IDM Mailing Archive

quoted 3 lines you might consider someone who says house music is shit to be a fucking

>you might consider someone who says house music is shit to be a fucking >moron, but instead of saying so, maybe ask them why they think that, and >see if they can come up with a plausible reason...

only because the four-on-the-floor bassdrum replicates the structure of totalitarian political organization! toodle pip, eric onnow: mixtape draft

In a message dated 97-10-01 04:23:01 EDT, you write: << only because the four-on-the-floor bassdrum replicates the structure of totalitarian political organization! >> LOL....so house music is the propaganda of the Man, right?

quoted 6 lines In a message dated 97-10-01 04:23:01 EDT, you write:

>In a message dated 97-10-01 04:23:01 EDT, you write: > ><< only because the four-on-the-floor bassdrum replicates the structure of > totalitarian political organization! > >> >LOL....so house music is the propaganda of the Man, right?

Presumably this is in reference to Stockhausen's comments on Plastikman and the Aphex Twin late in 1995. Check the list archives for more info. C. -- Chris.Hilker (cspot@hyperreal.org) "One being, that talking about things, while not exactly causing them to happen, does cause something,-- which is almost the same, tho' not quite. Unless it is possible to smoke a Potatoe."

On Wed, 1 Oct 1997 Mark Kolmar <mkolmar@xnet.com> wrote:

quoted 1 line Much of the work of so-called "serious music" composers in the last few

>Much of the work of so-called "serious music" composers in the last few

decades goes through all sorts of contortions to -avoid- a discernible pulse. They are trying to take music to what they consider the next level, and a constant rhythm would be considered primeval rather than transcendental. Thus, Stockhausen's comments.< While I'd hate to pick a scrap with someone deserving of respect like Stockhausen, I'm willing to bet he was never out there on the floor at 4am with summat like 'Spastik' rattling his sphincter. Damon. Now: Purpose Maker - 'Kat Moda' EP

quoted 7 lines On Wed, 1 Oct 1997 Mark Kolmar <mkolmar@xnet.com> wrote:

> On Wed, 1 Oct 1997 Mark Kolmar <mkolmar@xnet.com> wrote: > They are trying to take music to what they consider the next > level, and a constant rhythm would be considered primeval rather than > transcendental. Thus, Stockhausen's comments.< > While I'd hate to pick a scrap with someone deserving of respect like > Stockhausen, I'm willing to bet he was never out there on the floor at 4am > with summat like 'Spastik' rattling his sphincter.

I'm sure you're right. The camps are just after two different goals. I mean, you listen to the last 12" on Purpose Maker ("Our Man From Havana" I think it was, by Jeff Mills, described as "highly experimental techno" on Submerge's sheets) and it's quite a good, effective record. The 2 tracks on side B especially put me into a trance of abstract, mechanical grooviness. Then you listen to "La Legende d'Eer" by Xenakis (tape piece from mid-70s, still sounds ultra-futuristic) and realize he really was manipulating and sculpting sound down to the 44,100th of a second. A difficult listen, but it will certainly take you to a different mental space than Jeff Mills, and no less vivid. Earlier in the century, after they'd figured out systematic ways to avoid the typical pitch relationships, "serious music" moved into what's called Integral Serialism -- that is, every aspect of the piece would derive from the same, or highly interrelated numeric systems. That was a way to ensure a high level of coherence on a formal/mathematical level, while avoiding the usual patterns of pitch, rhythm, and nuances. It's obvious that Jeff Mills sometimes uses multiple lines that play against each other in different ways as each shifts in time relative to the others. This, too, is an elegant system for avoiding the usual patterns. But he's walking a thin line: it's gotta groove or the DJs aren't going to play it. --Mark __ <http://www.xnet.com/~mkolmar/BurningRome> < MPEG & RA audio clips > m u s i c : w e b : s o u n d d e s i g n : h t m l : c g i : e t c