Word: musics
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Dates: during 1990-1999
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...supposed to write about "the future of techno" in this column, but really I don't know anything about techno or rave music, although I've heard my CD collection referred to as both (if anyone dares to use the phrase "electronica"...) What I do know a bit about is house music, and it's hard to say anything definitive about a genre that spins off a few hundred subgenres a year. But I'll hazard guesses about the near future. What I loved in 1998 was the emergence of the French disco house genre with a retro sound that...
...these different directions show that dance music isn't just a fad, and that the future does hold promise; the question for me is how much any of this will catch on in the mainstream in the U.S. That Fatboy Slim is finally getting the airplay he deserves this late in his career seems to be a good sign. But it's hard to learn what quality club music is when the drinking age is so high that college students can't go clubbing on a regular basis and when places like Boston still have 2 a.m club closings...
...thing that gets to me is that so much of good house music originates from the States, but it's still an underground sound. Most people I've met here either don't listen to dance music at all, or listen to its more esoteric forms, like Goa trance. They did tell me this was a country of extremes. But just because house music's fun to dance to doesn't invalidate it as a music form. Sometimes I feel like a missionary trying to win converts, but really I'm just trying to stop people from playing the same...
...political oppression--but these flavors are overfused and hyper-blended into watered-down mush. In including too much, Geddia is mostly empty and ineffective. It doesn't make you want to dance, it makes you want to shop. Perhaps a late-'90s Ofra Haza, Atlas has produced ideal background music for burning incense, vintage clothes or those times when you want to impress guests with slightly exotic, non-English, just sexy-enough worldliness. Judith Batalion
Long live concept albums! The Olivia Tremor Control, a loose group of musical misfits based in Athens, Georgia, manage to start off with everything that's wrong with concept albums and end up with everything that's right. First, begin with the pretentious, overly intellectual premise: the OTC set out to create an audible representation of dreams within music that pulses "with the rhythms of modern life." Next, toss in some unnecessarily complex musical tampering: a bass line from one original song is altered for various other songs whose remaining components are then manipulated and layered on top of other...