We’ve all had plenty of fun at the expense of Solomun over the past few days – as Ears To The House covered yesterday – and we somehow doubt that was the last of it. But amidst the deeply sycophantic piece telling us how brilliant this supposed master of his craft is, there were one or two things which were, to say the least, questionable.
If this really is the case, Solomon has some kind of cryptic immunity to the effects of alcohol – and medical science might want to investigate. Drinking this number of tequila shots would send the average person into hospital – and if they were less lucky, a coma and even potential death awaits anyone stupid enough to seriously try such a thing.
Hence why we find this claim more than a little questionable, not to mention somewhat irresponsible. Another issue we have is “when pandemic lockdowns ended, Solomun supported venues by playing shows for free”. What curiously isn’t mentioned is the fact Solomun also played plague raves whilst the same pandemic restrictions were in place.
I still have so many things to say about this sycophantic profile but it also bears mentioning that it ignores that Solomun played plague raves during peak COVID, instead saying this: "When pandemic lockdowns ended, Solomun supported venues by playing shows for free."— Annabel Ross (@annabel_ross) September 28, 2022
Curiously, this is something which darling of the dance music press Annabel Ross has also picked up on. She would, of course, be accurate – and this is something the likes of Ears To The House, Business Teshno on Twitter and other places reported on at the time. But none of the dance music press in which Ross is apparently so respected wrote about it.
We’re intrigued by the fact that Ross managed to find time in 2020 to write a detailed article about multiple allegations of sexual abuse by Derrick May, but somehow wasn’t able to produce a piece all about plague raves. Both were worthy of being given prominent coverage, and it’s not like there was a lot else to cover during that time, was there?
Is it because she knew the majority of dance music publications would not accept such an article? Ears To The House, at the risk of being called cynics, also suspects Ross would be rather less peeved if it was herself who had been paid to write this sycophantic rubbish. The dance music press simply aren’t taken seriously by journalists working elsewhere – something which comes to the surprise of literally no one…