quoted 18 lines Wow, I came from the opposite end of the spectrum. I>Wow, I came from the opposite end of the spectrum. I
>was heavily into hardcore rock stuff like sepultura,
>morbid angel, slayer, will haven, training for utopia,
>deftones, vision of disorder and other stuff like
>that. I was in a few bands in high school, and I
>ended up getting into electronic music (and then by
>extension IDM) around my junior year. The people in
>my band sucked and I found out through a few friends
>online about impulse tracker and the whole tracker
>scene. From there I first started hearing some
>electronic tracks (although most of them really
>sucked). I think roni size's newforms was the first
>electronic cd I bought. After that, it was all
>downhill. Even though I still enjoy rock
>occasionally, there just seems to be only so much you
>can do with guitars, bass, drums, and vocals. I'm
>much more interested in the infinite variety of sounds
>and textures of any good idm track.
I was listening to stuff like Tears for Fears, then found out that
they weren't really doing anything anymore. Then I was listening to
Crowded House, and found that they also pretty much stopped doing
stuff. I realized through listening to them that good lyrics are
hard to find, and so I stopped caring for lyrics shortly thereafter.
I was then listening to Phish, but started to dislike them after
finding out how atrocious their live scene is and how boring and
annoying the average Phish fan is (not to mention the near necessity
of drugs among their fans, which I didn't and don't do). Their
studio albums had a lot of interesting things going on, though, and
it got me more into appreciating music and the sounds of the music.
It also helped me realize how much I hated songs that just repeated
and repeated without change, as a jam-oriented band changes stuff up
a lot.
So now I was like 16 and I picked up some nine inch nails stuff and
despite how awful "pretty hate machine" was, the other stuff was
interesting and got me more into electronic stuff and, obviously,
aphex twin and then blah blah.
and yeah, I think one of the things that did it for me was the rather
limited sound palate used in most popular or commercial oriented
music, and discovering that there *were* people who made stuff that
sounded good regardless of how approachable it was was fantastic.
It's funny, too, because I *still* know people who listen to rather
normal rock-oriented music and hear an effect and think "wow, that's
a cool effect, I'd love to hear it used more," and then, of course,
hearing a song that uses that effect in entirely interesting and
worthwhile ways throughout the song and builds different sounds
through that effect (like, say, granular synthesis or even just
creative sampling) and only comment "yeah, that's neat, but I don't
reall like it." I think a lot of it has to do with the stuff
associated with the music, either a well-known name for some people
or non-standard countries (like that atrocious french hip hop, ugh!),
that gets people into music. I've been enjoying IDM and the IDM-list
for years now, most thankfully due to the fact that there are people
in the "scene" that are interested in hearing new music by new people
and listen based entirely on the music, not on the on-stage antics or
the history of the lead singer or how cool they are in the college
rawk scene.
derek
---------------------------------------------------------------------
To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org
For additional commands, e-mail: idm-help@hyperreal.org