Between a rock and a dubplate1/1/2024 ![]() The group are in the Île-de-France for the annual Sons d’Hiver festival, organised by the Val-de-Marne département with the intention of bringing together musicians from America and France, mostly from the worlds of jazz and musique actuelle. At one point he confesses, “I have a super block in my head.”įortunately, his bandmates Bitney and Parker, who just happened to be sitting around, waiting for dinner to be served in that no-man’s land between soundcheck and show, were on hand to throw their two cents in and laugh at Herndon’s tongue-tied responses. He seems fluey, tired – jetlagged maybe? – his voice nasal, and answers punctuated with the sniffs and snuffles of a full-on head cold. When I arrive it soon became clear that Herndon was not going to be at his most chatty. Only the previous day did I get confirmation from Thrill Jockey that John Herndon would be willing to talk to me. It is a curious thing to find oneself deep in the Parisian banlieues talking about the UK hardcore continuum with three members of one of Chicago’s most eminent and influential post-rock bands. There’s a razor’s edge about UK pirate radio that is different from other shit.” Urban dance music is definitely mutating in pockets around the world but not all of them have a system of pirate radio that will broadcast it into your home, or into your car. And that’s why it makes a broad splash rather than, like, a niche thing where people have to go and seek it out. “But what I think is unique about England,” offers John Herndon, drummer, sequencer, vibes player, “is that it gets broadcast onto radio and people get to hear it. “Baltimore Club? Like all of that?” Parker prods. “There’s a razor’s edge about UK pirate radio that is different from other shit.” – John Herndon
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