Search results

I would love to teach the world what an arpeggiator is. But for the moment I haven't felt that I or the world see it as a pressing concern, given the time, space and inclinations involved.

I know it's an arpeggiator! Lots of midi effects being used there, a scaley one too I think. One day I'd love to figure out exactly how they're all working. Didn't want my review to turn into a giant metrical-paradigmatic analysis of the whole thing tho, didn't have the time and I don't think a...

really really lovin the (relatively) new single from Débruit 'Let's Post Funk'. http://www.debruit.com/2009/06/25/lets-post-funk-3d-video-by-rainbowmonkey-de/ 'Wonky' as you like, with lashings of funk. And French too. La wonkée.

A good point. I've always toyed with the same feeling about Kraftwerk - are they so 'influential' simply because they were among the first and subsequently most famous producers of a synthesiser-based pop, or is it the particular usages and musical patterns they explored on those synthesisers...

nice to know the late nights paid off (so many times at 1am after uncovering yet another layer of complexity in Kaliko I'd be yelling "curse you Zomby you beautiful soundsmith!") but it's a real pleasure to talk about the music. 's good. after about a week of constant wonkiness I put on...

What am I talking about, of course it's gotta be the Durutti Column! There's even a track called 'Sleep will come' on 'The Return of the Durutti Column'. In the same sense, early Felt too.

I sometimes find that the right music on the threshold of hearing distracts me enough to send me off. My favourite for this is the first track of Funkadelic's 'Maggot Brain', called, er, 'Maggot Brain'. 'Out of the Wires' by theboylucas too, leaving it going. If I still can't kip, Anne Clark's...

Yeah I'd say that kodwo and 9's talk wasn't particularly theoretical - as it wasn't about thereotical explanations/interpretations (which is more the way reynolds and k-punk do things) but about aesthetics. They themselves called it 'magnified listening', which I thought was a brilliant paradigm...

Exactly, I'm glad I'm not the only one who thought so. Trouble is, if the book were to have had an index, it would have been at least as long as the preceding material!

Joe Muggs began by criticising the notion of the 'thingness' of the nuum, saying that it wasn't a thing but a 'set of relations, a set of tendrils' (maybe not verbatim). His main problem, and I couldn't agree with him all the way here, was that the traditional nuum idea ignored a lot of music...

Gender came up in a couple of places, but it wasn't really debated. Alex Williams answered someone's question by doubting that there were signifiers for male or female in the music itself. It felt less like a discussion of alternative models, but more one of varying degrees of departure from...

Stan Brakhage would make a good equivalent. Interesting that at the Tate Modern, Maya Deren's 'Meshes of the Afternoon' and 'Un Chien Andalou' are looping constantly in little partially closed off rooms, and people wander in for a few minutes before moving on. Traditionally such a thing would...

no kidding. stubbs seems like a proper lovely guy. i can see dan hancox in the audience.

That psychology study is fascinating - thanks! So hearing dissonance as unpleasant is somewhat hard-wired. Hence why people find it relevant / fitting in horror movies, and why Stubbs is swimming against the tide by protesting that people hate dissonance without solving the questions of...

"cheddar-step"

Don't want to re-enact the argument between k-punk and Joe Muggs, but it's naturally debatable whether "the recognition or continuity running through...musics" constitutes an "observable fact" and not just the construction of a historian who can necessarily never be perfectly objective and needs...

yeah and Stockhausen said about Plastikman: "I know that he wants to have a special effect in dancing bars, or wherever it is". ! Stubbs puts that in the 'Fear of Music' book. I've had composition teachers tell me exactly the same thing about drumloops. Both quotes are reminders that as...

No he doesn't. But in a section called 'The Corporation' he does talk briefly about big-business capitalism sponsoring art and then talks about the BBC for a couple of pages - he's generally complimentary and mentions how the BBC attempted to encourage listeners to try more dissonant music in...

That's the thing - he doesn't really specify "get" in the book, or the processes of appreciating Rothko or Stockhausen clearly or thoroughly enough. Throughout he seems to imply that high numbers at the free-entry, top 5 tourist attraction Tate Modern seems to indicate that "people get Rothko"...

I was there, hiding at the back. It was an amazing day all in all. Some kid called k-punk "bitter", he replied that he was sorry she'd been born into a world where "everything is flattened out". Some brilliant, more flexible approaches to the nuum from a range of speakers. Kodwo Eshun and Steve...