Until recently, it wasn't unusual to find journalists and critics grouping musical genres primarily by location. The British Invasion, Krautrock, Disco, House, Grunge, et al. were each defined as much, if not more, by physical proximity as by their homogeneous characteristics. But now that listeners have all access at all times in all places, neither consumers' nor producers' physical locations limit them from being identified or appreciated. Algorithms used by online radio stations only address the raw clinical descriptive data, completely ignoring associations like place, time, influence, and so on. While on the surface this approach to a musical taxonomy may be helpful, it also completely ignores the context from which this stuff we love so much is carved. The space that is most important in making the aesthetic details meaningful is where the work is not - the Negative Space.
The Negative Space is before the show, it's outside the club, it's between sets. We're talking about the place where idle hours and joints are passed. The place where people sit and talk. We're talking about the place where culture is consumed and processed. It's not created there but stored to be reheated on a cold, rainy day. It's where people play. Fight. Make out. It's where you live a life worth making art about. It was a cave in France 15,000 years ago. It was a monastery in Ireland in the 6th century. It was a brothel in Montmartre in 1890. It was a cafe in Zurich in 1917. It was anywhere and anytime in New York. And in Kirkland in the mid-90's it was Quarters. Byron Kalet - September 7, 2010
Truckasauras is Tyler Swan, Adam Swan, Ryan Trudell, and Daniel Bordon
Executive Producers Zach Huntting and Byron Kalet
Engineering Grippo at Sauco
Production Truckasauras
Mastering Shawn Hatfield at Audible Oddities
Design and Creative Direction Popular Noise with Strath Shepard
Photography Kyle Johnson