“….Even further, the very notion of ‘honky’ itself is a deeply slippery idea. Sometimes it indicates de-quantized drums (as in Flying Lotus, Lukid, and other post Dilla beat-artisans), sometimes pitch-bent synth and bass work, sometimes a maddening rush of 8-bit arpeggios. Honky is not a genre unto itself. Instead it operates as a kind of trans-generic mutational agent, spreading seamlessly between BPM species, liquidating textures, and
mixed trainwrecked metaphors, distending rhythmical consistency like so many British adjectives: All that is solid melts into a new electronic psychedelia, as fluid and mellifluous as the [insert trite ‘global capitalism’ reference here] which spreads it.
“Honky in the sense of off-key, out-of-place, misshapen, breaking through an electronic music environment increasingly characterized by myopic microgenre developments and parodic stylistic affectations, as a set of strategies to be jacked by broke-ass Americans.
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