Thinking about buying this DVD. Looking at that picture makes me blissfully happy. I keep waiting and hoping that rock will die. That something will replace the three chords, the verse-verse-chorus, the drum-bass-lead, and the stupid iconic image of the slouching boy or girl clutching the ax as the ultimate avatar of coolness. The early '80s (documented in the film), and then again the early '90s, hinted that it was possible, but stupid cock rock cliches always come back, like the crabs. This blog page is dedicated not so much to the keyboard as an alternative, or even the "dj" (another kind of anti-authority authority figure), but rather abstract, orgiastic, authorless, soundcentric but still tuneful music, the unfulfilled promise of rave. House music, at the very least, with the dj/knob twiddler barely visible behind the record crates.
Now that that's out of the way, please note that Simon Reynolds discussed his book on postpunk last week on Slate.
Well as long as its an electric he's tossing. Look Ma, no electricity! As for those mentioned in the film's title: more like the "[after-] birth of electronic pop."
According to what I've read about the film, whereas the big moment in Manchester was when the Sex Pistols played (hilariously demystified in 24 Hour Party People) in Sheffield it was Kraftwerk. I'm really not up on that scene other than the obvious hits. The movie tracks a lot of also-rans and minor scenesters. I'd say on the whole I'm more interested in how Kraftwerk took seed in Detroit than Sheffield, but I'm looking forward to reading Reynolds' book, since he's a passionate writer and was a fan back in the day.
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Thinking about buying this DVD. Looking at that picture makes me blissfully happy. I keep waiting and hoping that rock will die. That something will replace the three chords, the verse-verse-chorus, the drum-bass-lead, and the stupid iconic image of the slouching boy or girl clutching the ax as the ultimate avatar of coolness. The early '80s (documented in the film), and then again the early '90s, hinted that it was possible, but stupid cock rock cliches always come back, like the crabs. This blog page is dedicated not so much to the keyboard as an alternative, or even the "dj" (another kind of anti-authority authority figure), but rather abstract, orgiastic, authorless, soundcentric but still tuneful music, the unfulfilled promise of rave. House music, at the very least, with the dj/knob twiddler barely visible behind the record crates.
Now that that's out of the way, please note that Simon Reynolds discussed his book on postpunk last week on Slate.
- tom moody 3-13-2006 9:49 am
Well as long as its an electric he's tossing. Look Ma, no electricity! As for those mentioned in the film's title: more like the "[after-] birth of electronic pop."
- SHM (guest) 3-14-2006 4:41 am
According to what I've read about the film, whereas the big moment in Manchester was when the Sex Pistols played (hilariously demystified in 24 Hour Party People) in Sheffield it was Kraftwerk. I'm really not up on that scene other than the obvious hits. The movie tracks a lot of also-rans and minor scenesters. I'd say on the whole I'm more interested in how Kraftwerk took seed in Detroit than Sheffield, but I'm looking forward to reading Reynolds' book, since he's a passionate writer and was a fan back in the day.
- tom moody 3-14-2006 5:09 am