could use criticism of the music i've been doing so far?

luka

Well-known member
Sorry should have said first six tracks on it was written there's some terrible stuff on that album.

The speed thing I'm not sure I agree with, or only half agree with. I take a lot of pleasure in following tjose lines. Yes there's a lot of information there, a lot happening, but I don't think that's a flaw. But then I grew up with it. If you can sync with it its really what drives the musical interest, that sinuous knotty passage throughout the song. That tension and suspension. That high wire act.
 

other_life

bioconfused
it works with something like shootout (like i said, makes it psychedelic) but the speed comment was specifically ab being familiar w the screw version of the closer beforehand
 

other_life

bioconfused
i put all of it (including maurizio and quadrant) in a youtube playlist in chronological order bc as a teenage idiot who didn't know about soulseek my exposure to them was bcd
 

Corpsey

bandz ahoy
Do youse think it fair to say that

An aspiring dub techno producer (let's say)

Should not listen to dub techno

Or not as often as they listen to other things?
 

thirdform

pass the sick bucket
I think you probably have to listen to it at some point just to understand what it is you're trying to make, but think it was Photek who said something like "if all you listen to is drum & bass, your music will only ever sound like drum & bass".

there isn't really a genre dub techno though unless you want to say amen jungle is a genre. some people do.

one of those swedish guys did a very weird dub techno record in the 90s, has fuck all to do with basic channel but definitely has a similar aesthetic running through it. Kari Lekebusch.

https://www.discogs.com/Mr-James-Barth-Stealin-Music/master/96303
 

thirdform

pass the sick bucket
source direct are better at the military state surveillance beats though i think, i prefer photek's 94 era stuff, studio pressure and system X.

Could listen to two masks all day really. by around 98 they were kind of going off the rails but that brief period where it was all atonality and drum kit clatter was the bollocks.

 
Last edited:

luka

Well-known member
I guess this is where record labels still come in handy - they might not separate what from chaff, but they certainly separate PROPER MUSIC from SOME BLOKE MUSIC in the minds of the multitudes (I'm a member btw).

This is an interesting point though. Nothing is ever attractive until other people are attracted to it. The mere fact of something being on bandcamp makes it unappealing to me, like dumpster diving.

How this impossible threshold is crossed is interesting to me (partly because I want to cross it)
 

luka

Well-known member
In my opinion a forum offers a better and more attainable model than an anonymous fanbase. Fame is just a carrot always out of reach but an active and engaged community seems achievable or at least feels as if it should be achievable.
 

luka

Well-known member
The shift has to be away from the star system and top down culture that is only ever so much propaganda and social engineering. This is what pirate radio achieved to some degree.
 

luka

Well-known member
I stupidly believed all the blog stuff was its own justification. I was so dumb I didn't realise all my peers were angling for jobs at the guardian.
 

luka

Well-known member
How do people like me and you, people who want to work that is, create a useful community? And here you have to have people putting in as much as they take out. I have a poet friend(not woops btw) who always demands and receives detailed and conscientious feedback from me but has never once reciprocated. And granted I'm so clever and advanced it's hard to grapple with but on the other hand that kind of man baby self absorption is a menace to any attempt to build something along these lines.

The conversation is the whole thing and the 'art' is always an integral part of the conversation, not set aside as fetish object.
 

luka

Well-known member
And of course it's hard to work and hard to think and we're all tired and dissatisfied bled dry and etc etc

And of course talent is not evenly distributed but I still think this is the only way to keep the culture game alive in any meaningful way.
 

luka

Well-known member
Prynne says a poet only needs one reader, and that's true but you do need that one. It's impossible to work without an audience. It can't be done. So the obvious solution is for reciprocal arrangements(like the Wordsworth/Coleridge relation he was referring to)
 

luka

Well-known member
And there's no reason why these communities and coalitions should last forever. They don't need to. They only need to last long enough to get some work done.
 

other_life

bioconfused
realising, like in my body, that 'the breath that's true' is depressed, depressing, depressingly unambitious and returning to this idea that i was a real shithead as a teenager (but that's nothing notable, why do i keep dwelling on this?)
feeling real fucking sorry for myself, much more sorry than i should be, as usual
 

other_life

bioconfused
repetitive/static. terminally slow, not even in an interesting/psychedelic way but just fucking, cannabis depression/torpor. no high end. no light. just this insistent trudge, plod, muck. letting no light in. cover the windows and walls
 

luka

Well-known member
That's often the way at the tail end of a long winter. Whether you can do good work with that material is a moot point but you can certainly do useful work with it, even if it's really just a case of working through it. Being truthful to it, really allowing it a voice. That should help to get things moving again.
 
Top