The 20jazzfunkgreats leviathan rides the shockwaves of the aftermath of the Nemesis-like impact of the Web, and the advent of a Cambrian explosion of new, weird and garish kultur-planktons. It tries to avoid reacting to this data-glut with impatience or nostalgia. No, the outlook of this beast is futuristic. It grew up in times of scarcity, and it knows how easy it is to romanticize the hunt, when everything had a sense of exclusivity and uniqueness.
[Or is it simply that the beast was young then?]
Surely things have changed, and not always in comfortable ways: the business of the future is being dangerous. Yet information overload is a first world problem, and one that cannot be dealt with Cartesian short-sightedness, but rather, with the zest of the stochast, hurling oneself in unexpected directions, to be surprised, and overjoyed, and delighted, and moved, by the expressive power of a mankind that was never so connected.
To be moved by things like these.
The soundtrack for a Super Mario Bros game where the hero traverses the magico-mathematical regularities of an Aztec architecture with aplomb, the sense of detached lightness and otherworldliness of Miyamoto’s opus replaced with the weight of a millennial culture, embodied in the bouncy momentum of this Cumbian sprite.
We just realize that we only featured Argentinian riddim seer El Remolón last week. Well, let us point our fingers at the title of this post and revel in the irony. We discovered it in Club Fonograma’s ‘Papasquiaro’ compilation of modern Latin American pop music. El Preferido is also included in El Remolón’s ‘Selva’. Go get.
The multidimensional rattle with which life converges on an oasis, and celebrates its victory over the soft death of the desert, bonfires in the night create shadows, doors in the buildings create portals, into secret halls where the people roll like so many waves, in the hazy spaces between religious ecstasy and ecstatic party.