I hear you to a degree, although i've only gotten
into autechre pretty recently, i can see how some of the older
stuff is more 'bumpin' than the new stuff. On the other hand
i think some of devines stuff is immencely bumping because he
pushes the hardest edge of being fucked up and disjointed and
varying, then hooks you back in to the rhythm. I guess it does
go a bit too far for the dancefloor but i'm feeling it. What
i'd really like to hear is somebody who takes that but
works with a much more slamming strong beat. I think
some of the other stuff phonecia doees that i've heard fits that,
but you could do alot more...
- cutups
----- Original Message -----
From: SHADETEk Records <shadetek@hotmail.com>
To: <vzaem@humbledesign.com>
Cc: <idm@hyperreal.org>
Sent: Thursday, April 26, 2001 3:01 PM
Subject: RE: [idm] timbaland et al. (warning: flame bait)
quoted 2 lines fine. but by the same token, all your "roots" have *their* roots in
> >
> >fine. but by the same token, all your "roots" have *their* roots in
other
quoted 7 lines and older musics. Musics like funk, disco, jazz, blues, jubilee,
> >and older musics. Musics like funk, disco, jazz, blues, jubilee,
> >ragtime...
>
> <snip>
>
> This is certainly logically true although this is the only way I can state
> what is to me a readily observable pattern. Part of the use of this for
me
quoted 2 lines is to observe a pattern of proliferation of derivative styles and in that
> is to observe a pattern of proliferation of derivative styles and in that
> proliferation a watering down (or perhaps conscious subtraction) of
elements
quoted 1 line which I enjoyed in the original. Influence is certainly a complex thing
> which I enjoyed in the original. Influence is certainly a complex thing
to
quoted 1 line chart though. To me, in my opinion, one of the essential characteristics
> chart though. To me, in my opinion, one of the essential characteristics
of
quoted 3 lines earlier autechre was a heavy influence from funk and funk derived dance
> earlier autechre was a heavy influence from funk and funk derived dance
> musics which placed an emphasis on strong repetition juxtaposed with
> variation in their rhythm sections. While many of those influenced by
them
quoted 1 line took only the variation aspect from this and produce music which aspires
> took only the variation aspect from this and produce music which aspires
to
quoted 2 lines constant non-repetitiveness thus moving sharply away from a danceable or
> constant non-repetitiveness thus moving sharply away from a danceable or
> even head-noddable format. An example for this for me is Richard Devine
who
quoted 1 line I do not think is bad, actually very skilled and devoted producer but I
> I do not think is bad, actually very skilled and devoted producer but I
find
quoted 1 line that his emphasis on overwhelming non-repetitive detail makes his music
> that his emphasis on overwhelming non-repetitive detail makes his music
lean
quoted 1 line too heavily towards the cerebral rather than more primitively enjoyable
> too heavily towards the cerebral rather than more primitively enjoyable
side
quoted 2 lines of the musical spectrum for me to listen to with any great regularity. I
> of the musical spectrum for me to listen to with any great regularity. I
> certainly respect this aspiration but I also certainly do not want to
listen
quoted 13 lines to it on my headphones when walking around, while I especially enjoy AE in
> to it on my headphones when walking around, while I especially enjoy AE in
> this way.
>
> peace,
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>
> ---------------------------------------------------------------------
> 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