The Null Device
Avant-garde electronic musician Matthew Herbert does an interview for Pitchfork's 5-10-15-20, a series in which they ask the artist what records they were listening to at 5-year intervals in their life so far, in the hope of distilling an artistic bildungsroman of sorts.
I was five in 1977. It seems like another world now. I grew up without a TV, so I was listening to an awful lot of radio, recording things with cassettes and putting the songs in some kind of order. It's going to sound like I'm a wanker, but I was listening to "The Model" by Kraftwerk at five-- I know that sounds like the coolest answer possible, but it was a big hit record over here. It was getting heavy rotation on the radio. In my own defense, I didn't know the song was by Kraftwerk until four years ago.His entries for subsequent years show a not unusual progression: Tom Waits' satire of consumerism at 10 (in the springtime of Thatcherism and the rise of the age of fast, loud money), De La Soul at 15 ("Our local policeman was a sweet, nice man, and the idea of shouting, "Fuck the police!" at him seemed so totally absurd."), then into the stratosphere via acid house, techno and jazz, and then, at age 35:
I still feel that there is too much music in the world. I'm not convinced that we need to make any more music. I read this statistic that said 75% of music on iTunes has never been downloaded once. It's depressing, but it also makes you think that we should stop making music until we listen to it all, and then we should start again. We're in a bit of a muddle about the function of music, and why we're making it, and what we expect from our music. I mean, surely, everything has been said about love already by now. Presumably everything has been said about war already. It feels like people think they have a right to make music or express themselves in a certain way. I think you have a right to express yourself, but I don't necessarily think that there's automatically a right that people should be expected to listen.Further reinforcing the idea that music has gone from something scarce whose value is as a consumable, to something abundant that is a byproduct of the valuable activity of its production.