It's Good to be the King
Emperor Norton cultivates an indefinable kingdom all its own
The electronic music scene has always plagued by overwhelming need for defining terms and splintering scenes. Whether its house or progressive house makes an immense difference to the learned listener. If it's drum and bass, you have to know whether its jump up, tech step, or one of the thousand other minor factions to explain a track. Each clique divides as quickly as it finds its following. While this is one of the things that keeps this genre fresh, it also leaves some more avant and electronically-minded artists out in the cold.
Such is the fate of poor little Emperor Norton Records. Sure the indie rock aesthetic is there, but one cannot
ignore the technological prowess of all of this label's artists. Whether it is the art rock keyboard stylings of japanese mistress-mind Takako Minekawa or the Dutch electro-boogie antics of Arling and Cameron, the artists on EN are all genuine and unique (characteristics that many electronic artists are still trying to find). No one else has the Japanese 60s Vogue style of Fantastic Plastic Machine or the cut-paste-and-zap disco dance of DJ Me DJ You. These cats and kittens are onto something all their own.
In its short three year existence, Emperor Norton has proven itself to be at the forefront of musical experimentation, and ahead of every technologially musical curve. With its latest releases, as well, the label keeps its head in the clouds and its hands on the turntables and Moogs on which its reputation was built. Cinemaphonic: Electro Soul, the labels forthcoming compilation of 70s "noirish jazz, electronic grooves, and schizo disco" is sure to strike a chord with anyone with one ear on the past and one eye on the future. It seems to be the perfect textbook for learning where these kinds of sounds truly originated Or for a taste of futurism at its best, one need only look as far as Logan's Sanctuary, 
a space age white vinyl suit collaboration between Roger Manning, Jr of Jellyfish and Moog Cookbook fame and Brian Reitzell of Red Kross. With this lineage of course, it is easy to assume that no keyboard remains untouched. Concoted as a soundtrack for the non-existent sequel to a 70s post apocalyptic thriller, the tunes seem perfectly timed for today as opposed to simple retro kitsch.
But with all of this genius and talent where does that leave Emperor Norton? These artists are squeaking out simple unimaginative derivative sounds but they are definitely not in line with any other movement. The elecrtronic music community can't describe it and therefore may never truly accept it, but the overwhelming dancability and voltage of its acts makes it seem just as out of place in indie rock circles. Luckily, the folks and acts at Emperor norton are at home and comfortable on the outside, because with this much talent and style, everyone will beggin to join this emperor's kingdom soon enough.
by Miguel Banuelos
banuelos@outersound.com
