On Tue, 11 Mar 1997, Kent Williams wrote:
quoted 17 lines On Tue, 11 Mar 1997, Mathias Verraes wrote:> On Tue, 11 Mar 1997, Mathias Verraes wrote:
> > IMO the difference between idm and all other dance music, is the fact that
> > idm is not intended to be a commercial succes (see my earlier posting), but
> > is a new form of art. The makers are trying to experiment with the new
> > possibilities of technology and music.
>
> Commercial is a pretty elastic term. Anyone who puts out records hopes to
> make money on the deal. But there is a vaste difference between big
> corporate record labels and independents. Independents can afford
> to take risks because their up front costs are usually very small
> compared to what a corporate label will put into a mega-release.
>
> IDM is about connecting a like-minded audience with the music makers without
> so many layers of corporate cruft. It is still a commercial enterprise.
> It just works on a whole different level. Fact is, those who know will seek it
> out, and those who don't can buy whatever sony or wea is selling today.
>
To continue this thread of discussion, I agree partially with both of the
above authors. However, the main point I think they are missing is that
IDM has nothing to do with sales, commercialism, sell-outs, or indie
releases. It has to do with the individual. I think Mr. Verraes got
very close to the issue at heart with as near a concrete definition as
possible, that IDM "is a new form of art." It is technology wedded to
music, but it is much more. Whether or not it sells is besides the
point. The focus of art (in my mind) is to move the audience to a new
appreciation of forms (or non-forms). Art is not something which
requires agreement or a following, but is internalized and individual.
True, many movements which develop a mass audience stagnate and lose
sight of the original intent, and instead become materialistic and
consumpionist. This is much of what is wrong with modern popular music
today.
My definition of IDM is exactly that -- mine. Holding to that
pattern, others definitions of IDM are theirs. The beauty of the system
is that no one definition is correct, true, or applicable. Instead all
(or any) are correct to the individual. I know that may infuriate many
who feel they are the end-all of IDM censorship, but it is part of the
nature of art and this discussion list.
I apologize for extending this point longer than was probably
necessary, so I'll conclude with at least one useful part ---
Can anyone tell me where to find a complete Speedy J
discography? And as well, how was the "Ginger" EP? Thanks ahead of
time.
Courteously yours,
J