It's official. The word "electro" is once and for all, a joke, a slag, insipid prefix for lazy outsiders who feel the need to label and codify. Like "goth," "raver" (and maybe "hesher" before it), the word has come to be associated with a youthful contingent based on style and music preferences, and while it's certainly helpful --especially for journalists-- to have descriptive terms for scenes and sounds, ultimately, the labeling and lumping becomes meaningless, insulting even.
Wednesday night, we attended the LA premiere for the documentary by Stephen Alex Vasquez, a NY-based filmmaker who's chosen to explore the current "electro scene," via a video-game-graphics-packed procession of interviews and timelines. Questions about where it came from, where it's going and how it's affected mainstream music (and more specifically hip-hop) are posed to the likes of A-Trak, Diplo, DJ Premier, Dave-1 (Chromeo), Moby, Crookers, Spank Rock, Pitbull and LMFAO (comedic relief?), Armand Van Helden, Steve Aoki, Franki Chan, Q-Bert, Laidback Luke and the holy grail of the nu-electronic sensations (at least as presented in the movie): Justice."It doesn't mean anything." We hear these words came from both Frenchies' own mouths when they're asked what electro means to them. Granted it's a rogue-style interview, backstage in a crowded dressing room just after the duo's show, and they're reluctant to talk to begin with. But by the time we finally see the scraggly pair on screen (the movie feels like a My Date With Drew stalker type caper at times) other talking heads essentially say the same thing. Techno, house, trance, dubstep, disco, jungle, electro-rap, newer names like "blog house" (lo-fi bedroom beats spread via the net)... Though the genres have all become more and more blurred, these terms and styles of dance music do have certain nuances and rhythm structures that make them recognizable (as well as contexts of time and place that make them significant). Wars attempts to chronicle electronic dance music in a historical way, and it hits some important points, but ultimately it fails. Chicago, Detroit and New York DJs and clubs get their props, but the UK dance music scene is barely even mentioned and LA's early underground warehouse rave period (flier culture, map points, etc) and the dance music publications that covered it and more (URB, BPM) not at all. IHeartComix at El Cid in next week's Nightranger. See the film's website for info on future screenings and related news and events.