“Minimal, of course, was the straw that overflowed the glass of Red Bull,” writes Philip Sherburne in his jeremiad on the state of electronic dance music.
But the problem doesn’t really lie with minimal itself. (One difficulty, though, is defining what minimal “itself” is; and it’s questionable whether everything now labeled ‘minimal’ can now usefully be defined as belonging to one genre or sensibility.) As Simon Hampson argued in The Wire 293, it is the position that ‘minimal’ occupies in dance music, rather than any properties of the music itself, that is the issue:
There’s a direct analogy with dubstep – more than an analogy, actually, since dubstep and the empire of minimal are converging, what with Villalobos and Shackleton remixing each other, the 2562 record, etc. What is needed is the confident reassertion of a dance music mainstream. That’s related to Simon Reynolds’s comments in Philip’s piece:
Could minimal be defined as ‘devoid of cheese’? Maybe so – but it would be a mistake to equate cheese with a retreat from innovation, just as it would be an error to align tasteful restraint and austerity with experimentalism. Hearing XL’s rerelease of The Prodigy’s first LP recently, with its its vertiginous jump cuts and bizarre angles, brought this home with E-flashback ultravividness. The barrel organ-like cartoon euphoria of Experience has always sounded like fairground music, and indeed it was at home pounding out from a fairground as it was at a rave. Wandering around a fairground in Kent recently, I kept being drawn back to the ride that was pumping out Bassline House, the genre whose hectic animatronic ebullience is at home in the fairground environment as rave once was. Is it time to forget the austere appartments that minimalism is so often reminiscent of, and return to the fairground?