IDM Mailing Archive

Hey, are you a staff writer for Rolling Stone? I think we need more unsubstantiated cynicism in our lives, don't you? derek At 12:36 AM 10/31/2001 -0500, you wrote:

quoted 51 lines Last week I picked up the latest full-length from Aphex Twin.

>Last week I picked up the latest full-length from Aphex Twin. >Unfortunately, post-millennium, he has done exactly what Autechre did: >gone from being one of the major innovating electronic artists of the >1990's to being a complete joke. There are precious few tracks worth >listening to on this record, and none of them equal the melodic skill >or production quality of his "middle period". Aphex's little sample-reuse >problem gives the "ambient" tracks a very samey feel (vaguely oriental >chimes in the vein of "Nannou") and the orchestral piano pieces just fall >flat. > >The rest of the album is tired, mediocre drum-and-bass. The originality in >drum arrangement, rhythmic composition, and sample creation that graced >most previous efforts is gone here---the drum sounds are ripped from some >old tracker's sample pack you might find on an obscure Scandinavian FTP >site. And that shrill, dissonant "sample-rate conversion" effect is >everywhere, hanging like a pall of smoke over the melodies---the obsession >with certain facile, sonically homogenizing DSP effects that killed >Autechre circa LP5 has finally snuffed out the last of 90's IDM's original >megastars. > >The awful truth for the elites who shunned melodists in favor of more >"difficult" music: the glitch disease was terminal, the patient has died >with the release of this album. Glitch-fetish and DSP-fuckery sapped >attention from the first commandment of what we do---the idea that melody >*is* music---and led the greatest electronic artists of a generation into >the sorriest work of their careers. Bouncing-ball percussion and granular >wank are as worn-out as The Cher Vocal Effect. > >Sitting in a dark, hollowed-out building somewhere under the Manhattan >Bridge last year, at a show where a friend and I had played a set >earlier in the evening, watching kids actually try to dance along to >the-latest-hot-shit-from-warp, realizing that he'd been hovering over >that PowerBook for more than an hour without producing anything resembling >melody, chords, or steady rhythm----I knew, this can't seriously last. >Well the iMac has crashed and all our Max patches are lost. Our Metasynth >license expired, the Kyma's power supply burnt out, and glitch has >imploded----in Helvetica Bold, leaving nothing but the smell of burnt >Atari logo t-shirts and an angular plume of smoke rendered in cubist >fracture courtesy of The Designer's Republic (with a few symbols >of Katakana thrown in for luck). > >"Drukqs", like Autechre's awful "Confield", will probably have its staunch >defenders among the elites. But don't be fooled--- don't waste your time >with this flaccid and uninventive record. > > > > >--------------------------------------------------------------------- >To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org >For additional commands, e-mail: idm-help@hyperreal.org

------- eggytoast.com ------- fresh like pie --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

I thought it was a pretty decent rant. I like alot of aphex's stuff, but i don't really count on him as the pinnicle of any particular style or movement. There' spenty of other electonics artists doing that w/o his level of noteriety... - cutups ----- Original Message ----- From: "EggyToast" <youn0394@umn.edu> To: <idm@hyperreal.org> Sent: Tuesday, October 30, 2001 11:54 PM Subject: Re: [idm] [rant] sorry, new aphex record blows

quoted 19 lines Hey, are you a staff writer for Rolling Stone?

> Hey, are you a staff writer for Rolling Stone? > > I think we need more unsubstantiated cynicism in our lives, don't you? > > derek > > At 12:36 AM 10/31/2001 -0500, you wrote: > > >Last week I picked up the latest full-length from Aphex Twin. > >Unfortunately, post-millennium, he has done exactly what Autechre did: > >gone from being one of the major innovating electronic artists of the > >1990's to being a complete joke. There are precious few tracks worth > >listening to on this record, and none of them equal the melodic skill > >or production quality of his "middle period". Aphex's little sample-reuse > >problem gives the "ambient" tracks a very samey feel (vaguely oriental > >chimes in the vein of "Nannou") and the orchestral piano pieces just fall > >flat. > > > >The rest of the album is tired, mediocre drum-and-bass. The originality

in

quoted 5 lines drum arrangement, rhythmic composition, and sample creation that graced

> >drum arrangement, rhythmic composition, and sample creation that graced > >most previous efforts is gone here---the drum sounds are ripped from some > >old tracker's sample pack you might find on an obscure Scandinavian FTP > >site. And that shrill, dissonant "sample-rate conversion" effect is > >everywhere, hanging like a pall of smoke over the melodies---the

obsession

quoted 2 lines with certain facile, sonically homogenizing DSP effects that killed

> >with certain facile, sonically homogenizing DSP effects that killed > >Autechre circa LP5 has finally snuffed out the last of 90's IDM's

original

quoted 15 lines megastars.

> >megastars. > > > >The awful truth for the elites who shunned melodists in favor of more > >"difficult" music: the glitch disease was terminal, the patient has died > >with the release of this album. Glitch-fetish and DSP-fuckery sapped > >attention from the first commandment of what we do---the idea that melody > >*is* music---and led the greatest electronic artists of a generation into > >the sorriest work of their careers. Bouncing-ball percussion and granular > >wank are as worn-out as The Cher Vocal Effect. > > > >Sitting in a dark, hollowed-out building somewhere under the Manhattan > >Bridge last year, at a show where a friend and I had played a set > >earlier in the evening, watching kids actually try to dance along to > >the-latest-hot-shit-from-warp, realizing that he'd been hovering over > >that PowerBook for more than an hour without producing anything

resembling

quoted 9 lines melody, chords, or steady rhythm----I knew, this can't seriously last.

> >melody, chords, or steady rhythm----I knew, this can't seriously last. > >Well the iMac has crashed and all our Max patches are lost. Our Metasynth > >license expired, the Kyma's power supply burnt out, and glitch has > >imploded----in Helvetica Bold, leaving nothing but the smell of burnt > >Atari logo t-shirts and an angular plume of smoke rendered in cubist > >fracture courtesy of The Designer's Republic (with a few symbols > >of Katakana thrown in for luck). > > > >"Drukqs", like Autechre's awful "Confield", will probably have its

staunch

quoted 21 lines defenders among the elites. But don't be fooled--- don't waste your time

> >defenders among the elites. But don't be fooled--- don't waste your time > >with this flaccid and uninventive record. > > > > > > > > > >--------------------------------------------------------------------- > >To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > >For additional commands, e-mail: idm-help@hyperreal.org > > ------- > eggytoast.com > ------- > fresh like pie > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org > >

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I've only heard disc 1, and to be honest... I wouldnt buy it.. There are very few artists out there that I actually would get off my ass, go the store and buy the new album, just to show support for what I think is good and genious. As you can guess, I still haven't gotten off my ass. --- http://www.mp3.com/edgey http://www.thoughtbludgeon.com "...when you're holding a hammer, everything looks like a nail..." EDGEY | ROG | DSA | DI | DFC | MAIM | MARTYR THOUGHTBLUDGEON RECORDINGS - SOUND EXTREMES :::...piece and sliced beats...::: --- ----- Original Message ----- From: "EggyToast" <youn0394@umn.edu> To: <idm@hyperreal.org> Sent: Tuesday, October 30, 2001 11:54 PM Subject: Re: [idm] [rant] sorry, new aphex record blows

quoted 19 lines Hey, are you a staff writer for Rolling Stone?

> Hey, are you a staff writer for Rolling Stone? > > I think we need more unsubstantiated cynicism in our lives, don't you? > > derek > > At 12:36 AM 10/31/2001 -0500, you wrote: > > >Last week I picked up the latest full-length from Aphex Twin. > >Unfortunately, post-millennium, he has done exactly what Autechre did: > >gone from being one of the major innovating electronic artists of the > >1990's to being a complete joke. There are precious few tracks worth > >listening to on this record, and none of them equal the melodic skill > >or production quality of his "middle period". Aphex's little sample-reuse > >problem gives the "ambient" tracks a very samey feel (vaguely oriental > >chimes in the vein of "Nannou") and the orchestral piano pieces just fall > >flat. > > > >The rest of the album is tired, mediocre drum-and-bass. The originality

in

quoted 5 lines drum arrangement, rhythmic composition, and sample creation that graced

> >drum arrangement, rhythmic composition, and sample creation that graced > >most previous efforts is gone here---the drum sounds are ripped from some > >old tracker's sample pack you might find on an obscure Scandinavian FTP > >site. And that shrill, dissonant "sample-rate conversion" effect is > >everywhere, hanging like a pall of smoke over the melodies---the

obsession

quoted 2 lines with certain facile, sonically homogenizing DSP effects that killed

> >with certain facile, sonically homogenizing DSP effects that killed > >Autechre circa LP5 has finally snuffed out the last of 90's IDM's

original

quoted 15 lines megastars.

> >megastars. > > > >The awful truth for the elites who shunned melodists in favor of more > >"difficult" music: the glitch disease was terminal, the patient has died > >with the release of this album. Glitch-fetish and DSP-fuckery sapped > >attention from the first commandment of what we do---the idea that melody > >*is* music---and led the greatest electronic artists of a generation into > >the sorriest work of their careers. Bouncing-ball percussion and granular > >wank are as worn-out as The Cher Vocal Effect. > > > >Sitting in a dark, hollowed-out building somewhere under the Manhattan > >Bridge last year, at a show where a friend and I had played a set > >earlier in the evening, watching kids actually try to dance along to > >the-latest-hot-shit-from-warp, realizing that he'd been hovering over > >that PowerBook for more than an hour without producing anything

resembling

quoted 9 lines melody, chords, or steady rhythm----I knew, this can't seriously last.

> >melody, chords, or steady rhythm----I knew, this can't seriously last. > >Well the iMac has crashed and all our Max patches are lost. Our Metasynth > >license expired, the Kyma's power supply burnt out, and glitch has > >imploded----in Helvetica Bold, leaving nothing but the smell of burnt > >Atari logo t-shirts and an angular plume of smoke rendered in cubist > >fracture courtesy of The Designer's Republic (with a few symbols > >of Katakana thrown in for luck). > > > >"Drukqs", like Autechre's awful "Confield", will probably have its

staunch

quoted 21 lines defenders among the elites. But don't be fooled--- don't waste your time

> >defenders among the elites. But don't be fooled--- don't waste your time > >with this flaccid and uninventive record. > > > > > > > > > >--------------------------------------------------------------------- > >To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > >For additional commands, e-mail: idm-help@hyperreal.org > > ------- > eggytoast.com > ------- > fresh like pie > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org > >

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At 12:36 AM 10/31/2001 -0500, David O'Toole wrote:

quoted 4 lines Last week I picked up the latest full-length from Aphex Twin.

>Last week I picked up the latest full-length from Aphex Twin. >Unfortunately, post-millennium, he has done exactly what Autechre did: >gone from being one of the major innovating electronic artists of the >1990's to being a complete joke. There are precious few tracks worth

Yeah, dude. Aphex Twin and Autechre are a "complete joke." Right on man. We urge you to keep your stupid, knee-jerk reactions to yourself, thanks. - wells oliver [wells@submute.net] --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Last week I picked up the latest full-length from Aphex Twin. Unfortunately, post-millennium, he has done exactly what Autechre did: gone from being one of the major innovating electronic artists of the 1990's to being a complete joke. There are precious few tracks worth listening to on this record, and none of them equal the melodic skill or production quality of his "middle period". Aphex's little sample-reuse problem gives the "ambient" tracks a very samey feel (vaguely oriental chimes in the vein of "Nannou") and the orchestral piano pieces just fall flat. The rest of the album is tired, mediocre drum-and-bass. The originality in drum arrangement, rhythmic composition, and sample creation that graced most previous efforts is gone here---the drum sounds are ripped from some old tracker's sample pack you might find on an obscure Scandinavian FTP site. And that shrill, dissonant "sample-rate conversion" effect is everywhere, hanging like a pall of smoke over the melodies---the obsession with certain facile, sonically homogenizing DSP effects that killed Autechre circa LP5 has finally snuffed out the last of 90's IDM's original megastars. The awful truth for the elites who shunned melodists in favor of more "difficult" music: the glitch disease was terminal, the patient has died with the release of this album. Glitch-fetish and DSP-fuckery sapped attention from the first commandment of what we do---the idea that melody *is* music---and led the greatest electronic artists of a generation into the sorriest work of their careers. Bouncing-ball percussion and granular wank are as worn-out as The Cher Vocal Effect. Sitting in a dark, hollowed-out building somewhere under the Manhattan Bridge last year, at a show where a friend and I had played a set earlier in the evening, watching kids actually try to dance along to the-latest-hot-shit-from-warp, realizing that he'd been hovering over that PowerBook for more than an hour without producing anything resembling melody, chords, or steady rhythm----I knew, this can't seriously last. Well the iMac has crashed and all our Max patches are lost. Our Metasynth license expired, the Kyma's power supply burnt out, and glitch has imploded----in Helvetica Bold, leaving nothing but the smell of burnt Atari logo t-shirts and an angular plume of smoke rendered in cubist fracture courtesy of The Designer's Republic (with a few symbols of Katakana thrown in for luck). "Drukqs", like Autechre's awful "Confield", will probably have its staunch defenders among the elites. But don't be fooled--- don't waste your time with this flaccid and uninventive record. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

Glitch-fetish and DSP-fuckery sapped

quoted 3 lines attention from the first commandment of what we do---the idea that

> attention from the first commandment of what we do---the idea that > melody > *is* music---

Christ almighty, don't let the list catch this one. Or better yet, sometimes a troll deserves what he asks for. Bad troll! Bad! Don't act so arrogant with your "IDM is" this and your "music is" this, it'll just piss people off. You should know that. Granted, you never said no one could disagree with you, but that was a tough read nevertheless. I think you're just pissed that you spent doubtlessly hard-earned money on a disappointing product, like when I decided I was tired of being the only person I knew who had never had a twinkie. I'm still trying to come up with a solid, logical justification for saying generalizations are always bad, but I keep hitting a snag in there somewhere. I'll let you know when I figure it out. I like drukqs, and confield too. Good stuff. Although I'll admit that drukqs could use a little of the ol' snip snip here and there. Z ===== __________________________________________________ Do You Yahoo!? Make a great connection at Yahoo! Personals. http://personals.yahoo.com --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

i don't know, i thought it was quite nice... maybe you are just hurt because your exectations weren't met? --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

I actually really like it. I think in places, that it sounds suffers from double album syndrone(more tracks than nesc.) It may have been been better if he had put all the hard tracks on to on disc. I think it holds its own against his previous albums. Rob ::::::Component Records::::::: Box 783, Somers, Ct 06071 www.componentrecords.com ----- Original Message ----- From: David O'Toole <dto@qwsi.net> To: <boston-idm@yahoogroups.com> Cc: <idm@hyperreal.org> Sent: Wednesday, October 31, 2001 12:36 AM Subject: [idm] [rant] sorry, new aphex record blows

quoted 53 lines Last week I picked up the latest full-length from Aphex Twin.

> > Last week I picked up the latest full-length from Aphex Twin. > Unfortunately, post-millennium, he has done exactly what Autechre did: > gone from being one of the major innovating electronic artists of the > 1990's to being a complete joke. There are precious few tracks worth > listening to on this record, and none of them equal the melodic skill > or production quality of his "middle period". Aphex's little sample-reuse > problem gives the "ambient" tracks a very samey feel (vaguely oriental > chimes in the vein of "Nannou") and the orchestral piano pieces just fall > flat. > > The rest of the album is tired, mediocre drum-and-bass. The originality in > drum arrangement, rhythmic composition, and sample creation that graced > most previous efforts is gone here---the drum sounds are ripped from some > old tracker's sample pack you might find on an obscure Scandinavian FTP > site. And that shrill, dissonant "sample-rate conversion" effect is > everywhere, hanging like a pall of smoke over the melodies---the obsession > with certain facile, sonically homogenizing DSP effects that killed > Autechre circa LP5 has finally snuffed out the last of 90's IDM's original > megastars. > > The awful truth for the elites who shunned melodists in favor of more > "difficult" music: the glitch disease was terminal, the patient has died > with the release of this album. Glitch-fetish and DSP-fuckery sapped > attention from the first commandment of what we do---the idea that melody > *is* music---and led the greatest electronic artists of a generation into > the sorriest work of their careers. Bouncing-ball percussion and granular > wank are as worn-out as The Cher Vocal Effect. > > Sitting in a dark, hollowed-out building somewhere under the Manhattan > Bridge last year, at a show where a friend and I had played a set > earlier in the evening, watching kids actually try to dance along to > the-latest-hot-shit-from-warp, realizing that he'd been hovering over > that PowerBook for more than an hour without producing anything resembling > melody, chords, or steady rhythm----I knew, this can't seriously last. > Well the iMac has crashed and all our Max patches are lost. Our Metasynth > license expired, the Kyma's power supply burnt out, and glitch has > imploded----in Helvetica Bold, leaving nothing but the smell of burnt > Atari logo t-shirts and an angular plume of smoke rendered in cubist > fracture courtesy of The Designer's Republic (with a few symbols > of Katakana thrown in for luck). > > "Drukqs", like Autechre's awful "Confield", will probably have its staunch > defenders among the elites. But don't be fooled--- don't waste your time > with this flaccid and uninventive record. > > > > > --------------------------------------------------------------------- > To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org > For additional commands, e-mail: idm-help@hyperreal.org >

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nah, i don't really like it...it's too much like hard work to listen to...and i'm basically a lazy git! ;)

quoted 94 lines ----- Original Message -----

> ----- Original Message ----- > From: David O'Toole <dto@qwsi.net> > To: <boston-idm@yahoogroups.com> > Cc: <idm@hyperreal.org> > Sent: Wednesday, October 31, 2001 12:36 AM > Subject: [idm] [rant] sorry, new aphex record blows > > > > > > Last week I picked up the latest full-length from > Aphex Twin. > > Unfortunately, post-millennium, he has done > exactly what Autechre did: > > gone from being one of the major innovating > electronic artists of the > > 1990's to being a complete joke. There are > precious few tracks worth > > listening to on this record, and none of them > equal the melodic skill > > or production quality of his "middle period". > Aphex's little sample-reuse > > problem gives the "ambient" tracks a very samey > feel (vaguely oriental > > chimes in the vein of "Nannou") and the orchestral > piano pieces just fall > > flat. > > > > The rest of the album is tired, mediocre > drum-and-bass. The originality in > > drum arrangement, rhythmic composition, and sample > creation that graced > > most previous efforts is gone here---the drum > sounds are ripped from some > > old tracker's sample pack you might find on an > obscure Scandinavian FTP > > site. And that shrill, dissonant "sample-rate > conversion" effect is > > everywhere, hanging like a pall of smoke over the > melodies---the obsession > > with certain facile, sonically homogenizing DSP > effects that killed > > Autechre circa LP5 has finally snuffed out the > last of 90's IDM's original > > megastars. > > > > The awful truth for the elites who shunned > melodists in favor of more > > "difficult" music: the glitch disease was > terminal, the patient has died > > with the release of this album. Glitch-fetish and > DSP-fuckery sapped > > attention from the first commandment of what we > do---the idea that melody > > *is* music---and led the greatest electronic > artists of a generation into > > the sorriest work of their careers. Bouncing-ball > percussion and granular > > wank are as worn-out as The Cher Vocal Effect. > > > > Sitting in a dark, hollowed-out building somewhere > under the Manhattan > > Bridge last year, at a show where a friend and I > had played a set > > earlier in the evening, watching kids actually try > to dance along to > > the-latest-hot-shit-from-warp, realizing that he'd > been hovering over > > that PowerBook for more than an hour without > producing anything resembling > > melody, chords, or steady rhythm----I knew, this > can't seriously last. > > Well the iMac has crashed and all our Max patches > are lost. Our Metasynth > > license expired, the Kyma's power supply burnt > out, and glitch has > > imploded----in Helvetica Bold, leaving nothing but > the smell of burnt > > Atari logo t-shirts and an angular plume of smoke > rendered in cubist > > fracture courtesy of The Designer's Republic (with > a few symbols > > of Katakana thrown in for luck). > > > > "Drukqs", like Autechre's awful "Confield", will > probably have its staunch > > defenders among the elites. But don't be fooled--- > don't waste your time > > with this flaccid and uninventive record. > > > > > > > > > > >

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quoted 8 lines To unsubscribe, e-mail:

> > To unsubscribe, e-mail: > idm-unsubscribe@hyperreal.org > > For additional commands, e-mail: > idm-help@hyperreal.org > > > > >

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quoted 5 lines To unsubscribe, e-mail:

> To unsubscribe, e-mail: > idm-unsubscribe@hyperreal.org > For additional commands, e-mail: > idm-help@hyperreal.org >

===== http://www.sparkreleases.com ____________________________________________________________ Nokia Game is on again. Go to http://uk.yahoo.com/nokiagame/ and join the new all media adventure before November 3rd. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

John Balance from KHOIL here. I have been recuperating from a suspected heart attack.....MEGA stress created and Richard D James' DRUKQS album has been a life enhancer.It's endlessly inventive, soothing (strangely) and has been played every morning about 6.00am when I get up (the neighbours live just far enough away!)to aid meditation and reflection and during the day to lift my stamina and spirits. Every time I play it it works....for whatever I needed. Each fragment could be developed into a whole album.I for one am chasing RDJ to get him to hand over these rumoured electo-acoustic pieces so we can release a double album on our label Eskaton.The man remains a genius! Totally and utterly. John Balance The West Country(UK) --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

At 1:20 PM -0500 10/31/01, Coil wrote:

quoted 12 lines John Balance from KHOIL here.

>John Balance from KHOIL here. > I have been recuperating from a suspected heart attack.....MEGA >stress created and Richard D James' DRUKQS album has been a life >enhancer.It's endlessly inventive, soothing (strangely) and has been >played every morning about 6.00am when I get up (the neighbours live >just far enough away!)to aid meditation and reflection and during >the day to lift my stamina and spirits. Every time I play it it >works....for whatever I needed. >Each fragment could be developed into a whole album.I for one am >chasing RDJ to get him to hand over these rumoured electo-acoustic >pieces so we can release a double album on our label Eskaton.The man >remains a genius! Totally and utterly.

please, no one respond to this in any way about how much you like or hate this album. we have covered this territory 10x over. congrats on recovering well from the heart attack, though. shane --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

On Fri, 18 Jan 2002, Coil wrote:

quoted 4 lines John Balance from KHOIL here.

> John Balance from KHOIL here. > I have been recuperating from a suspected heart attack.....MEGA > stress created and Richard D James' DRUKQS album has been a life > enhancer.

Hope you're feeling better! There you have it folks. DRUKQS: Kid Tested and Coil Approved! --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 2 lines aphex really doesn¹t care and is just finishing up his obligations and

> aphex really doesn¹t care and is just finishing up his obligations and > contract with warp.

I hope that's the case---maybe he's been saving all the brilliant, groundbreaking stuff for another label? Wow, what an album that might be when it comes out!

quoted 4 lines As for software or DSP. Don¹t blame the tools. Blame the people and how they

> As for software or DSP. Don¹t blame the tools. Blame the people and how they > use them. Im sick of hearing this complaint. Granular synthesis or max.msp > or time stretching or any other way of manipulating a sound that is popular > right now arent bad in themselves. Its how people use them.

...

quoted 2 lines as a very positive thing. It opens up our palette of sounds available to us

> as a very positive thing. It opens up our palette of sounds available to us > and that is a beautiful thing. As a composer, you want to have all sounds,

...

quoted 1 line People are so negative about dsp (digital signal processing), but I see it

> People are so negative about dsp (digital signal processing), but I see it

I *am* blaming how DSP is used, not the tools: hence my reference to "DSP-fuckery" and "the obsession with *certain* facile, homogenizing DSP effects" in general, and my mention of "bouncing ball percussion" and "the cher effect" in particular. That they are DSP is a happenstance (virtually everything is dsp now) and their digitalness is not what I am criticizing. I wouldn't comment, but I've seen this a million times. A defense of DSP in general makes no sense as a response to criticism of particular cliches. And I think we see the latter much more often---I don't know how anyone aware of how *any* music is produced nowadays could seriously argue against the fact of DSP use in and of itself, or disagree with the obvious points about DSP opening up the palette of available sounds. Why DSP itself would need defense on a list with so many musicians is a mystery to me. If there are a lot of people actually being "so negative about dsp" in and of itself, I would presume they're *not* the same people as the majority who you described as "yearning for the chiastic / envane / cichli" sound, as these were arguably the most DSP-heavy albums of the time. I think people are mostly negative about gratuitous and cliche uses, not about all uses (or they would have run screaming from the genre around 1995). I will grant that my reference to specific software programs at the end was a little unclear---sorry if that part of the rant made it sound as if there was an argument against DSP being made. The whole bit was really more of a dig at the "idm kids who buy a computer and throw the amen break into a granular synthesis preset patch in reaktor and then release it a week later" crowd, as you put it so well :-) That's mostly why I brought up the glitch-dancing thing---after all there had to be a market for it. I almost started bitching about the overuse of Derrida-esque pomo-fluff in a lot of press idm reviews over the past years, but I figured the review would never be over if I did. I myself almost never use actual hardware (unless a singing girl counts).

quoted 3 lines listening to amber or I care because you do........find the stuff you like

> listening to amber or I care because you do........find the stuff you like > and write positive things about that. Id rather hear a glowing review of a > record that someone loves and has spent time with than yet another bitter

I'd been writing reviews again and might post some. (I've been listening to hardly any IDM lately, so it might be OT but if people don't mind...) I promise they're not all negative. -- @@@ david o'toole @@@ dto@gnu.org @@@ www.gnu.org/software/octal --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

quoted 2 lines aphex really doesnt care and is just finishing up his

> aphex really doesnt care and is just finishing up his > obligations and contract with warp.

I always admired this blatant "fuck you" attitude towards the major label. I guess it was the first aphex release on warner, the sampler from SAW2, which had RDJames talking in an interview about how happy he was that the label was not holding him back from whatever he desired to do, even if that meant not naming the tracks and making strange abstract electronic music unlike anything that had been released to date. since major labels tend to be bandwagoneers instead of ground breakers (or innovative pioneers), the fact that Ricky DJ got away with all this in his contract was not only a great way to gain massive exposure and not be stiffled by typical money-grubbing scum tactics, but also was a great way to sell his album to the peeps that were into that back in the day... (indi kidz, ravers, peeps outside the mainstream media who had $$$ that warner bros was not tapping into at the time, all turned on by the blissful abstract ambience and quankery.) FUCK YOU major label... what a sales pitch to those buried in subculturisms. and oh yeah, I liked selcted cuts off Druqks, but not the whole thing. Who ever likes absolutely everything that any particular artists has ever done, recordered, played live, etc.? dan robitaille SlEEvElEss AssAssIns All Tuesdays @ the Upstairs, ST. Louis MO --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org