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IDM
Intelligent dance music (commonly IDM) is a term that describes an electronic music genre that emerged in the early 1990s at the end of the British rave era. The genre is influenced by a wide range of musical styles particularly electronic dance music (EDM) such as Detroit Techno.[1][2] Stylistically, IDM tends to rely upon individualistic experimentation rather than on a particular set of musical characteristics.[3] The range of post-techno[4] styles to emerge in the early 1990s were described variously as art techno,[5] ambient techno, intelligent techno, and electronica. In America the latter term is now used by the music industry as a catchall to describe EDM and its many derivatives. 
Autechre, notable electronic music act associated with IDM.
The term IDM is said to have originated in the United States in 1993 with the formation of the IDM list, an electronic mailing list originally charted for the discussion of music by (but not limited to) a number of prominent English artists, especially those appearing on a 1992 Warp Records compilation called Artificial Intelligence.
Usage of the term "Intelligence Dance Music" has been widely criticised by leading electronic musicians Intelligent dance music#Reception and is still seen by some as being peculiar to the U.S.[6][7] but it is routinely used by music journalists, record labels, and fans on both sides on the Atlantic.[8]
Because of this lack of consensus, many electronic musicians, music journalists and fans prefer the term Electronica over "IDM".
At the beginning of the British rave era a number of UK based electronic musicians were inspired by the underground dance music of the time and started to explore experimental forms of EDM production. By the early 1990s the music associated with this experimentation had gained prominence with releases on a variety of record labels including Warp Records (1989), Black Dog Productions (1989), R & S Records (1989), Carl Craig's Planet E, Rising High Records (1991), Richard James's Rephlex Records (1991), Kirk Degiorgio's Applied Rhythmic Technology (1991), Eevo Lute Muzique (1991), General Production Recordings (1989), Soma Quality Recordings (1991), Peacefrog Records (1991), and Metamorphic Recordings (1992).
By 1992 Warp Records was marketing the musical output of the artists on its roster using the description electronic listening music, but this was quickly replaced by intelligent techno.[9] In the same period (1992–93), other names were also used, such as armchair techno, ambient techno, and electronica,[10] but all were attempts to describe an emerging offshoot of electronic dance music that was being enjoyed by the "sedentary and stay at home".[11] Steve Beckett, co-owner of Warp, has said that the electronic music the label was releasing at that point was targeting a post-club home listing audience.[12] In 1993 a number of new record labels emerged that were producing intelligent techno geared releases including New Electronica, Mille Plateaux, 100% Pure, and Ferox Records.
[edit] Artificial Intelligence
In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled "electronic listening music from Warp", the record was a collection of tracks from artists such as Autechre, B12, The Black Dog, Aphex Twin, and The Orb, under various aliases.[13] These artists, among others, would eventually become the main topics of conversation in the Intelligent Dance Music List, an electronic mailing list founded in August 1993.
[edit] The IDM List
In November 1991, the phrase "intelligent techno" appeared on Usenet in reference to Coil's The Snow EP.[14] Another instance of the phrase appeared on Usenet in April 1993 in reference to The Black Dog's album Bytes.[15] Wider public use of such terms on the Internet did not come until August 1993, when Alan Parry announced the existence of a new electronic mailing list for discussion of "intelligent" dance music: the Intelligent Dance Music list, or IDM List for short.[16][17]
The first message, sent on August 1, 1993, was entitled "Can Dumb People Enjoy IDM, Too?".[18] A reply from the list server's system administrator, Brian Behlendorf, revealed that Parry originally wanted to create a list devoted to discussion of the music on the Rephlex label, but they decided together to expand its charter to include music similar to what was on Rephlex or that was in different genres but which had been made with similar approaches. They picked the word "intelligent" because it had already appeared on Artificial Intelligence and because it connoted being something beyond just music for dancing, while still being open to interpretation.[19]
Artists that appeared in the first discussions on the list included Autechre, Atom Heart, LFO, and Rephlex Records artists such as Aphex Twin, µ-ziq, and Luke Vibert; plus artists such as The Orb, Richard H. Kirk, and Future Sound of London, and even artists like System 7, William Orbit, Sabres of Paradise, Tycho, Orbital, Plastikman and Björk.
As of 2008, the mailing list is still active.
[edit] Artificial Intelligence Vol. 2
Warp's second Artificial Intelligence compilation was released in 1994. The album featured fragments of posts from the mailing list incorporated into typographic artwork by The Designers Republic. Sleeve notes by David Toop acknowledged the genre's multitude of musical and cultural influences and suggested none should be considered more important than any other.[1]
During this period, the electronic music produced by Warp Records artists such as Polygon Window (an alias of Richard D. James), Autechre, LFO, B12, Seefeel, and The Black Dog, gained popularity among electronic music fans, as did music by artists on the Rephlex label. Lesser-known artists on the Likemind label and Kirk Degiorgio's A.R.T. and Op-Art labels, including Degiorgio himself under various names (As One, Future/Past and Esoterik), Steve Pickton (Stasis) and Nurmad Jusat (Nuron) also found an audience, along with bigger-name, cross-genre artists like Björk and Future Sound of London.
IDM in America
In the mid-1990s, North American audiences welcomed IDM, and many IDM record labels were founded, including Drop Beat, Isophlux, Suction, Schematic, and Cytrax.[20] In Miami, Florida, labels like Schematic, AiRecords, Merck Records, Nophi Recordings, and The Beta Bodega Coalition released material by artists such as Phoenecia, Dino Felipe, Machinedrum, and Proem. Another burgeoning scene was the Chicago/Milwaukee area, with labels such as Addict, Chocolate Industries, Hefty, and Zod supporting artists like Doormouse, Trs-80 and Emotional Joystick. Tigerbeat 6, a San Francisco based label has released IDM from artists such as Cex, Kid 606, and Kevin Blechdom. Contemporary IDM artists include Team Doyobi, Quim, Himuro Yoshiteru, Kettel, Ochre, Marumari, Benn Jordan, Proem, Lackluster, Arovane, Ulrich Schnauss, Wisp and Zygote. [21]
[edit] Reception
British electronic music and techno artists, including Aphex Twin, Cylob, and Mike Paradinas, have criticised the term IDM. Paradinas has stated that the term IDM was only used in America.
Allmusic Guide describes the IDM name as
A loaded term meant to distinguish electronic music of the '90s and later that's equally comfortable on the dancefloor as in the living room, IDM (Intelligent Dance Music) eventually acquired a good deal of negative publicity, not least among the legion of dance producers and fans whose exclusion from the community prompted the question of whether they produced stupid dance music.
In a September 1997 interview, Aphex Twin commented on the 'Intelligent Dance Music' label:
I just think it's really funny to have terms like that. It's basically saying 'this is intelligent and everything else is stupid.' It's really nasty to everyone else's music. (laughs) It makes me laugh, things like that. I don't use names. I just say that I like something or I don't.[22]
Aphex Twin's Rephlex records official overarching genre name is Braindance, of which Dave Segal of Stylus Magazine asked whether it was a "snide dig at IDM’s mockworthy Intelligent Dance Music tag?"[23]
Kid 606 has said,
I hate IDM and its elitist champions. It makes the music sound so much more than it actually is. It's a label invented by PR companies who need catchphrases. I like sounds, but hate what people attach to sounds.[24]
Chris Jeffs (Cylob) said, "Also, anyone who applies the term IDM to my music deserves to be shot."[25]
Wednesday, August 11, 2010
Monday, August 9, 2010
Friday, July 16, 2010
Sunday, May 2, 2010
Monday, April 19, 2010
Monday, April 12, 2010
Wednesday, March 31, 2010
PSALM01 [PPL R38]
http://www.house-mixes.com/artists/Dan_0/
http://synthplants.tumblr.com/
http://www.myspace.com/synthplantsevents
Wednesday, March 10, 2010
Friday, February 26, 2010
Wednesday, February 24, 2010
2010 AUTECHRE new album 'Oversteps'
Iconic electronic mavericks Autechre are set to return in 2010 with their new album 'Oversteps'.
Autechre are one of the most groundbreaking acts in British music. Fired up by the Acid House explosion Rob Brown and Sean Booth choose to ignore dancefloor possibilities and experiment with sound.
As a result Autechre's music sounds unlike anything around it. From their initial recordings to debut album 'Incunabula' and beyond the duo have spent the best part of twenty years crafting a unique back catalogue.
The Warp mainstays were an important part of the label's 20th anniversary celebrations last year. Having been signed with the imprint for the bulk of those two decades, Autechre were perfectly placed to pay tribute to Warp.
Playing a series of celebratory shows, Autechre have also been working on a new album. The follow up to 2008's dense work 'Quaristice' new album 'Oversteps' comes as Warp Records looks again to the future.
Available as a download, the new album will also be released on CD and lavish vinyl. The deluxe vinyl edition will include a specially designed sleeve, a massive double sided poster and more.
Little has been heard of the new album, with Autechre being typically cryptic with the release. However the duo have confirmed details of a lengthy European tour beginning with a show in Manchester's Pure venue on March 11th.Stretching around Europe the new tour will finish in London on April 10th with the venue being kept strictly under wraps.
Autechre are set to release 'Oversteps' on March 22nd. Tracklisting is as follows:
I've just finished listening to the 24 bit wav of Autechre's new album, and once again they have showed that there is still plenty of new ground to tread in music. How many autechre fans reside here at reddit? I've been a fan of Autechre since their 2001 release Confield, and in my opinion they remain as one of the freshest most original musical acts in decades.
While I agree that confield is a musical accomplishment - their follow up albums were all five star records, especially untilted and Quaristice+. You can buy the new album from bleep.com for like ten bucks, it's worth it. here is a song from the new album that bounces a pretty classic Autechre sound http://www.youtube.com/watch?v=tTjV01A5JU4
Tuesday, February 23, 2010
New Music Video / DJ RAP
Over her 15-year career, DJ Rap has moved effortlessly between genres, staking her claim on various styles within the electronic spectrum, while simultaneously pushing the limits of rock and pop. The First Lady of Drum ʻnʼ Bass and the undisputed Queen of the Turntables, her music has infiltrated club systems and car stereos worldwide, and her numerous forays into video game and motion picture soundtracks have solidified her pedigree as one dance musicʼs most successful and prolific artists.
With three studio albums, 75 mix compilations and over 2,000,000 in cumulative worldwide sales to her name, what makes you think sheʼd stop now?
In February 2010, DJ Rap will release Synthesis (Ministry of Sound), a brand new studio album that weaves together a full compliment of synthetic textures and organic moods, and paints a lucid picture of her journey as a songwriter and multi-instrumentalist. Powerful, melodic and immaculately produced, Synthesis is a return to the hybridization of styles she brought forward on Learning Curve (Sony), her 1999 debut that had magazines like Rolling Stone and Ray Gun heralding her arrival into the mainstream. The albumʼs first single, “Give It All Away,” will be released November 2009.
Get your fix on Rap's new Drum&Bass band METASYN. Sample the first single "Back To Life" in the music section and be sure to watch the music video.
http://www.djrap.com/tour.php
Friday, February 19, 2010
Wednesday, February 17, 2010
Sunday, February 14, 2010
New Release: Four Tet: "Love Cry"
Good news, list fans; when the age-old 'Best album opening trio' debate rears its inevitable head once more, we now have a new contender to add to its hallowed ranks: There is Love in You begins with an absolute stormer of a triple whammy.
Opener ‘Angel Echoes’ is one of those wonderfully fragile pieces of music that makes you stop dead in your tracks and listen to every single sound and aching note lurking in its ethereal existence. It feels connected to moments from Four Tet’s first three records, yet discernibly more learned, utilising the words from the album title spliced into a reassembled abstract choral plea.
But it’s almost left looking average, such is the towering majesty of ‘Love Cry’; a monumental piece of work, encompassing everything that the last four years of interesting EPs, dubstep remixes and improv collaborations have hinted at, merged into a nine minute journey through Four Tet’s entire career. A recurring fractured vocal builds around the initial percussion, emerging from a hazy dawn like a summoning Siren coming out of hibernation before being reborn as an unrelenting bringer of destruction.
‘Circling’ is the calm after the storm, again deploying haunting phonetics that never quite make coherent sense, but which merge seamlessly with the delicate instrumentation underpinning the surface, and thus completing a wonderful opening trinity.
But the treats don’t end here. ‘Sing’ - a lo-fi, stop start piece of electronica – keeps cutting in and out like a short-circuiting laptop, but is confident enough to throw in some breathless Karin Dreijer Andersson-esque singing at the four minute mark. ‘This Unfolds’ feels like a timeless reimagining of - remember this one kids? - Dig Your Own Hole’s closing two tracks, whilst the recent weeks spent working with Burial feel intrinsic to the ambient space found in the brief but beautiful ‘Reversing’.
‘Plastic People’ is again heavily evocative of Kieran Hebden’s more recent work, ‘harder’ than previous album centrepieces - almost dancefloor bound and all the better for it; by contrast closer ‘She Just Likes to Fight’ feels like the only track here that could possibly have fitted in as part of that illustrious back catalogue. It’s a delightful end to the album and in some respects a reminder of how far ahead of their time those initial two records in particular were, though it is a slight shame after all the (re)invention that we end in a territory that’s slightly familiar.
But that’s just hair-splitting and is a concern unlikely to haunt your dreams once the album as a whole has infiltrated your consciousness. After all, that’s when Four Tet is at his best; gradually burrowing away at your waking thoughts with snatched samples of the outside world, combined with abstract percussion and subtle compositions.
The past four years’ experimentation has been highly beneficial; fresh, different, reenergised and very much deserving of a year ending in a ‘0’. Having such an ownable ‘sound’ can often be a blessing (see Fuck Buttons) or a curse (see Clinic) and trying to move forwards often results in albums taking tiny steps as opposed to large strides. But in There is Love in You we see one of the last decade’s most early pioneers reminding us all that he’s still just as important as ever.
Sean Thomas
Friday, February 12, 2010
Wednesday, February 10, 2010
Fsol interview #
The Androgynous Sound Of London Garry Cobain and Brian Dougans have been making some of the most inventive, breathtaking, creative and ultimately appealing music for the best part of a decade now. Music critics who wrote them off as a “techno” band will have been bewildered by the band’s consistent ability to produce such classic albums as “Life Forms”, “Dead Cities” and, under the guise of Amorphous Androgynous, the latest release “Mello Hippo LP”. Garry became very ill some time ago, and ended up traipsing all the way to India in an effort to try out different kinds of medicine that may or may not have helped cure him. It worked, he returned a changed man in a very positive frame of mind and the overall vibe you get when speaking to him is of someone who really just loves life nowadays and balls to anyone who’s gonna try to change that. A lovely chap with a passion for talking, Gary answered some profound questions for the sake of Atomicduster:
AD: FSOL have been going for ten years now. How is it that you’ve managed to stay sounding fresh while other artists from the same era have ended up sounding like dinosaurs on the verge of extinction?
GC: Ha ha. Good question, and my answer would be by risking the very fabric of our existence. We’re not really accountants and we don’t make moves or whole period was actually quite dark, but it formed the whole basis for the new sound and it was almost like being born again. If you imagine that we’re just two creative, absurd human beings who just have a passion to make music and then picture that when we were talking to Virgin it became apparent that FSOL was no longer a band to them, but to them it had become purely a business. That’s not what we wanted, as music to us is as much about personal exploration as anything else, and we like to keep continually moving. But yes, very much agree, we HAVE stayed fresh, and I think it’s because we’ve never become victims of the system.
AD: You’ve also recorded as Amorphous Androgynous for some time too. Why have you always kept the two projects separate?
GC: Well, going back to the early nineties, the rumour was that Virgin tried and failed to sign Leftfield. They wanted a “left of field” dance band anyway, after seeing the success of the Aphex Twin and Underworld because in those early days way out music was suddenly commercial. I get quite nostalgic about it sometimes, and at that time we were getting gold discs. Unfortunately though, the pop industry is quite sad, and we realised later that they weren’t raving about our music because they thought it was really good or because they loved it – it was solely because it was selling well. Virgin would have happily put out and raved about an album of Malaysian flute music if it meant financial gain. That’s not the way I like to live my life. I’m not someone who buys my sofas from MFI, I’m more likely to know someone who makes themso that I get something that is well crafted and original. So, to answer your question, we decided we’d rather invent a new band that would celebrate our freedom and became to be an escape from the straitjackets strapped upon us by the shackles of the corporation.
AD: Yeah I can see your point about wanting to make something totally different, and the relevant name reinvention, but surely your first two albums as FSOL were completely independent of eachother musically as well, making the transition from what was, in essence, a techno album to the relative ambience of “Life Forms”…
GC: Yes I suppose you’ve got a point there. “Accelerator” was an entirely different record altogether. We didn’t strive or set out to make an album that contrasted with the first particularly, we’ve just always loved really way out music, and our love of that stuff just polarised into us producing way out music ourselves. I love anything odd, like pummelling your audience with beats and then dropping down to a Barbra Streisand record. What could be more odd? Times are quite exciting now too, as there seems to be a dawn of a whole new technological era. People are playing with Eastern philosophies, playing not just with music, but also by exploring themselves by way of the food we eat, use of enemas, massage and alternative medicine.
AD: Just picking up on that last point, I gather you are a great believer in spiritual healing. What can you tell me about your most vivid or enlightening experiences in India in your quest to cure your illness?
GC: Oh God. Now I’m looking for a really cool story and scratching around in my brain knowing I ought to have one. That’s the kind of question that makes me quake in my boots and not be able to think of anything! I don’t think there was necessarily any one particular event – it’s just that in my previous life I used to drink a lot, and my time was filled with promotion, music and beer. Now, since my time in India, my life is quite sedate and I don’t have great big peaks and troughs. I generally love life and people, I love the way we can express ourselves – through the way we dress, the way we talk and the food we choose to eat. Life is just so precious and we need to tailor it in such a way that it suits us.
AD: “Life Forms” makes me want to cry every time I listen to it, and your new album is especially moving in places too. Did you set out with the intention of moving people to tears when you recorded it?
GC: Not really, but I think it comes across as Brian and myself are quite romantic people – we thrive on music that evokes things of a great beauty and passion. I mean, I wouldn’t have used the word “spirituality” for fear of sounding over pretentious, but we do like to try and stretch ourselves beyond our potential, and create a kind of keyhole into another dimension I suppose. But yeah, you could say that we’ve always tried to shake the foundation of the listener’s emotional state. The music feels more real that way.
AD: An enormous amount of artists have cited you as a great influence on their own careers…
GC: Have they? Who?
AD: Erm…just for example, Robert Miles, when I spoke to him recently he said FSOL has been the biggest influence out of anyone to him…
GC: Really? You know it’s amazing, but we seem to get this quite a bit. Six years after we’ve recorded something, it suddenly becomes a great album. I remember when we released “Dead Cities”, it received very little media support, yet now apparently it’s a fantastic record. I suppose it’s quite nice really, after all we used to be quite exhausted – we had to advertise and do all sorts of promotion which had to be on the week of release, whereas now we enjoy low key advertising and that kind of fits in with the ethics of what we’re all about and what I believe in. It’s funny because I was walking past some advertising the other day, where there once would have been a singular billboard, but now it has rotate in a hexagon, such is the insanity of this choc-a-bloc world. It struck me that everything that flashed up on the boards was so desperate to succeed that they have to revolutionise or die. The good thing is that people are taking less and less notice of these advertisements, and we’re wising up to alternatives. I’m always suspicious of those companies who really need to advertise…when you think about it, something like Coca-cola is still hugely advertised, and if people knew what shit they were putting into their bodies with that stuff, I wonder whether if there was less marketing it would eventually die. At the same time there’s maybe a little store at the back of Safeways giving away organic juices that hardly anyone knows about but which would improve their health and lifestyle threefold. But like I said, people ARE starting to wise up to it now and we’re not believing everything we’re told like we used to. It’s a glorious time right now, we’re starting to realise how to bring up a child in a healthy way, we have all sorts of new and exciting developments like Ethical Banking where certain banks will not put their money into unworthy causes, we’re saying “Fuck that, I’m not eating what you’re trying to sell me because I know that MY food will not harm me”, and people like you and me are flourishing. I’m really starting to trust in people and music and journalism again, and that can only be a good thing.
Couldn’t agree more. Why should we buy all the things that are rammed down our throats on a daily basis when there are products, bands and people out there that just want to make the world a better place for us all? Thanks to Garry for giving me such good answers to six of my questions (?) that I had to throw the rest of them away due to time constraints….!
Interview and transcript by Tone E
AD: FSOL have been going for ten years now. How is it that you’ve managed to stay sounding fresh while other artists from the same era have ended up sounding like dinosaurs on the verge of extinction?
GC: Ha ha. Good question, and my answer would be by risking the very fabric of our existence. We’re not really accountants and we don’t make moves or whole period was actually quite dark, but it formed the whole basis for the new sound and it was almost like being born again. If you imagine that we’re just two creative, absurd human beings who just have a passion to make music and then picture that when we were talking to Virgin it became apparent that FSOL was no longer a band to them, but to them it had become purely a business. That’s not what we wanted, as music to us is as much about personal exploration as anything else, and we like to keep continually moving. But yes, very much agree, we HAVE stayed fresh, and I think it’s because we’ve never become victims of the system.
AD: You’ve also recorded as Amorphous Androgynous for some time too. Why have you always kept the two projects separate?
GC: Well, going back to the early nineties, the rumour was that Virgin tried and failed to sign Leftfield. They wanted a “left of field” dance band anyway, after seeing the success of the Aphex Twin and Underworld because in those early days way out music was suddenly commercial. I get quite nostalgic about it sometimes, and at that time we were getting gold discs. Unfortunately though, the pop industry is quite sad, and we realised later that they weren’t raving about our music because they thought it was really good or because they loved it – it was solely because it was selling well. Virgin would have happily put out and raved about an album of Malaysian flute music if it meant financial gain. That’s not the way I like to live my life. I’m not someone who buys my sofas from MFI, I’m more likely to know someone who makes themso that I get something that is well crafted and original. So, to answer your question, we decided we’d rather invent a new band that would celebrate our freedom and became to be an escape from the straitjackets strapped upon us by the shackles of the corporation.
AD: Yeah I can see your point about wanting to make something totally different, and the relevant name reinvention, but surely your first two albums as FSOL were completely independent of eachother musically as well, making the transition from what was, in essence, a techno album to the relative ambience of “Life Forms”…
GC: Yes I suppose you’ve got a point there. “Accelerator” was an entirely different record altogether. We didn’t strive or set out to make an album that contrasted with the first particularly, we’ve just always loved really way out music, and our love of that stuff just polarised into us producing way out music ourselves. I love anything odd, like pummelling your audience with beats and then dropping down to a Barbra Streisand record. What could be more odd? Times are quite exciting now too, as there seems to be a dawn of a whole new technological era. People are playing with Eastern philosophies, playing not just with music, but also by exploring themselves by way of the food we eat, use of enemas, massage and alternative medicine.
AD: Just picking up on that last point, I gather you are a great believer in spiritual healing. What can you tell me about your most vivid or enlightening experiences in India in your quest to cure your illness?
GC: Oh God. Now I’m looking for a really cool story and scratching around in my brain knowing I ought to have one. That’s the kind of question that makes me quake in my boots and not be able to think of anything! I don’t think there was necessarily any one particular event – it’s just that in my previous life I used to drink a lot, and my time was filled with promotion, music and beer. Now, since my time in India, my life is quite sedate and I don’t have great big peaks and troughs. I generally love life and people, I love the way we can express ourselves – through the way we dress, the way we talk and the food we choose to eat. Life is just so precious and we need to tailor it in such a way that it suits us.
AD: “Life Forms” makes me want to cry every time I listen to it, and your new album is especially moving in places too. Did you set out with the intention of moving people to tears when you recorded it?
GC: Not really, but I think it comes across as Brian and myself are quite romantic people – we thrive on music that evokes things of a great beauty and passion. I mean, I wouldn’t have used the word “spirituality” for fear of sounding over pretentious, but we do like to try and stretch ourselves beyond our potential, and create a kind of keyhole into another dimension I suppose. But yeah, you could say that we’ve always tried to shake the foundation of the listener’s emotional state. The music feels more real that way.
AD: An enormous amount of artists have cited you as a great influence on their own careers…
GC: Have they? Who?
AD: Erm…just for example, Robert Miles, when I spoke to him recently he said FSOL has been the biggest influence out of anyone to him…
GC: Really? You know it’s amazing, but we seem to get this quite a bit. Six years after we’ve recorded something, it suddenly becomes a great album. I remember when we released “Dead Cities”, it received very little media support, yet now apparently it’s a fantastic record. I suppose it’s quite nice really, after all we used to be quite exhausted – we had to advertise and do all sorts of promotion which had to be on the week of release, whereas now we enjoy low key advertising and that kind of fits in with the ethics of what we’re all about and what I believe in. It’s funny because I was walking past some advertising the other day, where there once would have been a singular billboard, but now it has rotate in a hexagon, such is the insanity of this choc-a-bloc world. It struck me that everything that flashed up on the boards was so desperate to succeed that they have to revolutionise or die. The good thing is that people are taking less and less notice of these advertisements, and we’re wising up to alternatives. I’m always suspicious of those companies who really need to advertise…when you think about it, something like Coca-cola is still hugely advertised, and if people knew what shit they were putting into their bodies with that stuff, I wonder whether if there was less marketing it would eventually die. At the same time there’s maybe a little store at the back of Safeways giving away organic juices that hardly anyone knows about but which would improve their health and lifestyle threefold. But like I said, people ARE starting to wise up to it now and we’re not believing everything we’re told like we used to. It’s a glorious time right now, we’re starting to realise how to bring up a child in a healthy way, we have all sorts of new and exciting developments like Ethical Banking where certain banks will not put their money into unworthy causes, we’re saying “Fuck that, I’m not eating what you’re trying to sell me because I know that MY food will not harm me”, and people like you and me are flourishing. I’m really starting to trust in people and music and journalism again, and that can only be a good thing.
Couldn’t agree more. Why should we buy all the things that are rammed down our throats on a daily basis when there are products, bands and people out there that just want to make the world a better place for us all? Thanks to Garry for giving me such good answers to six of my questions (?) that I had to throw the rest of them away due to time constraints….!
Interview and transcript by Tone E
Wednesday, February 3, 2010
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