IDM Mailing Archive

Fennesz: Endless Summer Brilliant, like a beautiful, beatless ambient Electric Company: Slow Food which, BTW, is also great, laner's best yet in my opinion, not just because it's the most accessible but also because it's the most consistent of all his work I've been exposed to so far. Then there's Plaid: Double Figure Which is sad, because while it's not a bad record, it certainly seems to show Plaid becoming sort of a one-trick pony band, and I hate when that happens. Rest Proof Clockwork is more inspired and enjoyable for my money by a long shot... Kid606: PS you love me is a good one, album sounds and even looks, colorschemewise, similar to Jake Mandell's recent Love Songs for Computers, which was also a good score. Smooth, almost Kompakt-brand 4/4 in lots of places. I can dig it. I can also dig V/A: All Access fantastic fantastic detroit sampler compiled by Carl Craig, fantastic, oh boy, takin' this one on the road first chance I get, smooth with bite like a fine cocktail, yes indeed, and a Theorem vs. Swayzak track for the rare-collab collector fiends... Bisk: Moonstruck Parade Had this for a while, and just like most every other Bisk album I have, still not the least bit tired of it. Chop chop chop chop, bleep daboop, skittery too-fast OK slowdown WTF billie holiday in one ear and waltzing R2 D2s in the other, gorgeous, full of surprises, and classical piano + guitar samples to make you want to own a house on the beach for some reason. The title track is going down in history, and I'm not kidding, not in the least, nor am I kidding about V/A: RKK 13 Which is more hit-and-miss than any comp I've bought in a while, some good tracks, but everything's about 2 min. long tops so you get to relish JayRope, Electric Birds, Blitter and Fennesz's contributions about the same amount of time that you unexpectedly have to suffer through the sound of Thurston Moore chopping through the Ramone's "I wanna be sedated" and bad radio reception noise, which sounds a lot more interesting than it sounds. Sorry Vat, just not open-minded enough I guess, or then again, I am the sort of person who enjoys Fantastic Plastic Machine: Beautiful Lounge disco over-the-top silliness and beats to back the best of blue movies, FPM hits the spot again with another fantastic sunny day driving album, unstoppable and not the least bit self-conscious, even in dense traffic. Herbert: Bodily Functions Around The House was a fine enough record, but if you'd rather more brain-tickling bebop or just regular smoky old jazz inflected stuff, to include the use of more than a few live-sounding musicians etc. Plus even more Dani Siciliano, love that voice, and lyrics that make ten times as much sense as Underworld, not that anybody on this list cares. File under "girl-friendly" but only if she's really smart y'know huh huh. Ken Ishii: Iceblink Boom Boom Boom whatever, not bad but not nearly as good as Metal Blue America, the Grip + Re-grip material, sounds more like an EP with some filler thrown in than an album. A few tight thumping tracks and then some overproduced silliness, you know how it goes, these guys make a bunch of money and it all goes poo before you can sneeze, kind of like V/VM: Help Aphex Twin 1.0 & 2.0 Not V/VM, they can't even afford their own source material, I'm talking about Aphex Twin, yeah, the guy that England's favorite meat sculptors have rearranged, smashed, inappropriately appropriated and generally improved upon in favor of lower S/N ratios and sheer aggressive twistedness, which come to think of it nobody might've imagined years ago but now is perfectly acceptable. Or not. Lots of Aphex material reworked into more cacaphonic and unpredictable arrangements, pitchbent all out of wack and cut up so as to make the trainwreckingest DJs worldwide look smooth. I likes it, as I do, finally, Mouse On Mars: Idiology Which when swinging, rocking, thumping, shouting and bumping like a squadron of nymphomaniacal (and/or satyriatic) imps and faeries breaking into a high-dollar studio and ruining it during an all-night orgy, is a great record and again one that definitely fits the bill for incarlistening, at least in my car on the way to see Lex + Devine in LA this weekend, ha ha all you people who'll miss it (I've never gotten to say that, you realize, or even feel it really)... but when they stop and do that thing where dude talks on and on about some post-a-modern con-a-ceptssss, mm hmm, it drives me-a nuts, same as it did on the Gerhard Potuznik album some years ago. At least the Potuznik voiceover bits were a sort of narrative. Anyway. Good record, really like it, except for the Annoyinggg MAnnn. Is that it? I think that's it. Tom --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

I would just like to say that as far as my insulsts to Plaid go, this is my most important evidince: Plaid has never really evolved, they've only upped thier production vaulde, in a very limited sense. Compare them to Autechre, who have not only upped the production value but who have upped the entire idea of what electronic music can be, with every single release. Plaid are INDEED A ONE TRICK PONY. EVOLUTION IS WHERE ITS AT. We have yet to reach levels of Beethoven/Mozart/and dare I mention the MASTER's NAME: JOHANN SEBASTIAN BACH. heres hoping kingmob On Wed, 27 Jun 2001, Thomas Millar wrote:

quoted 111 lines Fennesz: Endless Summer

> Fennesz: Endless Summer > > Brilliant, like a beautiful, beatless ambient > > Electric Company: Slow Food > > which, BTW, is also great, laner's best yet in my opinion, not just > because it's the most accessible but also because it's the most > consistent of all his work I've been exposed to so far. > Then there's > > Plaid: Double Figure > > Which is sad, because while it's not a bad record, it certainly seems to > show Plaid becoming sort of a one-trick pony band, and I hate when that > happens. Rest Proof Clockwork is more inspired and enjoyable for my > money by a long shot... > > Kid606: PS you love me > > is a good one, album sounds and even looks, colorschemewise, similar to > Jake Mandell's recent Love Songs for Computers, which was also a good > score. Smooth, almost Kompakt-brand 4/4 in lots of places. I can dig it. > I can also dig > > V/A: All Access > > fantastic fantastic detroit sampler compiled by Carl Craig, fantastic, > oh boy, takin' this one on the road first chance I get, smooth with bite > like a fine cocktail, yes indeed, and a Theorem vs. Swayzak track for > the rare-collab collector fiends... > > Bisk: Moonstruck Parade > > Had this for a while, and just like most every other Bisk album I have, > still not the least bit tired of it. Chop chop chop chop, bleep daboop, > skittery too-fast OK slowdown WTF billie holiday in one ear and waltzing > R2 D2s in the other, gorgeous, full of surprises, and classical piano + > guitar samples to make you want to own a house on the beach for some > reason. The title track is going down in history, and I'm not kidding, > not in the least, nor am I kidding about > > V/A: RKK 13 > > Which is more hit-and-miss than any comp I've bought in a while, some > good tracks, but everything's about 2 min. long tops so you get to > relish JayRope, Electric Birds, Blitter and Fennesz's contributions > about the same amount of time that you unexpectedly have to suffer > through the sound of Thurston Moore chopping through the Ramone's "I > wanna be sedated" and bad radio reception noise, which sounds a lot more > interesting than it sounds. Sorry Vat, just not open-minded enough I > guess, or then again, I am the sort of person who enjoys > > Fantastic Plastic Machine: Beautiful > > Lounge disco over-the-top silliness and beats to back the best of blue > movies, FPM hits the spot again with another fantastic sunny day driving > album, unstoppable and not the least bit self-conscious, even in dense traffic. > > Herbert: Bodily Functions > > Around The House was a fine enough record, but if you'd rather more > brain-tickling bebop or just regular smoky old jazz inflected stuff, to > include the use of more than a few live-sounding musicians etc. Plus > even more Dani Siciliano, love that voice, and lyrics that make ten > times as much sense as Underworld, not that anybody on this list cares. > File under "girl-friendly" but only if she's really smart y'know huh huh. > > Ken Ishii: Iceblink > > Boom Boom Boom whatever, not bad but not nearly as good as Metal Blue > America, the Grip + Re-grip material, sounds more like an EP with some > filler thrown in than an album. A few tight thumping tracks and then > some overproduced silliness, you know how it goes, these guys make a > bunch of money and it all goes poo before you can sneeze, kind of like > > V/VM: Help Aphex Twin 1.0 & 2.0 > > Not V/VM, they can't even afford their own source material, I'm talking > about Aphex Twin, yeah, the guy that England's favorite meat sculptors > have rearranged, smashed, inappropriately appropriated and generally > improved upon in favor of lower S/N ratios and sheer aggressive > twistedness, which come to think of it nobody might've imagined years > ago but now is perfectly acceptable. Or not. Lots of Aphex material > reworked into more cacaphonic and unpredictable arrangements, pitchbent > all out of wack and cut up so as to make the trainwreckingest DJs > worldwide look smooth. I likes it, as I do, finally, > > Mouse On Mars: Idiology > > Which when swinging, rocking, thumping, shouting and bumping like a > squadron of nymphomaniacal (and/or satyriatic) imps and faeries breaking > into a high-dollar studio and ruining it during an all-night orgy, is a > great record and again one that definitely fits the bill for > incarlistening, at least in my car on the way to see Lex + Devine in LA > this weekend, ha ha all you people who'll miss it (I've never gotten to > say that, you realize, or even feel it really)... but when they stop and > do that thing where dude talks on and on about some post-a-modern > con-a-ceptssss, mm hmm, it drives me-a nuts, same as it did on the > Gerhard Potuznik album some years ago. At least the Potuznik voiceover > bits were a sort of narrative. Anyway. Good record, really like it, > except for the Annoyinggg MAnnn. > > Is that it? I think that's it. > > Tom > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org >

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I don't even know why I'm responding to this..but I'd like say, that "Double Figure" is one of the most dynamic albums I've heard in a while, every track carries its own identity, and yes they have in their own sound "evolved", I love plaid for plaid not for they ability to change and re-invent. While you guys sit around "gettin'off" if not "jacking-off" to confield, I'll be sittin' around smoking a spliff and lovin plaid. ps. don't quote me. otomi;) --- "Brian M. Cass" <kingmob@nmt.edu> wrote:

quoted 192 lines I would just like to say that as far as my insulsts

> I would just like to say that as far as my insulsts > to Plaid go, this is > my most important evidince: Plaid has never really > evolved, they've > only upped thier production vaulde, in a very > limited sense. Compare > them to Autechre, who have not only upped the > production value but who > have upped the entire idea of what electronic music > can be, with every > single release. Plaid are INDEED A ONE TRICK PONY. > EVOLUTION IS WHERE ITS AT. > We have yet to reach levels of Beethoven/Mozart/and > dare I mention the > MASTER's NAME: > > JOHANN SEBASTIAN BACH. > > heres hoping > kingmob > > On Wed, 27 Jun 2001, Thomas Millar wrote: > > > Fennesz: Endless Summer > > > > Brilliant, like a beautiful, beatless ambient > > > > Electric Company: Slow Food > > > > which, BTW, is also great, laner's best yet in my > opinion, not just > > because it's the most accessible but also because > it's the most > > consistent of all his work I've been exposed to so > far. > > Then there's > > > > Plaid: Double Figure > > > > Which is sad, because while it's not a bad record, > it certainly seems to > > show Plaid becoming sort of a one-trick pony band, > and I hate when that > > happens. Rest Proof Clockwork is more inspired and > enjoyable for my > > money by a long shot... > > > > Kid606: PS you love me > > > > is a good one, album sounds and even looks, > colorschemewise, similar to > > Jake Mandell's recent Love Songs for Computers, > which was also a good > > score. Smooth, almost Kompakt-brand 4/4 in lots of > places. I can dig it. > > I can also dig > > > > V/A: All Access > > > > fantastic fantastic detroit sampler compiled by > Carl Craig, fantastic, > > oh boy, takin' this one on the road first chance I > get, smooth with bite > > like a fine cocktail, yes indeed, and a Theorem > vs. Swayzak track for > > the rare-collab collector fiends... > > > > Bisk: Moonstruck Parade > > > > Had this for a while, and just like most every > other Bisk album I have, > > still not the least bit tired of it. Chop chop > chop chop, bleep daboop, > > skittery too-fast OK slowdown WTF billie holiday > in one ear and waltzing > > R2 D2s in the other, gorgeous, full of surprises, > and classical piano + > > guitar samples to make you want to own a house on > the beach for some > > reason. The title track is going down in history, > and I'm not kidding, > > not in the least, nor am I kidding about > > > > V/A: RKK 13 > > > > Which is more hit-and-miss than any comp I've > bought in a while, some > > good tracks, but everything's about 2 min. long > tops so you get to > > relish JayRope, Electric Birds, Blitter and > Fennesz's contributions > > about the same amount of time that you > unexpectedly have to suffer > > through the sound of Thurston Moore chopping > through the Ramone's "I > > wanna be sedated" and bad radio reception noise, > which sounds a lot more > > interesting than it sounds. Sorry Vat, just not > open-minded enough I > > guess, or then again, I am the sort of person who > enjoys > > > > Fantastic Plastic Machine: Beautiful > > > > Lounge disco over-the-top silliness and beats to > back the best of blue > > movies, FPM hits the spot again with another > fantastic sunny day driving > > album, unstoppable and not the least bit > self-conscious, even in dense traffic. > > > > Herbert: Bodily Functions > > > > Around The House was a fine enough record, but if > you'd rather more > > brain-tickling bebop or just regular smoky old > jazz inflected stuff, to > > include the use of more than a few live-sounding > musicians etc. Plus > > even more Dani Siciliano, love that voice, and > lyrics that make ten > > times as much sense as Underworld, not that > anybody on this list cares. > > File under "girl-friendly" but only if she's > really smart y'know huh huh. > > > > Ken Ishii: Iceblink > > > > Boom Boom Boom whatever, not bad but not nearly as > good as Metal Blue > > America, the Grip + Re-grip material, sounds more > like an EP with some > > filler thrown in than an album. A few tight > thumping tracks and then > > some overproduced silliness, you know how it goes, > these guys make a > > bunch of money and it all goes poo before you can > sneeze, kind of like > > > > V/VM: Help Aphex Twin 1.0 & 2.0 > > > > Not V/VM, they can't even afford their own source > material, I'm talking > > about Aphex Twin, yeah, the guy that England's > favorite meat sculptors > > have rearranged, smashed, inappropriately > appropriated and generally > > improved upon in favor of lower S/N ratios and > sheer aggressive > > twistedness, which come to think of it nobody > might've imagined years > > ago but now is perfectly acceptable. Or not. Lots > of Aphex material > > reworked into more cacaphonic and unpredictable > arrangements, pitchbent > > all out of wack and cut up so as to make the > trainwreckingest DJs > > worldwide look smooth. I likes it, as I do, > finally, > > > > Mouse On Mars: Idiology > > > > Which when swinging, rocking, thumping, shouting > and bumping like a > > squadron of nymphomaniacal (and/or satyriatic) > imps and faeries breaking > > into a high-dollar studio and ruining it during an > all-night orgy, is a > > great record and again one that definitely fits > the bill for > > incarlistening, at least in my car on the way to > see Lex + Devine in LA > > this weekend, ha ha all you people who'll miss it > (I've never gotten to > > say that, you realize, or even feel it really)... > but when they stop and > > do that thing where dude talks on and on about > some post-a-modern > > con-a-ceptssss, mm hmm, it drives me-a nuts, same > as it did on the > > Gerhard Potuznik album some years ago. At least > the Potuznik voiceover > > bits were a sort of narrative. Anyway. Good > record, really like it, > > except for the Annoyinggg MAnnn. > > > > Is that it? I think that's it. > > > > Tom > > > > >

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quoted 9 lines To unsubscribe, e-mail:

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

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quoted 1 line

>

=== message truncated === __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/ --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Evolution is overrated. I think Plaid have done a good job with Double Figure. If they are a one trick pony, then it's a damn fine trick they have. I would prefer to see them stay the same than degenerate into something lesser because of the pressure to evolve. After all, how many times have we thought that an artist's later work is inferior to their beginning stuff (I mean this generally)? I can see why evolution is ultimately where it's at. But without the stability of artist's like Plaid we'd have nothing to chill out to while we anxiously await the next evolution.

quoted 13 lines I would just like to say that as far as my insulsts to Plaid go, this is

> I would just like to say that as far as my insulsts to Plaid go, this is > my most important evidince: Plaid has never really evolved, they've > only upped thier production vaulde, in a very limited sense. Compare > them to Autechre, who have not only upped the production value but who > have upped the entire idea of what electronic music can be, with every > single release. Plaid are INDEED A ONE TRICK PONY. > EVOLUTION IS WHERE ITS AT. > We have yet to reach levels of Beethoven/Mozart/and dare I mention the > MASTER's NAME: > > JOHANN SEBASTIAN BACH. > >

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--- "Brian M. Cass" <kingmob@nmt.edu> wrote:

quoted 10 lines I would just like to say that as far as my insulsts to Plaid go, this is

> I would just like to say that as far as my insulsts to Plaid go, this is > my most important evidince: Plaid has never really evolved, they've > only upped thier production vaulde, in a very limited sense. Compare > them to Autechre, who have not only upped the production value but who > have upped the entire idea of what electronic music can be, with every > single release. Plaid are INDEED A ONE TRICK PONY. > EVOLUTION IS WHERE ITS AT. > We have yet to reach levels of Beethoven/Mozart/and dare I mention the > MASTER's NAME: >

Some people prefer music to constantly evolve by experimenting with new instruments/voices/whatever. Some people prefer music to evolve by experimenting with songwriting, and composition. Plaid's sound has definitely changed throughout the years, but I don't think for one second that the guys in Plaid are too worried about experimentation for the sake of experimentation. They are just writing great emotional dance-friendly music that in my opinion really defies easy categorization. Although I haven't bought Double Figure yet, and have been going through a huge rediscovery of Autechre lately, Plaid is more in the category that I'd love to be in one day. Don't be dissin' Plaid, ya'll. :) __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/ --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Bach sucks. Poppy crap classical. I've heard maybe two pieces he's written that I can listen to. Beethovan vs Bach? NO comparison. Mozart vs Bach? Now that's a joke.... oh shit I just pissed myself! Hell, Wagner had more interesting musical ideas and concepts than Bach, who I think invented the roots of pop song structure. ugh. -mark Brian M. Cass wrote:

quoted 137 lines I would just like to say that as far as my insulsts to Plaid go, this is

> I would just like to say that as far as my insulsts to Plaid go, this is > my most important evidince: Plaid has never really evolved, they've > only upped thier production vaulde, in a very limited sense. Compare > them to Autechre, who have not only upped the production value but who > have upped the entire idea of what electronic music can be, with every > single release. Plaid are INDEED A ONE TRICK PONY. > EVOLUTION IS WHERE ITS AT. > We have yet to reach levels of Beethoven/Mozart/and dare I mention the > MASTER's NAME: > > JOHANN SEBASTIAN BACH. > > heres hoping > kingmob > > On Wed, 27 Jun 2001, Thomas Millar wrote: > >> Fennesz: Endless Summer >> >> Brilliant, like a beautiful, beatless ambient >> >> Electric Company: Slow Food >> >> which, BTW, is also great, laner's best yet in my opinion, not just >> because it's the most accessible but also because it's the most >> consistent of all his work I've been exposed to so far. >> Then there's >> >> Plaid: Double Figure >> >> Which is sad, because while it's not a bad record, it certainly seems to >> show Plaid becoming sort of a one-trick pony band, and I hate when that >> happens. Rest Proof Clockwork is more inspired and enjoyable for my >> money by a long shot... >> >> Kid606: PS you love me >> >> is a good one, album sounds and even looks, colorschemewise, similar to >> Jake Mandell's recent Love Songs for Computers, which was also a good >> score. Smooth, almost Kompakt-brand 4/4 in lots of places. I can dig it. >> I can also dig >> >> V/A: All Access >> >> fantastic fantastic detroit sampler compiled by Carl Craig, fantastic, >> oh boy, takin' this one on the road first chance I get, smooth with bite >> like a fine cocktail, yes indeed, and a Theorem vs. Swayzak track for >> the rare-collab collector fiends... >> >> Bisk: Moonstruck Parade >> >> Had this for a while, and just like most every other Bisk album I have, >> still not the least bit tired of it. Chop chop chop chop, bleep daboop, >> skittery too-fast OK slowdown WTF billie holiday in one ear and waltzing >> R2 D2s in the other, gorgeous, full of surprises, and classical piano + >> guitar samples to make you want to own a house on the beach for some >> reason. The title track is going down in history, and I'm not kidding, >> not in the least, nor am I kidding about >> >> V/A: RKK 13 >> >> Which is more hit-and-miss than any comp I've bought in a while, some >> good tracks, but everything's about 2 min. long tops so you get to >> relish JayRope, Electric Birds, Blitter and Fennesz's contributions >> about the same amount of time that you unexpectedly have to suffer >> through the sound of Thurston Moore chopping through the Ramone's "I >> wanna be sedated" and bad radio reception noise, which sounds a lot more >> interesting than it sounds. Sorry Vat, just not open-minded enough I >> guess, or then again, I am the sort of person who enjoys >> >> Fantastic Plastic Machine: Beautiful >> >> Lounge disco over-the-top silliness and beats to back the best of blue >> movies, FPM hits the spot again with another fantastic sunny day driving >> album, unstoppable and not the least bit self-conscious, even in dense traffic. >> >> Herbert: Bodily Functions >> >> Around The House was a fine enough record, but if you'd rather more >> brain-tickling bebop or just regular smoky old jazz inflected stuff, to >> include the use of more than a few live-sounding musicians etc. Plus >> even more Dani Siciliano, love that voice, and lyrics that make ten >> times as much sense as Underworld, not that anybody on this list cares. >> File under "girl-friendly" but only if she's really smart y'know huh huh. >> >> Ken Ishii: Iceblink >> >> Boom Boom Boom whatever, not bad but not nearly as good as Metal Blue >> America, the Grip + Re-grip material, sounds more like an EP with some >> filler thrown in than an album. A few tight thumping tracks and then >> some overproduced silliness, you know how it goes, these guys make a >> bunch of money and it all goes poo before you can sneeze, kind of like >> >> V/VM: Help Aphex Twin 1.0 & 2.0 >> >> Not V/VM, they can't even afford their own source material, I'm talking >> about Aphex Twin, yeah, the guy that England's favorite meat sculptors >> have rearranged, smashed, inappropriately appropriated and generally >> improved upon in favor of lower S/N ratios and sheer aggressive >> twistedness, which come to think of it nobody might've imagined years >> ago but now is perfectly acceptable. Or not. Lots of Aphex material >> reworked into more cacaphonic and unpredictable arrangements, pitchbent >> all out of wack and cut up so as to make the trainwreckingest DJs >> worldwide look smooth. I likes it, as I do, finally, >> >> Mouse On Mars: Idiology >> >> Which when swinging, rocking, thumping, shouting and bumping like a >> squadron of nymphomaniacal (and/or satyriatic) imps and faeries breaking >> into a high-dollar studio and ruining it during an all-night orgy, is a >> great record and again one that definitely fits the bill for >> incarlistening, at least in my car on the way to see Lex + Devine in LA >> this weekend, ha ha all you people who'll miss it (I've never gotten to >> say that, you realize, or even feel it really)... but when they stop and >> do that thing where dude talks on and on about some post-a-modern >> con-a-ceptssss, mm hmm, it drives me-a nuts, same as it did on the >> Gerhard Potuznik album some years ago. At least the Potuznik voiceover >> bits were a sort of narrative. Anyway. Good record, really like it, >> except for the Annoyinggg MAnnn. >> >> Is that it? I think that's it. >> >> Tom >> >> --------------------------------------------------------------------- >> 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 > > >

I think Plaid have refined thier sound rather than evolved it, and I think the new album is simply wonderful. From the point of view of someone new to them: my girlfriend had never really heard much Plaid before, or never listened to it properly anyway, so I started her with Double Figure and worked back (I have practically everything Plaid and Black Dog ever released). She loves it all, but she still likes Double Figure best of all. I love to hear innovation and originality in music, but what I require above all else is for it to touch my feelings, and Plaid have done that consistently ever since I first heard their music back in the early nineties. I don't care if they ever change so long as they keep doing that. Ross. PS. However - J.S. Bach most definitely is the master! ----- Original Message ----- From: "Brian M. Cass" <kingmob@nmt.edu> Cc: <idm@hyperreal.org> Sent: Thursday, June 28, 2001 8:24 AM Subject: Re: [idm] Reviews, a few

quoted 14 lines I would just like to say that as far as my insulsts to Plaid go, this is

> I would just like to say that as far as my insulsts to Plaid go, this is > my most important evidince: Plaid has never really evolved, they've > only upped thier production vaulde, in a very limited sense. Compare > them to Autechre, who have not only upped the production value but who > have upped the entire idea of what electronic music can be, with every > single release. Plaid are INDEED A ONE TRICK PONY. > EVOLUTION IS WHERE ITS AT. > We have yet to reach levels of Beethoven/Mozart/and dare I mention the > MASTER's NAME: > > JOHANN SEBASTIAN BACH. > > heres hoping > kingmob

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