Miles wrote -
quoted 5 lines It's amazing to me that someone who pays so much lip service to the>It's amazing to me that someone who pays so much lip service to the
>ideals of innovation and invention can cut a mix as monotonous as the
>Liquid Room CD. Boom boom boom boom (repeat until unconscious). We've
>made machines to make these boring beats, why don't we make robots to
>dance to them? I certainly wouldn't care to. The sound is muddy, too.
Miles, is it the boom-boom foundation in itself sufficent grounds for
disqualification to your ears? If that's
the case, you can pretty much write off all of Mills, most of Luke Slater,
Laurent Garnier, Dave Angel and Source--all of whom I can't get enough of.
As someone else said, the innovation pokes its head from around the edges
of the boom-boom four-cornered room--if it's the so-called four on the floor
beat in itself that rubs you the wrong way. I'm not sure what point there
is in your trying to get something out of this loose subgenre if you react
this strongly to the rhythmic backbone (this is not meant as a flame, by
the way.)
The syncopated 4/4 boom-boom vibe is something that's impossible to legitimize
in intellectual terms. It's something you either feel or don't. In my case
I've felt it for as long as I can remember--maybe because when I got into
techno the ONLY thing that was around was 4/4. For this reason I continue to
have a voracious apetite for house--while for a lot of people just the hint
of a diva opening her gob is enough to give them a rash. Much as I admire
and appreciate people like Autechre, nothing by them has given me goosebumps
the way "Late Night" or "DNA" did the first time I heard them.
OK, this is going in a direction I didn't want it to, so I'll shut up.