our fans happy.
Will you be sharing new material at the Prom? If so, can you share any details?
As always, our show will have a few surprises. But be ready to hear some of the older songs off of MOSABA, and a handful of new songs off Foolish Croon. Maybe we’ll throw a cover or two for the people who like that kind of stuff.
After the Prom, what is the band working on and what are the summer plans?
Finishing that new, unreleased song with Sean and Greg is a top priority when we return from Indy so we can release it to our fans ASAP via the internet. We’ll do some Chicago gigs this summer, like an officially official CD Release show for Foolish Croon to help market the new album. We’re working on getting some possible outdoor festival shows because those are really fun to play and the beer is free, but nothing set in stone yet. Most of all, I’m sure on Sunday morning after playing Punk Rock Prom, we’ll be anxiously awaiting and planning our next visit to Indianapolis to do it all over again.
The Hood Internet Revs Up The Little 500
The Hood Internet are bringing a little bit of Chicago to Bloomington’s Little 500, and they are inviting everyone to get the party weekend started. Knuckle Rumbler has gotten the Hood to invade Bloomington for an all ages bash at Rhinos. Here is the dirty:
When: Thursday April 19th – 8:00PM thru 11:30PM
Where: Rhinos, Bloomington, IN
Ages: All Ages
Tickets: $12 ADV / $15 DOS – KnuckleRumblerPresents.com
Riding on the heels of a smash compilation of original material and in preparation for a brand new EP, expect a lot of new tricks up their sleeves as they rock your socks off with everything you come to expect from a Hood Internet party along with some surprises.
To help turn this party into something epic, they invited Chicago Hip Hop group BBU and Rad Summer’s Action Jackson to make this an event an epic launching point into a Little Five weekend for the books. Here’s what they had to say about the event and what they are currently working on.
The Little 500 has a rich historical tradition in Bloomington. How does it feel to be one of the performers at this long-standing university ritual, and have you been invited in the past to play for something like this where it’s not a club and it’s not a festival, but more an “event?”
As long as no one expects us to DJ while cycling then we’re honored. Are you referring to the show on NBC?
Is this a lead off to your upcoming tour with Star Slinger or is the Little 500 just a one off? What can people in Bloomington expect and will you be doing new material that will be a part of the tour setlist?
We are hitting the road for a few days in April with BBU from Chicago. We have a song with them on our forthcoming record. And have worked on tracks in the past. It’s possible you might see some of that.
Teaming up with UK DJ Star Slinger in May, will that have any dictation with the direction and style of the sets you will play? Are you emotionally driven with who you tour with and do you spin your sets to a style that is complimentary with the lineup or do you ignore what is going on around you and stand out in that aspect?
We caught Star Slinger at SXSW and he has a great set. Plus you got Chrissy Murderbot on the tour and he gets wild. You know us, Hood Internet always does the Hood Internet thing but I think there might be some leanings towards certain tracks but I don’t know yet, going to figure it out along the tour.
2012 is an active year for The Hood. You just released an EP reworking the LEP Bogus Boys’ work. What attracted you to their songs and what was the experience like?
LEP is straight Chicago and we’re always trying to work with Chicago. Their last mixtape Now Or Neva is the best if you’re not familiar. We did our thing with it, mixed it with some really good artists: The Big Pink, Keepaway, Poliça, MagicHour, Burial, Bibio. All pretty different stylistically but then you’ve got Count and Moonie’s verses as the constants.
You also have been and are continuing to put out amazing re-working and remixes (one recent remix of Haroula Rose’s “Lavender Moon” that we featured on the site). Tell me a little about your upcoming collaborations and what we can expect?
We got a whole album of collaborations coming out real soon, this summer/fall. #TOBECONTINUED
With the above (especially remixes), is it a conscious effort of balancing being complimentary to the song and pushing the envelope for the purpose of identity? What is important to you when it comes to that point of reaching your goal and purpose of a song?
I don’t know if we’re trying to become identifiable for a particular sound or subgenre and then make only that kind of music. Our tastes are widely scattered and that comes through in the stuff we produce. What’s important will vary depending on the song, but the very simple goal is to make a good track.
You are working on a new album due out later this fall. How is that coming along? What can we expect in regards to the direction of the album?
It’s ten songs. We produced the music in collaboration with all the different people who are going to appear on it. It’s a bunch of people we really like from all sides of the U.S. The whole album has that No Coast swag.
From a casual perspective of music listening, do you find it’s different for you to listen to music than say growing up? is it a challenge or is it an easier way of exploring music? Do you view it differently now and when you do listen to music, are you always searching for pairings and keeping a conscious effort to do so or able to isolate the music and listen to it for what it is?
Music listening is definitely different than it was in childhood. Maybe that’s just because the library is larger now. There is so much music at our hand nowadays, it’s very easy to explore. But sometimes having everything available is overwhelming. Listening to albums on LP is nice: every 20 minutes or so you’ve got to flip the record. Keeps you involved in the listening experience rather than having a playlist on while you’re really focusing on photoshopping captions onto pictures of cats.
From the listener’s perspective, your schedule has always seemed very intensive, and when I look at all you have going on I cannot imagine more crammed in to your work schedule. How do you feel all of this balances out? Do you feel like you could be doing more, or are you at a level in your career where you have to turn down projects.
There’s usually a plan for what’s next, and we do a lot but we can’t always do everything we’d like. You already said the word: balance. That is key.
Nat Baldwin – New Changes
As a musician, Nat Baldwin is constantly growing. With his fourth album last year, People Changes (Western Vinyl) brought out remarkable experimental leanings that sparkled from his past and Baldwin’s fascination with free jazz and improv. All of this was wrapped up in a product of intimacy of an isolated surrounding.
It did not take four albums to get here. It’s always been here. For Baldwin, a disciple of Anthony Braxton and bassist for the Dirty Projectors, Baldwin’s solo work is an outlet for him to expand and contrast on his own terms.
A recent extension to a tour that has been churning since the release of People Changes, and new songs come to light, Baldwin gives a brief glimpse of how he is changing through all of this.
Link: Western Vinyl Artist, Nat Baldwin
You are still riding off of the recent release People Changes, how has the songs on the album transformed as the live tour continues?
The songs have transformed to the point that i want to play new songs. I will be playing all new material on this tour.
What attracted you to the double bass and when did you feel like you develop an identity with playing the double bass?
I’m attracted to its curvy features. My identity didn’t develop but happened immediately.
How did you get into free jazz and how does that go into your songwriting be it working with a band like the Dirty Projectors or your own solo work?
I heard Cecil Taylor and Ornette Coleman when I was 19 the sounds immediately resonated with me. My connection to improvised music has allowed me to be open to all possibilities in music whether its writing my own songs, or playing with others.
You had the split EP with Extra Life that helped prepare you for People Changes by adding versions of “Weights” and “Lifted.” Why this approach and how did having these earlier versions help you?
The idea for the Extra Life split was to do totally stripped down, demo-style recordings. it made sense to flesh the material out after the songs took shape through live performances.
Several albums into your career, how did People Changes change you?
I feel it is my best work thus far. It inspires me to make something better next time.
As a musician, what makes you thrive?
Intimate shows for a crowd that wants to forget about their lives for a moment and listen.
Are you working on new material or new projects right now? If so, what are the details?
I have a bunch of new songs I am playing on this tour, in order to develop them in preparation for a new recording, which i will be starting upon my return.
How is this current tour shaping you and what direction is it taking you in regards to new music? How are you enjoying bringing to light People Changes on stage?
I’m trying to embrace the space in the songs instead of shying away. I hope people enjoy my songs or at least hope to give people something to do for a night that might be more exciting than doing something else.
How do you create that balance with your solo material and working with other bands? What do you find attractive with collaboration and what is it about your solo work that you personally find most appealing?
It’s hard to balance, but it’s a challenge I enjoy and it keeps me busy. I love playing my own music because for now it is my means for creative expression. It helps me survive and its fun. I love playing with other people whose music I love, because I want to be a part of their vision and hopefully elevate it. Music is also just a fun way to pass time.
Goldenboy Brings the New Familiar to the Melody
Over a year ago, Goldenboy released Sleepwalker (Eenie Meenie Records). The album stretched the boundaries of beautifully crafted indie pop and soul-grabbing rock. It was a complimentary mixture that made for a release worthy of note. Frontman Shon Sullivan and the band are still ignited off of the spark of that album and continuing with a tour that will make a stop at the Melody Inn, Wednesday, April 4—Hotfox and Pravada open.
I spoke to Shon about the tour, the album and the California music scene that revolves around him.
I am really excited that the band is making a stop in Indianapolis. What does it feel like to get back out on the road after an extensive time playing live for so long? You finally took a little break recently. How has that helped you in regards of focus for the band?
We all are have the best experience this time out playing shows across the country. I did take time away from performing as Goldenboy.
The time away has somehow made it possible to focus on the music in this changing atmosphere of the music business and rediscover what it is to be a songwriter, performer, studio musician, composer, sideman…all of the above are mandatory if you are gonna be a full-time musician these days.
“Sleepwalker” has been out for over a year. Being able to play these songs are a testament to the songs themselves. How are you interpreting the music live now and what can we expect when you get to our city?
The beautiful (or lucky) thing about the songs on all three Goldenboy albums,”Blue Swan Orchestra,” “Underneath the Radio” & “Sleepwalker” is that they tend to lend themselves to so much live interpretation and discovery as we play them even more & more.They actually get better.
You have been exploring hauntingly beautiful indie pop spectrum for years now. What was it about this style that attracted you to it and what influenced you then verses now?
I think it’s just naturally what comes out when writing and recording. Also,the biggest influence on me comes from the other musicians I have been able to play with, past and present. Things really do rub of, like some kind of collective mind thing.
I know that sounds a bit hippy but it really is true.
Being so close to Los Angeles but outside the parameter of the metropolis, you have the best of both worlds. How has the West Coast lifestyle influenced your sound and what is it about your environment that plays a part in your musical explorations.
I’m so glad you mention this because there is a distinct sound and genre. We call it “The New Familiar.” This is the style of music we do and are trying to promote, introduce and find like-minded people to share in the quest.
We (the band) Nicole Veerhamme, Katy Stone, Bryan Bos and myself are the Chairman of this genre. It’s Melodic, orchestrated, thoughtful but deeply loaded with both the literal and surreal. There is also a far dose of sunshine and dream pop because after all we are from California.
“Rock and Roll All Night” stands out to me as being a song that is really expressive both lyrically and musically. Were you conscious of that throughout the album? What were your intentions going into “Sleepwalker” versus the last album back in 2006?
That’s so interesting you hear that because “Rock & Roll all night” and several songs on “Sleepwalker” were recorded using some well-known guitars.
For example on “Rock & Roll” I used Johnny Marr’s twelve string that he used on The Smiths “The Queen is Dead” album. I was house sitting some of his guitars at the time of “Sleepwalker” so recording with them had this feeling like you were putting your hands on a piece of history. So, you feel this connection and don’t take it for granted when he said to use them for recording if wanted. I did slip an early version of that track in Marr’s guitar case when he picked them up. Hope he liked it!
The music has that driving sound that almost borders on soft Americana and gentle Britpop combined. Then I listen to this album and it takes me back to the late ‘90s and the Spinart roster, especially the California bands represented. What do you feel your music has in common with other artists and styles floating around?
The Sunshine does rub of on all out there. The Britpop we’ve always loved and being able to spend a far amount of time overseas help to get even closer to it first hand.
The styles come back to “the new familiar” genre. We all influence each other.It’s like In Music we Trust (our management) and Green Room (our booking agent) says,”No band is an island!”
What do you think are the keys to a great album, and what is an example of that? With this schedule what do you do to continually challenge yourself?
When we were doing “Blue Swan Orchestra” I studied some of my favorite albums and they all clocked in at about 40-45 min. long. That’s long enough to take it somewhere, say what you wanna and create a mood musically. It also is the average drive time in southern California!
What do you do to continually challenge yourself as a musician and songwriter?
Lately I’ve been trying focus on writing from a different point of view, a third person perspective, as well as trying to get better and more interesting sounds while recording.
The current line up seems to do a wonderful job at complimenting the vision behind “Sleepwalker.” How was their participation an influence into the making of this album?
Beyond huge is the influence of our collective we’ve started. We all bring something special to the table that comes out when we play together.Whether it’s the sweet harmonies of the “Driftwood sisters” ( Katy & Nicole) or the Charlie Watt-edge of Bryan Bos,guitar harmonies,etc..
On average the amount of time between releases are vast and becoming vaster. Why wait so long between releases and any thoughts about a future release?
Goldenboy was originally started as a side project that was done in the time of between playing and touring with other artist/bands. However, it kind of blossomed into an entity of its own.
Jukebox Special – A Look at Majeure’s “Atlantis Purge”
Brainstorm (Temporary Residence, Ltd.) is a split album from Steve Moore and Majeure (aka A.E. Paterra). Both are founding members of the sci-fi prog rock group Zombi. And in its essence, Brainstorm is the work of that group, however with this release, the work is dissected by side and each song contains the essential essence of what each member is capable of.
I contacted The Quiet Sounds creator Brian Bieniowski to talk about Majeure’s song “Atlantis Purge,” a 20-minute piece divided into three parts. Give the song a listen for yourself and we invite you to use the comments to contribute with your thoughts and perception.
And you can check out episodes of The Quiet Sounds here.
Brian—I know Majeure well, and, in fact, bought this split not too long ago, because I’m a big Steve Moore fan. Together, they make up the group Zombi, who do a kind of strange ’80s electronic soundtrack music, influenced somewhat by Goblin and stuff like that. This is very much a big deal now, for whatever reason, and music like it is inexplicably all over the place. For the most part, I like it. I still can’t quite put my finger on why it’s so popular—when I was listening to this stuff at the height of other electronic music crazes (for example, drum & bass in the ’90s), it was pretty much the uncoolest music ever. People on bulletin boards would write, “That’s not electronic music, its new age.” New age is no longer a pejorative, which kind of blows my mind in a good way.
Anyway, on to Majeure. This track is pretty decent, and reminds me quite a bit throughout of what Steve Roach has been doing for thirty years. Nice tribal echoes in the beginning, and strange swampy atmospheres. The sequencing on the latter half of the track is okay, but I have to admit this stuff feels like it’s currently being done to death. I felt the same about Majeure’s full length, Timespan, as well. Certainly Majeure’s partner in Zombi does this arpeggiated sound in a much more interesting fashion on his LPs, and I’d be curious to hear the Moore half of this split to compare and contrast. By the end of this track, we’re in Harald Grosskopf territory (not a bad place to be, in my opinion)—and I’m thinking this is almost a new soundtrack to Michael Mann’s The Keep. Can’t you just see Scott Glenn blasting Nazis with psychic laser beams with this playing in the background?
Andrew—I agree. I love what Steve Moore has done. Songs like “Saturnalia” is a mind trip. The way he blends and fades sounds into others is charming. Moore’s remixes of something like “Circuit” plays more into the Carpenter-esque feel of things. I can see the two having “Assault on Precinct 13″ marathons and vocally spewing forth the notes to the soundtrack like a drunken night at the pub. Majeure’s song plays into all this with a lesser abrasive approach.
The Daw Science Fiction book cover homage with the album art is a nice touch as is the Tangerine Dream reference. I want to say “Phaedra” had an influence into the making of this song. One thing I wanted was for “Atlantis Purge” to go into some Igor Wakhevitch percussive territory as I feel like krautrock would be a nice transitory ending as a result of the journey, but that may have been too messy, and they would be mis-categorized as being someone who wants to sound like Neu!
I’m not sure why the new-found fascination to bands like Goblin is becoming more and more popular over time. A few year’s back, I attended a screening of Suspiria, and the place was packed. They had a band who performed the Goblin soundtrack and the kids went crazy. It’s a cultist cool thing to do.
How did the ’80s soundtrack influence your tastes and are you more aware of the style now than when they were first integrated into soundtracks? What were some of the films that made an impression on you solely for the musical aspects? What elements of ’60s and ’70s sci-fi play into the ambiance of the way this track feels?
Brian—I have a feeling that Phaedra influenced most of the current crop of neo-Berlin School electronic that’s going on right now. For me, the key T(angering) D(ream) album was Rubycon though — it still sounds amazing and mysterious. One thing I will say about the newer artists operating in this sound is that they aren’t afraid of noise and mess and chaos in the work. For years, the more stodgy Berlin School practitioners kept things pretty neat and clean and digital. I like the more punk ethos I’m detecting in the music of Emeralds and their ilk. Also: one of these days a unified collection of all those crazy Daw Books covers should get published. Who’s crazy enough to put that together these days?
I’ll never understand why something like Goblin gets a kind of youth chic. They’re totally awesome, of course, but why them, why now? I look forward to one day seeing teens trancing out to Popol Vuh. It could happen!
I must admit my tastes weren’t particularly influenced by ’80s soundtracks. I definitely come more from a seventies and sixties background. For example, check out the opening titles sequence in At the Earth’s Core with Doug McClure and Peter Cushing. It sounds like Hawkwind! When I think of movies that have influenced me from a musical aspect, I immediately gravitate to the amazing music of Artemiev in the films of Tarkovsky. These need to be released legitimately one day. Additionally, I was very drawn to Alain Goraguer (Fantastic Planet), which is a bit more obscure and prog sounding, but also quite alien and lovely. I can’t talk enough about Bruce Langhorne’s soundtracks to the two Peter Fonda movies, Idaho Transfer and The Hired Hand. Folky ambient? Ambient folk? Absolutely essential, either way. Idaho has never had a proper release, but you can dig it up on MP3 blogs. Worth the hunt, and the movie isn’t bad either.
Andrew—With Bruce Langhorne, you had this ’60s folk musician taking this progressive jump to soundtrack composition, while with Majeure, you have a progressive era of synth musicians taking a step backwards. Is there a middle ground to all of this? We look back at the ’60s and ’70s with certain composers and are amazed at what they did because they were ahead of their time, from classical to jazz to rock and so on. It was a vibrant period of musical experimentation that melded together in some way.
Would you consider what Majeure is doing vibrant as well, and in what way? What we can get out of this that will pave the way for future direction of electronic music and what can you conclude from this observation?
Brian—It’s a very good question. I think there’s a drive with certain current artists to add more traditional elements to the drier forms of electronic music. I think of the transformation over the years of the 12K label, which started with some frighteningly minimal electronic music and has gradually changed into a strange melding of natural and artificial constructs in an attempt to reflect the modern landscape. The last record I picked up on the label, by Gareth Dickson, is essentially a folk album! Yet it still fits in with their aesthetic. That’s a direction I’m very interested in personally; unexpected cross-pollination between genres allowing for breathing room for the different styles to expand within. The throwback to ’70s electronic that Majeure represents is somewhat less interesting to me, though when the music is solid (as in Oneohtrix Point Never or Radio People, for example), it’s very, very exciting.
The future of electronic music is pretty hard to determine. I don’t think the current ’70s Berlin School or new age throwback is going to have legs, ultimately. But it doesn’t really have to, either. Honestly, I couldn’t even speculate where things are going. I wouldn’t be surprised if straight Detroit-inspired techno came back at some point soon. I think some of the little sub-movements are interesting—hauntology, as a great example—but it’s impossible to determine where the form will go, which is partly why it’s so exciting to me.
