IDM Mailing Archive

Mythosound@aol.com wrote:

quoted 6 lines Incidentally, he does use a lot of the same sounds from his Synthi A, if you

> > Incidentally, he does use a lot of the same sounds from his Synthi A, if you > had the opportunity to try one out (I have one sitting next to me here), or > come to that any other of the instruments he uses, you'd be surprised as to > how easy it is to come up with that stuff. >

"How easy it is" is deceptive. Sure, Namlook leaves a lot to the machines to be decided. I've had the opportunity to try out a lot of gear and even with a friend's Prophet 600 (which is much less the instrument than the Synthi A) I could create "instant Namlook" in the space of four hours if I had a couple of them handy. ***But had I not listened deeply into what was going on in his works, I would have never had the idea to try some of the things I did.*** That's why Pete Namlook (and Richard James, and Richie Hawtin, and Klaus Schulze, and Brian Eno, and Edgar Froese) are true electronic pioneers. In the end, little of it (that session) was really _my own_ work, even though it was "so easy" for myself to do. This is what's so fascinating about Pete, and why his collaborations work so well. He can bring out the best in people simply by forcing them back to basics, back to what is pure and what can be done best. Furthermore, all this blabbering about means over ends is tiresome. More often than not, Namlook _moves_ me. I'm well aware of how minimal his techniques are to do so. Who are the most impressive "composers" in this (ambient/idm) scene? Probably Black Dog--to do what they do is very difficult. Also FSOL, with the amount of layering that goes on they must have a lot of skill. Yet I care for only a small portion of their output. It frankly fails to do much for me. (sidenote) Technically, Pete uses an Oberheim 4-Voice to do most of his 'generic" sweeps and basslines. The albums on which he's made extensive use of the Synthi A (obviously, I'm referring to the Putney series) he gets these shimmering, metallic textures out of the beast. If you have a Synthi A sitting around, why don't you make some interesting use of it in your own work? It would be a refresher from yet more helpings of flanged low-frequency noise...

quoted 11 lines any existing survivors in that camp should check out Jet Chamber for a 68

> > > > >any existing survivors in that camp should check out Jet Chamber for a 68 > min trek into >some brilliant melodic semi-dark ambience... > > Has good moments to be sure, but maybe, just maybe, it has more to do with > the contributions of one Atom Heart ? > (Answers on a postcard) > >

who uses cheesy samplers and Roland equipment and ends up sounding like Yellow Magic Orchestra half the time. Uwe Schmidt is a genius, but he does have his faults and his stature detracts none from the contributions of Pete Kuhlmann.

quoted 6 lines perhaps DSOM2 or Namlook X had already convinced you..

> >perhaps DSOM2 or Namlook X had already convinced you.. > > DSOM 2 ? Well it does feature a synth has-been (music for alcoholics anyone > ?) or is that two synth has beens ? > Again not Namlook alone (are we getting some kind of connection here ?), > besides, any idiot could start an album with 20 minutes of twittering. Hardly

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ This is pretty hypocritical if you ask me.

quoted 10 lines Namlook should stick to A&R, as the label has released good material, can't

> > Namlook should stick to A&R, as the label has released good material, can't > take that away from him, he's done a good job. > His best work more often than not involves the input of others. Coincidence ? > Solo Namlook releases are just more synth masturbation. > > And enough about how wonderful his "improvised" live material is. Improvised > hell, he is after all using a Powerbook running sequences. Not exactly > improvised by my definition of the term. >

I'm having a hard time making sense of these two paragraphs. Improvised live material is synth masturbation! Also if you listen closely to his studio output, he makes obvious use of analog sequencers. It is hard to achieve the continuously evolving rhythmic counterpoint he does without them. If you care to do analysis (which is usually unnecessary because the textures are so MOVING), you will discover that many of his patterns are achieved with a simple layering of repeating patterns in small whole-number ratios. Two against three, three against four, etc. One morphs back into the other. I could cite many examples from _From Within_, especially since no two people make more extensive use of this kind of live sequencing than do Namlook and Hawtin.

quoted 6 lines For your information, I have no problem with Namlook, the above is for the

> > For your information, I have no problem with Namlook, the above is for the > benefit of you mindless Fax acolytes, there is more to life I assure you, > your entitled to your opinions, but I tire of you telling us how superior > Namlook/Fax is, so kindly Fax off. >

I own 19 FAX CD's. How many do you own? Wasn't it in the eighties last time you posted? Now who's the 'acolyte'?

quoted 4 lines I'm also bored silly by all these postings telling us how wonderful Eno

> I'm also bored silly by all these postings telling us how wonderful Eno > /Orb/Aphex /FSOL/ Whoever are (delete as appropriate), Let's see you be a bit > more constructive. >

If we don't talk about these folks, what are your personal suggestions? Again, who is so much better? Why don't you be constructive for once? ------------------------------------------------|---------------------------- "Categories strain, crack and break... | Harvey Thornburg Step out of the space provided." | hthornbu@osiris.ac.hmc.edu -Steven Stapleton (1979) | dada_x@venom.st.hmc.edu ------------------------------------------------|----------------------------