Cédric Le Merrer: I still don’t understand this campfire clubbing wave seemingly started by Avicii’s “Wake Me Up.” Do clubs have bonfire and s’mores nights now? Are group handclapping and boy scout harmonies the new trend that corrupts our youth?
Hieronymus Bosch, The Garden of Earthly Delights (left panel, detail), c.1490-1510
(Source: vinteuil, via unfuckthereallife)
(Source: poisonplaygrounds, via rhyparography)
John Bennett Fitts
What does it mean for your art to be accepted by the cultural establishment? It means money, perhaps – new kinds of sponsorship and funding – but in the booming ‘10s, dance music has plenty of that. More importantly, it means credibility. The value of an establishment artform goes largely unquestioned, even by those who don’t care for it (few people, for example, complain with any seriousness about government funding to modern art museums, even if Duchamp’s Fountain leaves them cold). Just as with the ill-advised classical-techno crossovers that crop up every few years, it seems Hawtin would love for a bit of that absolute, unassailable legitimacy to be conferred on his music. This in spite of the fact that his vision for modern-day techno – as essentially just one more functional component in an enormous industrial mechanism – horribly misrepresents the genre and many of those who operate within it. — Angus Finlayson, review of Plastikman’s EX (FACT Magazine, 2014.07.15)