IDM Mailing Archive

You know I got into Electronic music in a big way in the early 90s with the rise of 'IDM' (aphex twin, black dog, FSOL, Orb), but over the years I've gained a real appreciation of 'real' (presumably 'stupid' by comparison) dance music. If you really study on it, even stuff like Chicago booty house has a unique character and a host of people working at the top of their form. Real dance music induces real dancing, instead of the occasional head nod and chin stroke. Now more than ever, I think that people need to really examine the whole idea of IDM, because a lot of stuff coming out seems pretty barren of the things that initially drew me to the form -- emotional depth, and some sort of rhythmic groove that compels you to move your body. And people need to widen their horizons a little. Just listening to one style of music is ultimately a limiting factor to your musical enjoyment. Everything we think of as our music succeeds or fails by how well it can incorporate and retranslate other musics. I don't think it's possible to fully understand and appreciate Selected Ambient Works by Aphex Twin unless you know the work of Raymond Scott and Eric Satie. At any rate I will always rebel against people trying to delimit the boundaries of IDM. It seems that the people who make 'this-listy' music are able to do so because of their eclectic tastes -- they can appropriate stuff beyond other music in the genre and make something new of it. kent williams -- kent@avalon.net --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 1 line ===== Original Message From Kent williams <kent@avalon.net> =====

>===== Original Message From Kent williams <kent@avalon.net> =====

quoted 4 lines At any rate I will always rebel against people trying to delimit the

>At any rate I will always rebel against people trying to delimit the >boundaries of IDM. It seems that the people who make 'this-listy' music >are able to do so because of their eclectic tastes -- they can appropriate >stuff beyond other music in the genre and make something new of it.

I think the time when this was even generally true has past in the last couple of years. The stuff I enjoy most is generally where I get a sense of what Kent refers to above. However, I get the impression there are far greater numbers of people writing music nowdays that only sounds like they wanted to make music like the music they like. Uh, if you get my drift. :-) Most IDM-writing-types I've talked to seem to approach composition with an ear to emulating the sounds of their fave artists, not synthesizing their influences into something more personal. True synthesis of ideas, IME, involves considering the process or approach involved in creating the thing that impresses me, rather than just trying to make the same kind of noises. Otherwise I'm doing nothing more than (superficial) pastiche. I've tried to cut this down from a hefty rant, so please excuse me if it's so condensed as to appear a bit all over the place. Michael np. Wunder --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

In a message dated 21/12/99 10:03:19 kent@avalon.net writes:

quoted 3 lines You know I got into Electronic music in a big way in the early 90s with

> You know I got into Electronic music in a big way in the early 90s with > the rise of 'IDM' (aphex twin, black dog, FSOL, Orb), but over the years > I've gained a real appreciation of 'real' (presumably 'stupid' by

comparison)

quoted 4 lines dance music. If you really study on it, even stuff like Chicago booty

> > dance music. If you really study on it, even stuff like Chicago booty > house has a unique character and a host of people working at the top of > their form. Real dance music induces real dancing, instead of the

occasional

quoted 4 lines head nod and chin stroke.

> head nod and chin stroke. > > Now more than ever, I think that people need to really examine the whole > idea of IDM, because a lot of stuff coming out seems pretty barren of the

things

quoted 7 lines that initially drew me to the form -- emotional depth, and some sort of

> that initially drew me to the form -- emotional depth, and some sort of > rhythmic groove that compels you to move your body. And people need to > widen their horizons a little. Just listening to one style of music is > ultimately a limiting factor to your musical enjoyment. Everything we > think of as our music succeeds or fails by how well it can incorporate > and retranslate other musics. I don't think it's possible to fully > understand and appreciate Selected Ambient Works by Aphex Twin unless you

know

quoted 1 line the work of Raymond Scott and Eric Satie.

> the work of Raymond Scott and Eric Satie.

I don't seem to realise that anyone here at all talk about house music which exquisitely intelligent listening music and not made specifically for the dancefloor. Artist such as Larry Heard, Chris Gray, Ron Trent, Anthony Nicholson, Carl Craig et al. all come to mind. And what's also interesting is that a lot of dance/ deep house records always have at least a track on the flip side which is for listening (after dancing). Is it just me or do I perceive most idm listers as just concentrating on music made by Caucasian American/ Europeans, and not enough on the Afro Population. Perhaps we do need to re-assess our perception of idm. A Z --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

i think its important to take in as many musical styles/genres as possible. there was a point for me when i only listened to rock music, then as i got more and more into electronic music, i completely switched to listening exclusively to electronic stuff, which led me into house music, which got me into jazz, and then into soul and funk, and back into rock. and now that im back at square one, i find the music i liked before is even more enjoyable because its possible to see the connections between the different genres and styles. i hope that makes sense on screen. anyway i really dig the mateo and matos lp on glasgow underground called "the many shades of mateo and matos." its got this great track called 'stomp your feet' thats fantastic. also got bill laswell/pete namlook's 'psychonavigation' on subharmonic and 4mod3 on phthalo. btw: has anyone checked out the bluesix stuff on naked music nyc? ive just recently gotten into his stuff and im wondering what else is similar...? thanks (m)

quoted 7 lines Is it just me or do

> Is it just me or do >I >perceive most idm listers as just concentrating on music made by >Caucasian >American/ Europeans, and not enough on the Afro Population. Perhaps we >do >need to re-assess our perception of idm.

quoted 7 lines A Z

> >A Z > >--------------------------------------------------------------------- >To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org >For additional commands, e-mail: idm-help@hyperreal.org >

___________________________________________________________________ Why pay more to get Web access? Try Juno for FREE -- then it's just $9.95/month if you act NOW! Get your free software today: http://dl.www.juno.com/dynoget/tagj. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Could anyone help me to find most complete discography of Freeform? And if it is possible, could anyone give more or less stable and jsutified opinion on his new lp? For an utter Ae fan I'm too in love with this guy. 8) And he's great. I think in his music I see what other idm artists lack - personal approach not just to melodies and drum or bass patterns, but to the whole sound as well. His unique ability to connect slow and minimal ambient like tracks with wierd and sometimes funny samples bound in the deeply structured matrix of more sound ample songs makes me crazy. I love the guy. Alien searching for new info.... np: AFX "AB2" and then Amorphous Androgynous "Tales of Ephedrina" --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Amen!! Freeform has re-established my belief in the future of IDM/ELM/ILM!! np: Freeform - Glob Teccie http://www.mp3.com/ceTeR

quoted 36 lines -----Original Message-----

> -----Original Message----- > From: Konstantin Minko [mailto:ibss@ukrpack.net] > Sent: dinsdag 21 december 1999 7:41 > To: idm@hyperreal.org > Subject: (idm) Freeform discography > > > > Could anyone help me to find most complete discography of Freeform? > > And if it is possible, could anyone give more or less stable and jsutified > opinion on his new lp? > > For an utter Ae fan I'm too in love with this guy. 8) And he's great. I > think in his music I see what other idm artists lack - personal > approach not > just to melodies and drum or bass patterns, but to the whole > sound as well. > His unique ability to connect slow and minimal ambient like tracks with > wierd and sometimes funny samples bound in the deeply structured matrix of > more sound ample songs makes me crazy. I love the guy. > > Alien searching for new info.... > > > np: AFX "AB2" and then Amorphous Androgynous "Tales of Ephedrina" > > > > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org > >

--------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

In a message dated 21/12/99 3:20:18 mattsalcido@juno.com writes:

quoted 17 lines i think its important to take in as many musical styles/genres as

> i think its important to take in as many musical styles/genres as > possible. there was a point for me when i only listened to rock music, > then as i got more and more into electronic music, i completely switched > to listening exclusively to electronic stuff, which led me into house > music, which got me into jazz, and then into soul and funk, and back into > rock. and now that im back at square one, i find the music i liked > before is even more enjoyable because its possible to see the connections > between the different genres and styles. i hope that makes sense on > screen. > > anyway i really dig the mateo and matos lp on glasgow underground > called "the many shades of mateo and matos." its got this great track > called 'stomp your feet' thats fantastic. also got bill laswell/pete > namlook's 'psychonavigation' on subharmonic and 4mod3 on phthalo. btw: > has anyone checked out the bluesix stuff on naked music nyc? ive just > recently gotten into his stuff and im wondering what else is similar...? >

Right on. Now that we've got the ball rolling...If you like Blue 6 on Naked Music (New York), you should also check out Miguel Mig's other Naked projects- Lovetronic and Petal Pushers. Peacefrog are also releasing some amazing intelligent deep house gems at the moment - check out David Alvorado, Ron Trent Theo Parrish and Anthony Nicholson's LPs. Chris Gray has some sublime music on Fragmented, Mind Massage (Music Is) UK labels, as well as his own Deep4Life Recordings out of Chicago. IDM trainspotters should check out the Deeper Side Of the Internet Various Artists album. It is a world electonic compilation of C.Gray, Bug Orchestra, Merrick Brown etc. He also has an amazing album called Emotional Distortion (Deep4Life) which fuses ambient electronics and deeeeep house. Also for purveyors of the minimal funk, I would reccomend any Theo Parrish and Kenny Dixon Jnr. Theo's Sound Signature label is pumping out some fine deep minimal funk tunes as with KDJ's label also from Detroit. There is also Mike Grant's label Moods & Grooves out of the D - have released intelligent listening house projects from Anton Miller, Rick Wade and Mike G himself. Reccomended to those who get into Brinkmann's Soul Centre and any Playhouse tunes. These are just some fine examples of idm which probably can filed under the 'sub genre' of intelligent deep house. Classy and soulful music from the Afro-perspective. Should provide some light relief from all that Squarepusher banter...Anyone to add? Cheers, A Z --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

By the way sorry for any spelling errrroooorrrs. Typing too fast again! A Z --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Cesium5Hz@aol.com wrote:

quoted 36 lines In a message dated 21/12/99 10:03:19 kent@avalon.net writes:

> In a message dated 21/12/99 10:03:19 kent@avalon.net writes: > > > You know I got into Electronic music in a big way in the early 90s with > > the rise of 'IDM' (aphex twin, black dog, FSOL, Orb), but over the years > > I've gained a real appreciation of 'real' (presumably 'stupid' by > comparison) > > > > dance music. If you really study on it, even stuff like Chicago booty > > house has a unique character and a host of people working at the top of > > their form. Real dance music induces real dancing, instead of the > occasional > > head nod and chin stroke. > > > > Now more than ever, I think that people need to really examine the whole > > idea of IDM, because a lot of stuff coming out seems pretty barren of the > things > > that initially drew me to the form -- emotional depth, and some sort of > > rhythmic groove that compels you to move your body. And people need to > > widen their horizons a little. Just listening to one style of music is > > ultimately a limiting factor to your musical enjoyment. Everything we > > think of as our music succeeds or fails by how well it can incorporate > > and retranslate other musics. I don't think it's possible to fully > > understand and appreciate Selected Ambient Works by Aphex Twin unless you > know > > the work of Raymond Scott and Eric Satie. > > I don't seem to realise that anyone here at all talk about house music which > exquisitely intelligent listening music and not made specifically for the > dancefloor. Artist such as Larry Heard, Chris Gray, Ron Trent, Anthony > Nicholson, Carl Craig et al. all come to mind. And what's also interesting is > that a lot of dance/ deep house records always have at least a track on the > flip side which is for listening (after dancing). Is it just me or do I > perceive most idm listers as just concentrating on music made by Caucasian > American/ Europeans, and not enough on the Afro Population. Perhaps we do > need to re-assess our perception of idm. >

I agree wholeheartedly, but don't want to get into a debate with people I could have biologically fathered :-). IDM-heads tend to think house music is entirely bomp-bomp for idiots who are entry level or disco revivalists. One of the problems of the list is that it sometimes tends to be so far up its own behind as to be provincial and closed minded. I recall making a post about influences 2-3 years ago and having to explain why James Brown qualifies as a precursor to the sense of funk which predominated the breaks in some of the Drum-n-Bass, Drill-n-Bass and sort of sterile funk which was coming across back then. I was kind of stunned that this needed explanation. I don't think this whole thing is so much a matter of race, but rather exposure - and, of course, sometimes just personal taste. People are coming to the table here from all kinds of backgrounds...industrial, goth, alternative, dance, whatever. Some of us are just music junkies who have phased through most of whatever has been happening whenever. I grew up listening to Detroit radio and am 43...I had a sister 14 years older and a brother 7 years older, so I cut my teeth on <<early>> rock and went from there. While I never liked the diva house or real cheesy stuff, deep house and 313 sounds great to my ears : I hear my roots there. Right now I'm making myself cdrs from my UR vinyl so I can play them in my car. Maybe it comes from being older, but I've never had a problem digging out my copy of Patsy Cline's Greatest Hits or The Beatles' White Album (although Patsy is more likely these days with the advent of those horrible oldies stations I have forced on my at work), next to SAW or V/vm and washing it down with "Let's Get It On". That BleepBloop cdr mix *just* might be what's on New Years, Irene :-) jeff "10,000 people all screaming the same thing at the same time are wrong, even if they're right." dancing/about/architecture "...with wandering steps and slow..." ICQ904008 --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On Wed, 22 Dec 1999, adam.florin wrote:

quoted 6 lines but--and i wish i could cite it properly--one of the early detroit

> but--and i wish i could cite it properly--one of the early detroit > producers said of the reason for kraftwerk's success among post-funk black > kids... > > > "they were so white, they were black."

Not to quibble with your overall conclusions, but the quote (credited to Juan Atkins) is actually (re: Kraftwerk) "They were so stiff, they were funky." -d.w. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org