IDM Mailing Archive

You wanna see David Lynch do sci-fi? Go pick up Dune. Fairly complicated, a bit predictable, wonderfully art directed, music by Toto. The short version is 2 hours 20, the long version is 3 hours, although I think the long version is actually credited to good ol' Alan Smithee. I don't know what David's issue was with that version, perhaps the badly drawn story-book looking montage in the intro attempting to set up the relationships of the various families. And the movie only covers about 50% of the info/events that take place in the book. Kyle M. is no Harrison F., but Sean Young does play the female lead role in both movies. One of my favorites.

quoted 5 lines Mannowarr@aol.com wrote:

>Mannowarr@aol.com wrote: > > > > i just recently saw blade runner, is eraser head a similar movie? > > i imagine its worth seeing regardless, from all the talk on here. >

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if anyone who has seen Dune could please explain to me the "*UH!*" sound made by Stilgar in the scene where Paul gets accepted into the Sietch, i will be very pleaseed this line is sampled in this awful junglist dune tribute song by yours truly: http://users.onshore.com/~josh/Tleilax-Crysknife.mp3 p.s. this song is in fact a piss-take and i by no means endorse or encourage the use of the Amen break beat. -- String Theory : Digital Music for Humans http://www.enteract.com/~yoshi/index.cgi On Tue, 15 Aug 2000, brian albers wrote:

quoted 26 lines You wanna see David Lynch do sci-fi? Go pick up Dune. Fairly complicated, a

> > You wanna see David Lynch do sci-fi? Go pick up Dune. Fairly complicated, a > bit predictable, wonderfully art directed, music by Toto. The short version > is 2 hours 20, the long version is 3 hours, although I think the long > version is actually credited to good ol' Alan Smithee. I don't know what > David's issue was with that version, perhaps the badly drawn story-book > looking montage in the intro attempting to set up the relationships of the > various families. And the movie only covers about 50% of the info/events > that take place in the book. Kyle M. is no Harrison F., but Sean Young does > play the female lead role in both movies. One of my favorites. > > > >Mannowarr@aol.com wrote: > > > > > > i just recently saw blade runner, is eraser head a similar movie? > > > i imagine its worth seeing regardless, from all the talk on here. > > > ________________________________________________________________________ > Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org > >

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I prefer an amen break over a 4/4 beat. I guess that's because I've been listening to 4/4 techno since about '89, and breakbeats (whether they are used in trip hop or drum n bass) are more interesting to me. --- Greg <dogphoe@columbus.rr.com> wrote:

quoted 19 lines *shudder*

> *shudder* > You know, the first time I heard the Amen break I > didn't think it was that > good. Now after hearing it used in so many tracks I > instantly dislike any > song it's in and lose some amount of respect for the > artist responsible. > Just hearing it actually makes me kind of angry. > This breakbeat has done > nothing but bring me pain and sorrow. When will it > end, dear God, when will > it end?!?!#@%#@!$%#@$% > > -Greg > > > > > p.s. this song is in fact a piss-take and i by no > means endorse or > > encourage the use of the Amen break beat.

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but there are millions of other breakbeats out there besides amen... i gotta say, though ... anyone who makes beats should play with it once because it really is fun to drop it across 8 or 9 pads and pretend you're Shy FX... jawsh -- String Theory : Serving up the Finest in Stale Breakz http://www.enteract.com/~yoshi/index.cgi On Tue, 15 Aug 2000, William Samuels wrote:

quoted 38 lines I prefer an amen break over a 4/4 beat. I guess

> I prefer an amen break over a 4/4 beat. I guess > that's because I've been listening to 4/4 techno since > about '89, and breakbeats (whether they are used in > trip hop or drum n bass) are more interesting to me. > > > --- Greg <dogphoe@columbus.rr.com> wrote: > > *shudder* > > You know, the first time I heard the Amen break I > > didn't think it was that > > good. Now after hearing it used in so many tracks I > > instantly dislike any > > song it's in and lose some amount of respect for the > > artist responsible. > > Just hearing it actually makes me kind of angry. > > This breakbeat has done > > nothing but bring me pain and sorrow. When will it > > end, dear God, when will > > it end?!?!#@%#@!$%#@$% > > > > -Greg > > > > > > > > p.s. this song is in fact a piss-take and i by no > > means endorse or > > > encourage the use of the Amen break beat. > > > __________________________________________________ > Do You Yahoo!? > Yahoo! Mail ? Free email you can access from anywhere! > http://mail.yahoo.com/ > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org > >

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Yeah, but the Winstons 'Amen' where everyone lifts the break from is a fabulous tune, and when you play it out you can kick the record on 45 when the break comes in and get a d&b bridge in a great soul-funk tune...but yes the break is played out....but if you dig the original and don't want to hear the break then "We're a Winner" by The Impressions is almost the same song but slowed down without the break and you get Curtis Mayfield singing....and now I'm revealing that my vast amount of semi-useless spotters knowledge also extends into old soul/r&b so I'm going to stop now.... Jeff

quoted 9 lines *shudder*

>*shudder* >You know, the first time I heard the Amen break I didn't think it was that >good. Now after hearing it used in so many tracks I instantly dislike any >song it's in and lose some amount of respect for the artist responsible. >Just hearing it actually makes me kind of angry. This breakbeat has done >nothing but bring me pain and sorrow. When will it end, dear God, when will >it end?!?!#@%#@!$%#@$% > >-Greg

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quoted 1 line I prefer an amen break over a 4/4 beat.

> I prefer an amen break over a 4/4 beat.

Amen is 4/4. Funky, syncopated 4/4. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

allow me to remind you of the subjectivity of time signature! ian -----Original Message----- From: Chris Fahey [mailto:Chris.Fahey@raremedium.com] Sent: Wednesday, August 16, 2000 10:43 AM To: 'William Samuels'; Greg; idm@hyperreal.org Subject: RE: [idm] RE: Amen (was [idm] blade-runner/dune)

quoted 1 line I prefer an amen break over a 4/4 beat.

> I prefer an amen break over a 4/4 beat.

Amen is 4/4. Funky, syncopated 4/4. --------------------------------------------------------------------- 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

quoted 3 lines From: Ian Pojman [mailto:ian@webice.net]

> From: Ian Pojman [mailto:ian@webice.net] > allow me to remind you of the subjectivity of time signature! >

Of course. Time signatures are subjective in many ways: 1) 4/4 might easily be re-interpreted as 4/8 or 8/4 some other even multiple. 2) One can sample an incomplete portion of a 4/4 measure so that the sample becomes some other time signture. 3) Time signatures may repeat over several measures to become other time signatures (repeating 3/4 measures in sets of four makes what some might call 4/4 triplets and what others call simply a fast waltz). Patterns change when you zoom in and out of a score. etc... But I stand by my statement that Amen is 4/4, and if we accept time signature subjectivity as an argument to the contrary then we might as well stop talking about time signatures all together. Amen ain't 7/8 or 9/14 or anything, and it ain't free form. It's a funk record, and funk is almost without exception 4/4. Breakbeats typically trod all over the usually-steady beat of a funk track, breaking the clockwork and intruducing a great deal of syncopation and improvisation: but the foundation 4/4 rhythm is still there under all the drum flash, tick, tick, ticking away. That's what makes breakbeats so fun -they fuck up the beat but you can still dance to them. I think IDM fans (and critics) habitually confuse syncopation with time signature trickery to make themselves feel smarter. (I'm not saying you did, Ian) - Cf --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

all very interesting, and quite true i'm sure, but is there a term fo rthe four on the floor drudgery that is the founding basis for dance music? quarter beat? i dunno? --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

no there is no term, the term you mentioned is one though. I like to call it 'boring' but thats only cause I have a huge bias against 4TTF cause Ive heard lots of shitty house and techno. There is no musical term for it, however, as far as I know. Except maybe 4 quarter note beat? :P and chris f., thats what I meant, 44 could be 6/8 or 8/8 or 2/4 or anything, time sigs are quite ambiguous, (but actually classical composers differentiated in between 2/2 and 4/4 for example, they had different 'feels'... this is analgous to enharmonic tones, ie C# and Db). My bad tho I dont even knwo the tune youre talking about.

quoted 2 lines I think IDM fans (and critics) habitually confuse syncopation with time

>I think IDM fans (and critics) habitually confuse syncopation with time >signature trickery to make themselves feel smarter. (I'm not saying you

did,

quoted 1 line Ian)

>Ian)

heh, IDM fans and critics do lots of thing sto make themselves feel smarter probably, were all pretentious motherfuckers, ovbiously. At least I am. Just kidding. Anyway, I disagree, I think people just look at time sigs easier than they can look at syncopation, many people dont understand the simple concept syncopation as well as they should; many people dont know about syncopation notation for 4/4 (ie dotted note values). but I'm an idiot. just thought Id point that out, too. bI ian -----Original Message----- From: alex_tea [mailto:alex_tea@popstar.com] Sent: Wednesday, August 16, 2000 12:05 PM To: idm Subject: Re: [idm] RE: Amen (was [idm] blade-runner/dune) all very interesting, and quite true i'm sure, but is there a term fo rthe four on the floor drudgery that is the founding basis for dance music? quarter beat? i dunno? --------------------------------------------------------------------- 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

quoted 3 lines all very interesting, and quite true i'm sure, but is there a term fo rthe

> all very interesting, and quite true i'm sure, but is there a term fo rthe > four on the floor drudgery that is the founding basis for dance music? > quarter beat? i dunno?

the happy hardcore kids call the kick-stab pattern (solid quarter-note kicks with even eighth-note bass/synth stabs) a "4-beat" pattern. dunno why, but it makes no less sense than calling the drum and bass template the "two step." esp. here in Texas :) it seems that, in dance music, the phrase "4/4" has been in use for some time as shorthand for "kicks on the quarter-note." --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org