Very often, the comments to blog posts are where the really interesting activity happens but, hidden away behind an additional click in the archives, they often turn into lost bloggage.
I think this thread on the complexity wars at Tim Rutherford-Johnson's The Rambler is well worth revisiting. There is a lot of red meat here from every side of the issues, and I think the dialogue between experimentalists and complexists has more common ground and is much more fruitful than that with the quietists who control much of the musical status quo. Both of our parties are uncomfortable with music, as it is, and are willing to rock the boat so that it, and life around music, might be something different.
I probably should have pushed one of my points in this thread more: not only is Drumming damn hard to play and an authentically complex musical experience for the listener, part of the difficulty and, yeah, complexity of Drumming lies in the fact that the accuracy of the players is verifiable — by player and listener alike — to a degree both unimaginable and irrelevant to, say, Bone Alphabet. Consequently, this leaves the player in an exposed position with precious little room to fake her way through it. The one disappointing aspect of the thread is that it ends with the almost inevitable one-upmanship that characterizes a lot of the macho talk which prevails in the complexity scene: "name the time and place, Buster, and I'll play you a 13-against-7"; I personally prefer the attitude, found more often in the radical music community, in which greater performative or perceptual accuity is most immediately and optimistically adressed as a compositional problem, that is to say, making a music that more clearly makes the nature of its material articulate for the listener seems to be about inviting the listener to hear more rather than less and not simply witness virtuosity for its own sake.