I understand you, but let's face it, idm has already been marketed to death,
I mean it's got a name hasn't it? ;] And PR agents agents hang around lists
like these like flies around the proverbial. But there are some real heads
in here and it's good to share thoughts, whilst we're still allowed to. ;]
'one' of my favourite albums of 2003 would be killing joke...nice to hear
something that's very emotive and saying something. I am getting tired of
vocal silence in music, including vocals that are just nonsensical, or music
that's just downright non-communicative. above all to me, music needs to be
emotive, not just the woo and awe of expensive software. that stuff's for
network analysts! :]
quoted 65 lines From: "robert stanton" <industrialrobot@hotmail.com>
>From: "robert stanton" <industrialrobot@hotmail.com>
>To: idm@hyperreal.org
>Subject: [idm] RE: best of 2003 ?
>Date: Thu, 04 Dec 2003 09:36:08 -0600
>
>Hello list,
>
>I think that the 'best of 2003' concept is not a productive thread topic,
>and as such would advise list-members to forgo writing one.
>
>As some of you may recall, I once ran a site devoted towards 'reviewing'
>electronic music and was very much a part of the whole 'rating albums'
>schema. Since that has ended, however, I have had time to reflect on the
>status of music in contemporary society and have found that even in the
>'underground,' it is viewed as and expected to be an industry. This should
>not be surprising considering that 'popular' music is an industry that we
>are constantly exposed on a daily basis; what transpires, then, is a
>connection with music as pertaining to some 'industry,' whatever it may be.
> The purpose of most music 'reviewing' today is to provide, then, a
>consumptive schema for what is being reviewed; what ultimately comes to the
>fore is whether or not the album is worth purchasing. Partly as a result
>of this, critical interpretation is limited or ignored altogether, and the
>significance of any one piece of music is dissolved into exchange value
>instead of use value.
>
>'Best of' lists must be viewed in this context as they are, typically,
>lists of recommendations to purchase based upon someone else's abstract
>notions of worth. The most one usually receives is an artist and album,
>along with a sentence or two of why the album is 'good,' which essentially
>translates into why it should be consumed. Thus, 'best of' lists are
>nothing more than advertising (as much as we would like to believe they are
>expressions of personal aesthetic) and contribute to a standardization of
>music. This occurs because the small descriptions become templates for
>further production (this word was chosen explicitly for its meaning) of
>music in the future. In popular music, a conservatism develops regardless
>of artistic endeavors in part because of the limited forms allowed by the
>culture industry; all else is regarded as 'alien' and thus 'not good.' Of
>course this effect is minimal in the lesser-known musics as they are less
>dominated by a hierarchy of public opinion and culture industry
>dissemination; still, we can see the early fragments of this developing
>here as well, as many yearn for the 'good old days.' This is why I feel
>'best of' lists are not useful in the least, and a new way of expressing
>opinion must be created.
>
>I would like to present the idea of a collective listening and discussion
>of albums that members feel are excellent (not necessarily exclusively from
>this year). While I am not sure what the exact result of this would be, it
>most likely would disrupt the pattern of 'this is good so consume'
>mentality, bring participating listmembers closer, and potentially return
>thoughtful listening and discussion to the music. If enough are
>interested, I will be happy to set up the framework for such an endeavor
>(others would be welcomed to lead, of course).
>
>Regards,
>Robert
>
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