computer_rock
Well-known member
i was on the fence but the gabba death march sealed the deal
Dont usually like his harmonimix's but this is alright.
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The IDM fear is about the replacement of raw, exciting, mindbending music with something that is quite clever and uses all the right signifiers of good taste (while conspicuously avoiding anything that might be seen as cheesy) and does some vaguely innovative stuff, but without ever feeling like it matters (there's an interesting discussion to be had about if and why a radical step forward in a scene with a reasonably well developed musical language feels so much more exciting than another eclectic mutation in a scene full of unrelated eclectic mutations) and without ever really being genuinely exciting.
Just reading through this thread, wondering how the fuck it's got to 20 pages, and it's actually quite interesting. This above quote made me wonder if the feeling (for some) of a lot of this internet hyped music not really 'mattering' is something to do with how it is tied in with the internet? This might be my social isolation talking but a lot of the people I know who are into this kind of music are really internet friends - there's a sense of a community of people into electronic music to this extent scattered all over the place, brought together on forums/twitter etc. I mean, I don't go clubbing to this kind of stuff much anymore, I don't really hang out with people that listen to it. So I feel I have a warped perspective on it (though everybody does, positively or negatively). And a lot of supposedly exciting and experimental music seems really to be an incremental evolution of something that everybody online is obsessively watching, waiting for those evolutions. Most of the time the really exciting things are happening off radar, and come as more of a surprise than the supposedly leftfield/experimental fringes of nerdy genres. I think with a lot of internet consumed/produced music, there's a mania for generic progression and experimentation which adversely effects it capacity to experiment by letting go, by being functionalist.
Dunno if this makes any sense, just Slothrop set my mind off.
But how much is this actually 'internet consumed/produced music' and how much does it just seem that way because you personally find out about it via the internet? I'm guessing that if you stopped paying your broadband bill and started going to FWD, Night Slugs etc regularly you'd have a different perspective? I dunno, it seems like a bit of a trend (cf Blissblog, passim) to proclaim that scenes have lost some of their visceral energy or whatever once you've stopped being personally involved in them on a daily basis, which is rather a chicken-or-egg argument.Just reading through this thread, wondering how the fuck it's got to 20 pages, and it's actually quite interesting. This above quote made me wonder if the feeling (for some) of a lot of this internet hyped music not really 'mattering' is something to do with how it is tied in with the internet? This might be my social isolation talking but a lot of the people I know who are into this kind of music are really internet friends - there's a sense of a community of people into electronic music to this extent scattered all over the place, brought together on forums/twitter etc. I mean, I don't go clubbing to this kind of stuff much anymore, I don't really hang out with people that listen to it. So I feel I have a warped perspective on it (though everybody does, positively or negatively). And a lot of supposedly exciting and experimental music seems really to be an incremental evolution of something that everybody online is obsessively watching, waiting for those evolutions. Most of the time the really exciting things are happening off radar, and come as more of a surprise than the supposedly leftfield/experimental fringes of nerdy genres. I think with a lot of internet consumed/produced music, there's a mania for generic progression and experimentation which adversely effects it capacity to experiment by letting go, by being functionalist.
He's basically T-Pain with autism.
james blake hype over?
at Great American Music Hall San Francisco
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