This is a series of rambling half baked questions really,
the idea Euphoria in dance music seems to be an increasingly retroactive, for example thinking of that joy orbison track, the euphoria which is the key great thing in that track is made of things that were euphoric 20 years ago in dance music, and from his interviews, he seems genuinley nostalgic for that, and that's ok with most people, which seems slightly strange to me, in one sense, as what constitutes this feeling might have changed but it hasn't really.
But i'm just thinking what does euphoria mean in dance music now, should it be as easy to come by as nostalgia, what are the other physical things that make up euphoria and drama that work, the whole blog house/ wobble midrange bassline thing seems interesting but is it genuinely euphoric?
there is definitely another feeling there to me, a real sense of pulverisation, that reminds me of steve albini's quote about his desire to crush the audience or something like that with big black.
I'm writing this after a session with headphones and a Bernard Parmegiani box set, and i'm just thinking what an amazing guy he was cos he created so much abstract drama, a real sense of things happening in 3d too, his 'noise' has a kind of under the skin digital prickliness at times to it that's totally euphoric, but it's also a really close call between euphoria and anxiety.
another thing is: I've also been thinking about minimal techno too, it failed for me cos it was too polite and well scrubbed, too many reflective surfaces, but it had so many interesting ideas in it that could have worked into new experiments in euphoria, the clusters of sound, the weird unexpected rhythm drop ins, a 3d-ness, the wormhole drop outs and atonal melodies, the whole digital pallette, that didn't need to get into the whole warm analogue stabs/ diva wails vibe, it was quite fearless like that, but it kinda failed cos it wasn't bold enough, too insular, too hermetic, no groove, maybe too far away from whar makes a track hooky, maybe it was also ketamines fault too? Maybe 92-6 was dance musics 60's, eternally returning with less yield as the distance in time extends.
I know its alot and its kinda rambling but any thoughts?
the idea Euphoria in dance music seems to be an increasingly retroactive, for example thinking of that joy orbison track, the euphoria which is the key great thing in that track is made of things that were euphoric 20 years ago in dance music, and from his interviews, he seems genuinley nostalgic for that, and that's ok with most people, which seems slightly strange to me, in one sense, as what constitutes this feeling might have changed but it hasn't really.
But i'm just thinking what does euphoria mean in dance music now, should it be as easy to come by as nostalgia, what are the other physical things that make up euphoria and drama that work, the whole blog house/ wobble midrange bassline thing seems interesting but is it genuinely euphoric?
there is definitely another feeling there to me, a real sense of pulverisation, that reminds me of steve albini's quote about his desire to crush the audience or something like that with big black.
I'm writing this after a session with headphones and a Bernard Parmegiani box set, and i'm just thinking what an amazing guy he was cos he created so much abstract drama, a real sense of things happening in 3d too, his 'noise' has a kind of under the skin digital prickliness at times to it that's totally euphoric, but it's also a really close call between euphoria and anxiety.
another thing is: I've also been thinking about minimal techno too, it failed for me cos it was too polite and well scrubbed, too many reflective surfaces, but it had so many interesting ideas in it that could have worked into new experiments in euphoria, the clusters of sound, the weird unexpected rhythm drop ins, a 3d-ness, the wormhole drop outs and atonal melodies, the whole digital pallette, that didn't need to get into the whole warm analogue stabs/ diva wails vibe, it was quite fearless like that, but it kinda failed cos it wasn't bold enough, too insular, too hermetic, no groove, maybe too far away from whar makes a track hooky, maybe it was also ketamines fault too? Maybe 92-6 was dance musics 60's, eternally returning with less yield as the distance in time extends.
I know its alot and its kinda rambling but any thoughts?
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