Theo is complaining about the continuing unacceptance of electronic dance music by mainstream journalism. He is right, but as always there is a rather simple explanation. You see, electronic dance music is highly abstract music. As such it mirrors the ever increasing abstraction of our environment (which is of course in turn - as always - closely related to capitalism's ever forward marching stride). And most people just do not want to be reminded of that when they are 'enjoying' music (as I have stated many times before the music that most people are subjected to from daily radio transmissions is "music for people who do not like music"). They would rather rely on the eternal formulae of pop music with its recognizable lyrics about so-called everyday life.
It is the by now dreary postmodern story of people not wanting to accept the society they have created themselves. So when it comes to entertainment they instinctively shy away from the mechanical and cold aspects of electronic dance music, not realising that nostalgia always leads to sameness and ultimately fascism (that last one I have nicked from DeLillo's profetic White Noise I think, but I am convinced it is true nonetheless).
Worse is that those who call themselves underground journalists also continue to gobble up the structural hypes that are forced upon them by record companies and big broadcasting companies. You just have to casually read two or three so-called independent magazines to realize that week after week, month after month they, too, fill up their columns with the same artists and currents. The critique may be different but the names are all exactly the same. That way a lot of really good music is hardly visible and gets ghettoised toward niches and fragmented interest groups.
There may be, as Theo remarked, a market for niche-music and indeed there is. But the fact that they will forever remain niches also entails that the margin for true innovation continues to grow smaller and smaller.
But then again, true innovation does not let itself be stopped off by the narrowness of its manoeuvring space. It thrives on exactly that. So, in the end, there is always hope.
Addendum: I am wondering though why Theo thinks it is that much different in other countries than Holland. I think this has ultimately more to do with the wider public they are reaching, because most of the magazines he is - I think - talking about are written in English. Relatively speaking I am guessing the difference will not be all that great.