As Hyper­dub’s boss, it’s Good­man’s job to see the big­ger pic­ture in the la­bel’s out­put, and he cer­tainly sees plenty. “Prac­ti­cally ev­ery elec­tronic mu­sic sub genre has been in­fected by tropes of early videogame mu­sic,” he says. “Apart from the nos­tal­gia hit and its abil­ity to send a cer­tain older gen­er­a­tion of mu­sic fans down a worm­hole of child­hood rem­i­nis­cence, its manic, some­times max­i­mal­ist aes­thetic was prophetic of the twitch­i­ness of to­day’s ac­cel­er­ated, com­puter-me­di­ated world.” He also points to a re­cent resur­gence in in­ter­est in Ja­panese elec­tronic mu­sic of the era as an­other rea­son to send this famously for­ward-think­ing record la­bel back 30-odd years into the past.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.