At 11-3-00 -0500 01:12, you wrote:
quoted 20 lines I would say the Good Old Days of IDM probably
>I would say the Good Old Days of IDM probably
>started with Kraftwerk and Manuel Gottsching and
>ended with the break up of the Black Dog, but they
>are definitely concentrated from the time of "Strings
>of Life" and "Night Drive" to the first albums of B12,
>As One, Black Dog, etc. before their later work.
>So about 1987-1993. As always I disagree with the
>Jet Jaguar about music (I don't think we've ever agreed
>on anything) and I pretty much hate the later material
>of Kirk, Carl, Plaid, etc. not so much because of the music
>itself (which doesn't bother me) but the fact that these
>guys don't make tracks like "Nebula Variation", "How the
>West Was Won" or "Scoobs In Columbia" anymore. Now
>I do realize I can't (and have no right) to tell them what to
>as artists but I still hate their current material. This is true
>of just about every producer I liked who has "old" material.
>It seems in these scene nobody gets better: they just get
>worse. In reality they get more developed and gather moss
>down the abstract hill, but I prefer the pure techno sound (and
>think I am not alone).
i think we should respect the things an artist does, and if you don't like
their current output, move on to those who you like - and if the current
output at all isn't that fine, there's too much old music to explore. that
music still moves on, personally i would like to tip nubian mindz, as it
got pretty much a string/melancholic sound, and also the aardvarck release
got a pretty detroit, urban tribe-like sound - not to forget shake's father
ep and the future beat alliance releases last year. otherwise check the
stuff by guy called gerald like 'reno' and 4hero's parallel universe album,
all with a fine detroit sound
and about the music, matter of taste i think - personally i think planetary
folklore and message.. are kirk degiorgio finest albums as i agree kirk did
some great things as as one, and some very great as future/past - but i got
the feeling the music he's putting out, is more up to using all his
capabilities
the first things called idm were all in the tradition of detroit techno,
b12 probably as most easy example. / the things now being called idm are
more started by things as aphex twin and autechre
below some nice quotes from kirk from an interview (late '96!) /
__
http://www.forcefield.org/kirk.html
As more artists your sound has enbroaden itself, more jazz and funk
influences. Has this to do with this tag 'intelligent techno', a sort
identity crisis or just creativism and pure logical progression?
"I've been listening to soul and jazz since I was 11 years old and I was
DJing by the age of 15 - techno was just another section of Black Dance
Music that I liked - and certainly the most obvious for me to make
(available technology, open-ended forward thinking music in the jazz
spirit)." "If you listen to Reflections - my first album - you will see the
beginnings of the use of breaks along with the minimal techno beats and
soulful strings - as my music progresses and my studio expands so does my
creative capabilities. As long as I keep experimenting and exploring then
I'm happy - too many artists stop when they find a commercially viable
sound and lose the urge to try out new things."
In an article, you wrote 'It seem drum 'n bass has injected some much
needed funk & soul back into electronic music'. What are your main
influences nowadays, also besides music?
"My main influences now are still soul and jazz. Drum n Bass gave the dance
scene such much needed energy and vitality after the dirge of too much
average ambient-techno. But commercialism has damaged jungle as much as it
did techno - only a handful of jungle artists are doing anything outside
the mainstream - and there are too many ex-techno artists treating jungle
as a gimmick resulting in frantic programming at high bpms but with little
or no GROOVE which is what attracted me to jungle in the first place."
What's your meaning about the current state of 'techno', worldwide as well
in the UK?
"Techno worldwide is an embarrassment - its like what disco became at the
end of the seventies - tacky, formulated - dominated by big clubs and big
name DJs who've had their day - the people who matter have all moved on to
different and better things. Detroit will always have an underground to
keep the true spirit of techno alive, but good releases are too few to keep
me interested. I must be the only so called 'techno' producer in the world
to own NO techno records."
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cheers
marsel
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