The dance craze is the very antithesis of what punk stood for. Punk was iconoclastic. Its gigs were exuberant and unpredictable. The Pistols and The Clash lifted two fingers at some of the worst aspects of British society, with its class-ridden inequality, nauseating obsession with the Royal Family and penchant for vile-tasting beers. Dance, on the other hand, is contrived and controlled. John Major's government gave it an undeserved outlaw appeal by trying to curb large raves through public order legislation. The little grey man need not have worried his funny-looking head. Dance culture is about as big a threat to the governing classes as Val Doonican or Celine Dion.
A friend of mine, a former punk who claims to appreciate the underlying aesthetics of dance music, explained to me why I am a dance philistine. "It's very simple, Dave. You don't take E." Taking ecstasy "gives you a great buzz", my friend informed me. After popping an E tab once, he stayed up all night reading gardening books, planning his shrubbery in minute detail. Hearing that an ex-punk resorts to rave drugs, to improve his gardening, convinced me that something is seriously wrong with the world.
I must confess that I don't entirely disagree with him; I listen to more music played by live musicians than pre-sequenced electronica (though a bit of the latter), I don't have much time for the sorts of homogeneous, repetitive records that you can only appreciate when on drugs at a club, and on most of the times I saw "live electronica" acts, I found them boring (with the exception of the more theatrical acts like Down Town Brown).
OTOH, I wouldn't write off all electronica in the same vein; some of it (such as Negativland's The Letter U and the Numeral 2, which he rubbishes in the article) has more in common with his beloved punk genre's core ethos than he gives credit.
The punk rebellion started because music in the Seventies had become mind-numbingly bland. As we approach the millennium, the dance music promoted by the style gurus is even more infuriating. Any attempt at a punk rebellion now would probably be ludicrous. Yet we urgently need something with similar vitality and imagination to challenge the mediocrity stifling European club-life.
I think the problem is not that there is no challenging, vital music, but that the industry and market ignore it and select for easy-to-digest blandness instead. (link via 1.0)