On Wed, 10 Oct 2001, John Bush wrote:
quoted 7 lines I can remember putting it away for awhile; I didn't exactly dislike it, but> I can remember putting it away for awhile; I didn't exactly dislike it, but
> back then I didn't listen to records that didn't make sense. (Later I
> learned to keep listening to the records that didn't make sense -- because
> when they finally did, they'd usually blow my mind.) I'm sure the next week
> I was back listening to Lush or Ride or some other band, but all the while,
> my head was being rewired so I'd start connecting with Warp the next time I
> heard one of their records ...
I think that parallels a lot of people's experience. I'll admit to being
a total dork and buying an early Moby EP as my first experience to 'modern'
electronic music. But what is interesting to me is the direct line, in
some respects the indie rock of the time that was good was a giant arrow
pointing towards electronic music -- My Bloody Valentine, Lush, Cocteau Twins,
Curve, and especially Seefeel all were a direct path to Aphex Twin and the
like.
And even before that -- Brian Eno "Taking Tiger Mountain By Stretegy",
"Before and After Science", Soft Machine "Soft Weed Factor", Kraftwerk,
Tom Tom Club, B52s? Giorgio Moroder? In a sense hearing Warp records
was like realizing "oh THAT's what they were on about in 1975..."
There wasn't a huge divide between Rawk, Pop and electronic music in the
70s, like there is today. Kraftwerk had songs on the radio. Donna
Summer "I Feel Love" was in rotation with "Sweet Home Alabama" if you
can believe it. Hearing Kraftwerk on a car radio was a major revelation.
My first Warp CD was 'Quoth' which did a complete brain re-arranging. I don't
know why this track isn't like 'Spastic' -- a total rave anthem. That's
still my all time favorite left field mixing track. You can put it with
Tangerine dream, you can put it with Thomas Brinkmann, pretty much
anything, and it's brilliant.
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