IDM Mailing Archive

hobey echlin writes,

quoted 4 lines Dance music more and more lets us down with tracky albums that bounce

> Dance music more and more lets us down with tracky albums that bounce > between ever more hermetically sealed genres. (Question for house > producers: > Is disco the only thing worth sampling in the last 25 years?)

why do so many journalists hate genres so much? i'm really tired of all the carping on the "hermetic genres" that define dance music. in the journalists' world, eclectic = good, and "generic" (in the literal sense) = bad. i can see several reasons: 1) the fetishization of novelty and innovation that comes with capitalism 2) plain old insecurity - genres imply a set of rules, and a tradition, that the journalist by nature (having to be semi-versed in scores of genres and topics) will probably not know. therefore, rather than learning about the history & intricacies of drum'n'bass, say, or house music, it's easier to slag it as uncreative. thoughts? p

Does anyone know of any IDM artists who consistently use Csound? -matt --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

: Does anyone know of any IDM artists who consistently use Csound? Kim Cascone did the entire Blue Cube album in Csound (and I believe its successor, Cathode Flower, as well). Don't know if I'd exactly call him IDM (Ambient, perhaps) though. I know there are several artists on the Csound mailing list who do IDM. There are a number of 303 emulations and other such instruments for Csound out there; in fact several of them appear on the CDROM that comes with The Csound Book. -Ed --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On 4 Aug 2000, Philip Sherburne wrote re [idm] question about echlin:

quoted 3 lines therefore, rather than learning about the history & intricacies of

> therefore, rather than learning about the history & intricacies of > drum'n'bass, say, or house music, it's easier to slag it as > uncreative.

ALL journalism and criticism - be it of films, books, music or art - will always be the personal opinion of the writer. That's all it is. I * --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 2 lines i can see several reasons:

> i can see several reasons: > 1) the fetishization of novelty and innovation that comes with capitalism

Though I never made the connection with capitalism, I've always been drawn to innovative sounds as a music critic. If a writer's job involves communicating to his or her audience about new and exciting sounds, why bother writing about generic music that recycles old ideas?

quoted 6 lines 2) plain old insecurity - genres imply a set of rules, and a

> 2) plain old insecurity - genres imply a set of rules, and a > tradition, that the journalist by nature (having to be > semi-versed in scores of genres and topics) will probably not > know. therefore, rather than learning about the history & > intricacies of drum'n'bass, say, or house music, it's easier to > slag it as uncreative.

Not every writer out there may know the ins and outs of every genre -- techno, DnB, house, trance, rock, jazz, rap, etc. It's almost impossible to have a deep encyclopedic knowledge about each of these. But there are many writers out there with an amazing depth of knowledge in particular areas (many of which are on this list). If you think about it though, the writers out there and the people at the labels are the ones that have defined the genres. Obviously, someone had to sit back and think "hmm, let's call this minimal techno" after they first heard Robert Mills and Dan Bell. Furthermore, it seems as though writers are the ones that get dissed for often over-applying generic boundaries. Just think of all the different types of DnB out there -- tech-step, jump-up, dark-step, intelligent, ragga, etc. Who's defining these terms? So here's my main point about why writers don't like genres....in my opinion and in my personal experiences, I spend so much time dealing with generic trash that I get pretty damn excited when I hear something new. You don't even want to know how many "Sasha in Ibiza"-type CDs that writers and retail buyers have to wade through. Even with mounds of music on my desk, I still find myself listening to stuff such as Basic Channel, Jeff Mills, The Doors, and Public Enemy at home. In an age where the market for music has become so enormously saturated (think of MP3.com and Napster's content), it's often refreshing to hear something innovative. Think of how many European techno artists that follow Jeff Mills' templates from the mid-'90s, for example. It's not as easy to be innovative in 2000 as it was in the early '80s when Juan Atkins plugged in his synth. ~Jason Birchmeier --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 2 lines I am suspect of any writer who feels that music of any sort "lets us

> I am suspect of any writer who feels that music of any sort "lets us > down".

quoted 3 lines No, I haven't read Mr. Echlin's curricula vitae, but I can still be

> No, I haven't read Mr. Echlin's curricula vitae, but I can still be > disappointed by his sentiments. > Music deserves better. And so do we.

So his writing let you down, I guess? --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org