IDM Mailing Archive

quoted 1 line besides the fact that I think the classification 'drum-n-bass'

> besides the fact that I think the classification 'drum-n-bass'

quoted 1 line is pretty stupid.

>is pretty stupid.

i hate to risk initiating yet another bull-headed idm war, but i've gotta argue with that-- "drum'n'bass" is a classification precisely because it denotes a specific musical form, with its own history, stylistics, etc. i would even go so far to argue that there are two ways of producing drum'n'bass--1) to work <italic>with</italic> the form (eg squarepusher, jega, rdj, etc.), using its formal elements but always as an expansion of the form; and 2) to work <italic>within</italic> the form, as does dancefloor-oriented d'n'b. eg, the producers that "non-initiates" won't necessarily know. this second method works within strict formal rules almost as a kind of theme-and-variation exercise. hence the production of such <italic>similar</italic> music. originality isn't the point, in such an exercise--the asymptotal drive toward the "perfect track" is, instead. anyway. it's pointless to argue that "the classification 'drum'n'bass' is stupid" because it does, in fact, denote a very real (and classifiable) phenomenon. not quite the same as arguing that "the classification 'postmodernism' is stupid," for instance (and i don't even think we'd better <italic>touch</italic> that one!). push out the jive, bring in the love, phil

On Fri, 10 Apr 1998, James Skilton wrote:

quoted 1 line At 21:59 05/04/98 -0400, Philip Sherburne wrote:

> At 21:59 05/04/98 -0400, Philip Sherburne wrote:

1) to work with the form (eg squarepusher, jega, rdj, etc.),

quoted 1 line using its formal elements but always as an expansion of the form; and

> >using its formal elements but always as an expansion of the form; and

I think of this as basically being programmed jazz. Not that it isn't doing things never before done with jazz (for instance, extremely flanged perfect 96th-note-triplets ascending in perfect linear pitch or volume ain't exactly Max Roach or Buddy Rich) 2) to

quoted 6 lines work within the form, as does dancefloor-oriented d'n'b. eg, the producers

> >work within the form, as does dancefloor-oriented d'n'b. eg, the producers > >that "non-initiates" won't necessarily know. this second method works > >within strict formal rules almost as a kind of theme-and-variation > >exercise. hence the production of such similar music. originality isn't > >the point, in such an exercise--the asymptotal drive toward the "perfect > >track" is, instead.

I wonder if the #2 kind of d-n-b will have a life kind of like the Breakbeat trend: it will eventually collapse on itself if it ever stops from occasionally bringing in some of the innovations of the (1) artists. There is a lot of elbow room to the dancefloor-oriented d-n-b, but (at least to me) it still seems formulaeic overall and will always need the occasional experimental injection. Another thing about d-n-b that reminds me of breakbeat is that I remember that breakbeat was considered a little too crazy for the dancefloor in its' own time, but slowly got assimilated into clubs after getting lobotomized of its' jazzier/syncopated elements. The supposed "drum-n-bass" I have heard in clubs is much more repetitive and is so at smaller intervals of notational bars, such that is actually sounds like the faster experimental breakbeat of 92-93 (Kaotic Chemistry or 4 Hero for instance)

quoted 2 lines into words by Afrika Bambaataa and Soulsonic Force - "Looking for the

> into words by Afrika Bambaataa and Soulsonic Force - "Looking for the > Perfect Beat"

I just found this Tommy Boy 12" for 50 cents last week, btw. I'm late on this thread, too...... Solenoid solenoid@europa.com <------+