My day job (copywriting) often involves a particular and occasionally mind-numbing range of vocabulary: INNOVATION! DYNAMIC! and other such exclamations.
Indeed, much is invested in promise or illusion. Expensive diversions such as the hysterical, pathetic downfall of Fyre Festival are testament to the promise or illusion being simply that: a bloated distraction that contributes nothing to music whatsoever.
The power and persuasion of language is, of course, the (copy)writer’s foremost medium, their proverbial bread and butter – using words to elicit emotional response or reaction towards a brand, product, or idea. When we step back and look at the semantics of language, and how they actually help construct an idea or understanding, we realise a lot of what people write can be summed up in a handful of words, or that much of what is being said is really saying nothing at all.
It makes me wonder how on Earth we consider Skrillex and deadmau5 as innovators. I’d love someone to explain that to me.
The word ‘innovative’ has reared its malignant head all too many a time. In discussing music, we’re constantly, obsessively exposed to this idea of the innovator (Derrick May will forever be ‘The Innovator’). Whether in reflective dialogue, in looking to the past (Kraftwerk among the predictable), or casting to the future (projections of our own anxieties and aspirations), we seek to understand or define innovation. In other words, it makes me wonder how on Earth we consider Skrillex and deadmau5 as innovators. I’d love someone to explain that to me.
What can we really consider to be innovative in a world saturated with distractions and the constant of continuous technological advance? I’d personally vouch for the (admittedly underwhelming) collaboration of Jeff Mills and Tony Allen as one example: an innovative techno craftsman exploring the conventions, boundaries and possibilities of sound with one of music’s most dynamic and creative drummers.
But will we ever come to a reasonable definition on what ‘innovation’ really means?
https://www.youtube.com/watch?v=M26OTacK-0Q
This week’s playlist
Lone has released Ambivert Tools Vol. 1, the first of four EPs on classic Belgian label R&S Records, with ‘Crush Mood’ in particular an absolute banger. He’s moved further away from the synthier/video game influences that defined his earlier albums, and to great effect. Plus, another shout-out for an NTS radio show – this time Billy Goods’ Bump City, packed with fortnightly deliveries of the very best soul and boogie.
Recommended
FRIDAY MAY 12
Sleep D & Albrecht La’brooy (live)
TBA
Bell Towers
Freda’s
Welcome To The Raveforest / Owt. X Comfort Club
Freda’s
SUNDAY MAY 14
Classic Album Sundays: Radiohead – OK Computer
The World Bar
FRIDAY MAY 19
Adi Toohey
GoodBar
FRIDAY JUNE 9
Artefakt
The Bunk3r
FRIDAY JUNE 23
Juliana Huxtable (House Of Ladosha)
Club 77
Photo: Jason Nocito
