Whither microhouse? Just days after his dissection of 8-bar, Skykicking comes back with an analysis of microhouse-as-landscape, making the essential distinction that it's not a genre, and then stepping back to create a rather breathless satellite view of the terrain, patching together hi-res snapshots of Areal's Bis Neun, Kompakt's Friends and Speicher, and Herbert's Let's All Make Mistakes. If only all readings of genre were this dynamic.
I'm pleased to announce the launch of Earplug, a new bi-monthly email newsletter of electronic music news, reviews, features, previews, and more. In our debut issue we've got reviews of Dizzee Rascal, Cedric Im Brooks (ok, so not strictly "electronic," but you know how it is), Mutek, Sonar, and more, plus links to streaming audio from Matthew Dear, Dego, Dizzee vs Asher D, et al.

Earplug is a production of David Prince (of the Miami Master List) and flavorpill, who kindly put me on the masthead as a co-editor. Awww.

Take a look, and if you like, please subscribe. Feedback and tips encouraged!


A little thing about µ-Ziq.


Fix up! Dizzee's lookin' sharp. Nice one, Ruben!


Call for sources:

For months now, I've been following the intensification of US efforts to keep out foreign artists. After 9/11, the already onerous (not to mention prohibitively expensive) task of obtaining a performance visa in the US became much, much more difficult, entailing an extended lead-time, increased fees, and the necessity of using visa-procurement agencies (thus costing even more).

Now, I'm beginning to hear tales that some French artists are being more or less summarily turned away, despite crossing all t's and dotting all i's. If you are (or know of) an artist of whatever nationality who has tried to get into the US to perform, and encountered any difficulties, I'd like to hear the story.

I've taken my time jumping into the Dizzee fray, just because so much has been said, and so well. Here's a first installment, to be picked up where it leaves off, later this week. I realized, midway through writing this (over a long, long day of drinking clara and enjoying the album on shuffle-play, in order to let it surprise me again) that it's one hell of a dense record, and that to grapple with it properly requires attentive listening -- far more attention than I've given to many records in a long time, frankly. I can only see this as a good thing...

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