In The Meantime

As the poet wrote, the days run away like wild horses over the hills . . .

I’ve got a few longer essays I’m working on, about everything from the possibility of dangerous music to the pellucid perfection of Kraftwerk. But since I’ve picked up a gig – a day gig doing a database conversion, not anything to do with music – I’ve just been accumulated notes and working bit by bit, which is why posting has been light the past month. But there’s still plenty of interest for pensées, like:

This interesting article in Sunday’s Arts and Leisure, about Trent Reznor and how he is finding new ways to bring his music to an audience. For example, his new recording is free. This is absolutely the time for musicians to be thinking about how independent they can be in the means of production and distribution, especially since the record companies, with one notable exception, have no new ideas whatsoever. They’re as hidebound and stuck to obsolete thinking as Cheney, Rumsfeld, et. al. (Personally, I’m a NIN listener, not a fan, but anyone creating digital music should be aware of what Reznor is doing. And I’m enjoying the ability to remix the music of others – it’s the equivalent of practicing an instrument).

And my wife and I are heading out tonight for a play about, of all people, Hedy Lamarr and George Antheil. I’m especially looking forward to the realization of Ballet Mécanique, which is mainly a curio nowadays, a better guide to a certain romantic thinking about the future than a great piece of music. But it should be seen in action, and that same school of thought it where Kraftwerk comes from, so . . . here’s to the future!


I'm a composer and musician, and I write about music—I do that here, for the New York Classical Review, at the Brooklyn Rail (I edit the music section there) and any place else that will have me, like New Music Box and Music & Literature. I also wrote the Miles Davis' Bitches Brew book in the 33 1/3 series.