Two seemingly disparate articles looking at similar tendencies in disparate musics floating around just now.
Philip Sherburne's column on Pitchfork looking at the return to analogue prevalent in the post-minimal climate. He's got some interesting points, most notably about Clone's increasing quest to refine and redefine the electronic canon, looking at the (small c) "continuum" of musics that have been growing out of the roots of disco/house/boogie/techno/acid/etc. Talk of innovation (although Sherburne uses the neat phrase "sonic novelty" in addressing the excesses of the minimal boom) has moved to talk of authenticity, a phrase that in all cultural forms is loaded with as much baggage as i've seen being lugged through the streets of Edinburgh this week.
Michael Tumelty's piece in the Herald looks at the Edinburgh International Festival's current programme and the furore over the sheer volume of Early/Historical/Authentic music in this years lineup. His point being that after a number of years where Historically Informed music was percieved as a niche, specialist pursuit it is now ready to go (for want of a better word) mainstream.
There's a lot of pleasure to be gained in seeing artists who've grown in relative obscurity getting plaudits for their mastery of their chosen form. I'm eagerly anticipating watching Legowelt break out his boxes at Substance this weekend just as Tumelty seems excited at the prospect of seeing Bach Collegium Japan.
So this is really just a wee screed, saluting all the interesting music programming this year in all its forms in Edinburgh's festival this year. It's a welcome relief from the depressing uniformity of a lot of the fare on offer at the major Fringe venues- acres of posters on boards plastered with easily recognisable visual references on posters.