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The internet is a pretty loud place. There are a lot of people talking all at once. But everyone is entitled to their own opinion right? We all like the same things really, good music and relevant commentary. All websites use music, be it live streams, video, reviews, adverts or sponsorships. Not only does this create many platforms and outlets for music, it also endlessly categorizes and contextualizes music, creating a very saturated environment for both the listener and crucially - the artist.
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But what do I care if there’s too much music out there? I’m a music fan. I also try to make music which I feel is relevant in some way, so what’s the problem, why throw my toys out of the pram? There’s never been a greater chance to make it. Artists are working within a very diluted atmo-
sphere, with portions of social networks becoming dead or inactive unless there is a constant stream of content, thus setting the bar for quality control quite low. Is it re-
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ally such a good thing that anyone can do it? The context of the surroundings and culture in which an artist inhabits has never been so important and relevant than now, in our age of information awareness. Journal- ists are not just reviewing a record; they are trying to place it in a very tangled canon of work, one which is preoccupied with both authenticity and deception. The more that blogs and social networks work
their way into both the listener’s and the artist’s daily
lives, the greater the need for writers and commenta- tors to diversify, polarise and innovate. A result of this journalistic innovation is the micro genrification and fragmentation of independent music (particularly dance music), which we see very quickly when we look at the music press. Chill-wave, Wonky, UK Funky, Purple, and of course lo- fi, no-fi, sub-fi, and all manner of arbitrary distinctions between tempos, drum sounds, and recording tech-
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