That contemporary art and fashion lacks rock'n'roll is without debate. However, the notion that it ever could ever make up for such a lack is just as—if not more so—naive and ludicrous, mapping as it would a global market with the ageist and hubristic spirit of imperial commerce. That the chauvinist-eschewing microgenres of deep house and coldwave have recently emerged as the martial score to metropolitan creativity and its libidinal After-Dark is a completely practical expression of the two faces, ecstasy and anxiety, of networked productivity and its progressive sexual identities. Rather than rock's aggressive communion between its fecund author and wanton audience—a heteronormative schtick whose pursuit leads only to the author's abject objectification (see this), these two genres disperse the authority of such a communion across the android sexual relations particular to immaterial captial—be it deep house's ecstasy of the non-reproductive city-as-factory or seen in coldwave's subject herking & jerking to an anxiously revised historical object.
It is within these contextual tensions that AOWJM is pleased to present "At War With The Preps," a mix of music that blindly instrumentalizes seraphic argot with an impolite brun canard.