Nineties dance music evolved along a linear axis of intensification that discarded its past

Evidence

There was a linear, extensional development, along an axis of intensification. Each stage of the music superseded the preceding one, like the stages of a rocket being jettisoned as it escapes the Earth’s atmosphere. And you are right that there was a forgetfulness, a lack of concern with the immediate past, because our ears were trained always on the future, the emerging Next Phase. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1249

Categorization

• XREF: Connects to Fisher’s broader writing on ‘hauntology’ and the retreat from futurism in post-Nineties culture — the teleological music timeline he charts here is the baseline his later ‘slow cancellation of the future’ thesis presupposes. — connects to: Dance music’s Nineties futurism gave way to Noughties fixation on the past — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1247; Participants experienced early-nineties rave music as purposeful evolutionary unfolding — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1248; Nineties dance music was affective but not introspective or romantic — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1304 (+1 more)

Broader Connections

• Nineties rave music measured evolution by bodily intensity and punishing extremes #corroborates (0.85) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1251
• Nineties dance music was affective but not introspective or romantic #expands (0.72) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1304