which picks up on a quote Howard from the group said:
“I could drop our song with Eliza Doolittle, "Neighbourhood" by Zed Bias and "Saved My Life" by Todd Edwards and no one could name what decade they’re from.”
If the fact that your sound is indistinguishable from music made over decade before doesn’t scare you shitless as an artist, I’m not sure we’re on the same page here.
He further proclaims:
We need to reject this kind of neutered brainwashed thinking and build something vital for this era. Something totally built by, owned by - and unique to - 2013.
Who are you, 2013?
Because this is sorta my issue with all the big “post”/“bass” guys, now playing housey tech mixed into techy house with additional retro anthem bashing, the guys who build up the DJ hierarchy which ends in Disclosure headlining your festival.
I keep thinking this…
In twenty years time, these DJs will be in their 40s and their kids will be old enough to ask them: “Dad, what did the music sound like when you were the biggest DJ?”
... Music should be essential and it should be unique: of its time, for its time, belonging to its time. You where there. “Were you there?” “Yes I was there.” “Where were you in ’92?” “I was there too.”
Great music is the cultural journal of record of its time, the soundtrack to generations. ’66, ’77, ’88, ’93, ’99, ’03, ’06 – if you read this blog you should pretty much instantly be able to tell just from those numbers what movements blew up then. Depending when you were born you’ll go misty eye’d to “Strings of Life” or “Valley of the Shadows (31 Seconds)” or “Spirit of the Sun (Steve Gurley mix)” or “Midnight Request Line.” They define a time and a place.