Everyone loves Crystal Castles, You Love Her Coz She’s Dead and their ilk (and why not?), but very few people are aware of the massive debt of gratitude they owe to the work of Jorge Luis Borges. Unless memory betrays me, it was Borges who first established a direct compositional link between Georg Philipp Telemann, nu-rave and worthless Atari-sampling nonsense in an article published some years ago in Whelks Monthly (incorporating Shellfish News). Borges was right in all particulars, of course; but he missed the crucial link to his own work. In fact, the role of magic realism cannot be underestimated when analyzing contemporary electronica. All of you will be familiar with Carlos Fuentes’ involvement with Massive Attack, but only the most perceptive among you will have noticed the subtle overtones of Italo Calvino in the work of Husky Rescue.
But what, I hear you ask, of Britain’s only successful exponent of magic realism? As luck would have it, my literary agent has just confirmed receipt of my latest manuscript; Funk-trocity: Salman Rushdie and the Rebirth of Disco. That man has a lot to answer for.
That’s what it’s all about
17 hours ago
2 comments:
Gabriel Garcia Marques used to play bass for Megadeth. Fact.
Apologies for the delay in acknowledging your comment - been offline for a while. Thanks for letting me know someone is reading this drivel. You may be interested to hear that the Marquez/Megadeth fiasco is recounted in excruciating detail in my forthcoming opus; 'Hangar 18 and the Failure of Capitalism'.
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