Digital maximalism doesn’t just affect the vividness and hyperactivity of the music, it also expands the range of sources it draws on. Which is why you can find similar properties of post-everything omnivorousness, structural convolution, and texture-saturated overload in such disparate, often outright non-electronic entities as Montreal solo act Grimes, Battles, Sun Araw, Dâm-Funk, Florence and The Machine (and “my “incorrigible maximalism,” as Ms. Welch put it), and Gang Gang Dance. The latter’s latest album Eye Contact starts with the maximalist maxim: “I can hear everything. It’s everything time.” A proposition that sounds very 2011 but is also very 70s, echoing not just the ambition of prog and fusion, but their hubris too.
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Articles: Maximal Nation | Simon Reynolds | Pitchfork
Thought I’d read this since it recycles certain parts of Retromania, but I actually hadn’t. It’s great! Reynolds is really in his element here (talking mainly about electronic music), top form.
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chainlinked said:
after reading that i thought it was odd how rustie didnt make it onto their year end list
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towerofsleep posted this
