Forthcoming attractions. Velvet Underground-influenced noise constructed by boys with floppy fringes back in 1989, just for a change… and yet the next instalment of the Fucked-Up Festive Fifty will feature – gasp – horror – a dance track (and if you have money on it being ‘Groove Is In The Heart’, you’ll only be making your turf accountant happy. Perhaps one day I’ll compile a list of the fifty greatest catsuits in music, but until that time…).
At least, I think that the record concerned is a dance track. I’ve danced to it (badly), in the company of other people executing far more sustainable dance moves. Only, I’m not 100% certain what dance music actually is any more; we’ve all become so adroit at assimilating musical data – at understanding that pop has well and truly eaten itself – that the dividing lines between what is and what isn’t have well and truly dissolved. Is dance music something to do with beats per minute? The grinding repetition, the application of dirty little pills in Ibiza sweat pits? Or does dance music apply because we’re told it does, because that’s how a particular record has decided to define itself?
Oh well; perhaps by next weekend I’ll have it all worked out. Or if I haven’t, that by aligning a few midweek posts towards some kind of dance aesthetic, we’ll all be left perspiring in a 3am fashion, ready either for bed or that post-club party that’s due to end around Halloween (this is what dance music does, aye?).
Below the words, two tracks, both dance music – or a voyage in similar oceans. One of which – the great Johnny Pictish Trail side-project Silver Columns – even kindly labelled their album Yes, and Dance. Because literal pointers are a good thing in this capacity.
Silver Columns / Cavalier
Audion / Mouth to Mouth