Jeff Salamon

  • Digital Reggae

    MAKING LIKE A CROSS between Mondo 2000 and Condé Nast Traveler, Business Week recently offered its readers a peek at the business trip of the near future. The CFO of the twenty—first century, the magazine testified, will be a cyberpunk in all but name, required to don a pair of VR goggles and “‘fly’ over a 3-D landscape representing the risk, return, and liquidity of a company’s assets.” And damn if the accompanying computer graphic of one such landscape—a pastel mesh of aquamarine blue and salmon—didn’t make that glowing moor of financial data look as inviting as a sunlit beach in the

  • Lisa Carbon

    WHEN MOST PEOPLE listen to jazz, they hear a bluesy cry, a soulful shout, or, if they’re particularly sophisticated, an idiosyncratic sense of harmonic development. I hear those things too (except for the sophisticated one), but when I listen to the way bass, drums, and piano lock and unlock, exchange ideas, and shift into different gears as one soloist gives way to another in hard bop—the super-charged extension of bebop that emerged in the mid ’60s—I hear something else, the sound of a machine whose sole function is to constantly reinvent itself. On stereococktail (Pod import) LISA CARBON &

  • Ed Rush

    The cover of ED RUSH’s Skylab EP (Metalheadz import) features a satellite reconnaissance shot of a city, and like so much military intelligence, it simply confirms what you already know—this music is eerily urban, the soundtrack to the nonexistent screen adaptation of Mike Davis’ City of Quartz. Rush is a junglist, an exponent of the British dance genre that whips sampled break—beats and subsonic bass lines into a disorienting brew. But where the most popular strains of jungle go for slick, lightweight textures, Rush stakes out a harsher aesthetic called techstep. Deploying the sort of