It might seem like I abandoned this attempt at writing about electronic music. Perhaps I had/have, I am not sure. Yet I’ve also thought regularly about writing here this year and consistently chosen not to. It has been a strange feeling become increasingly alienated to a world in which I have felt part of - and hopefully have been contributing to in some small way - for more than two decades. Certainly, it is partly to do with age, quite a bit to do with all the consequences of the pandemic, but undoubtedly it is also because of where electronic music as a collective enterprise has been heading. It is not just the terrible 90s rehash stuff - although it is definitely part that. It is not just the big players dominating and imposing a remarkably budget, uninteresting and not very good take on music - although it is definitely part that. It is not just the growth of bad faith, bad actors and posturing, both sincere and empty - although it is definitely part that. It is not just the horrorzone that has become social media - although it is definitely part that. It is not just the never-ending flood of music, so much of it profoundly middling at best - although it is definitely part of that. Put them all together, and add in plenty of other garbage floating about, and it has been hard to be super enthusiastic about ‘the scene’ (has it been saved?) this year. Instead, I have become increasingly concerned that this collective enterprise we thought we were part of is transforming in really profound ways, and in the process, potentially compromising and losing sight of important traditions, cultures and values that are worthy of being maintained and conserved. Like being able to mix.
If we used to have the saying ‘It’s all gone Pete Tong’, I feel the contemporary version of that must be, ‘It’s all gone Aleksi Perala’. Perhaps not so catchy, but it does capture the continual flow of releases and music - some good, some not so good, some excellent, but who knows really, it just keeps on coming and coming, merging into a blur of samey difference, while keeping that original meaning of the expression: things have not gone according to plan. Instead, when thinking about electronic music, I am reminded of the scene in the diner in Spaceballs, only it is too late for us to change our order, we are stuck having ‘the special’.
And yet, I keep listening to music every day. I keep checking releases, and finding worthwhile music, even if I do think a side effect of the pandemic and Bandcamp Fridays has been a real slip in what people are happy to put out. I still enjoy DJing, and had a couple of very meaningful experiences this year. Same with attending events. I expect/hope that to roughly continue next year.
Earlier this year I decided the healthiest thing was to get out of social media and stop engaging with music media platforms. Just too many distractions and bad dynamics. As a result, I am sure I have missed some booking opportunities, some good parties, and some worthwhile connections and engagement. On the other side of the ledger, however, I have felt much better, my head has been much more clear, and I have little desire to wade back in there. Sure there are some good points, but the cost is just too high for me. If I have to, I login and post something and then log straight back out. There is plenty of work examining how social media and online dynamics are breaking brains and relationships, I don’t think I need to rehash it. Nonetheless, it has been sad and disappointing watching it play out in a pro forma, pernicious way in our comparatively small world of electronic music. If you do want to check something on this topic, I strongly recommend Gavin Haynes’ piece from a few years ago, ‘How knitters got knotted in a purity spiral: A process of moral outbidding is corroding small communities from within’, and the accompanying audio documentary. And if you have the desire to think more deeply about the consequences of technology for how we understand and act in the world, I strong recommend reading the excellent essays by L.M. Sacasas on his substack, The Convivial Society.
In lieu of any lists, instead here are some questions to finish the year:
How can we wrestle back control from a handful of big platforms and players?
How can we limit - and ideally resist - the overwhelming influence of social media?
How can we develop a scene that is not dominated by the narrow concerns and interests of Western Europe and North America?
How can we have careers without selling out?
How many compromises are too many?
How do we navigate the non-stop flood of new music?
How do we weigh up competing interests and priorities?
How can we become more conscious of environmental and energy issues?
How do we develop reasoned and tolerant discussion around contentious issues?
How do we become more politically and socially aware, while being respectful of different perspectives?
How do we identify and avoid bad faith actors?
How can we find ways to be more forgiving when we interact with each other?
How can we all acknowledge this 90s rip off stuff really is just unadulterated garbage?
How can we better understand the ways that technological developments are impacting electronic music, and shaping how we interact with it?
How do we leave space for innovation while still respecting craft?
How do we allow for generational change without losing important traditions and cultures in electronic music?
How do we pay attention to our music, how do we stay with it and learn it when there is so much competing for our attention?
How do we develop and balance diversity, quality, skill, experimentation, and difference in an environment dominated by big platforms and algorithms which exacerbate winner take all dynamics, commodified artists and lowest common denominator art?
How can we create, grow, and maintain sustainable spaces of creativity, openness and mutual respect?
It strikes me that developing, discussing and thinking about such questions - this is just a partial, incomplete list - is needed for finding ways to preserve and expand the most enduring aspects of electronic music, those things that attracted us to it in the first place, what makes it a meaningful art form and cultural practice.