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

[Mr. Tea]

One of the things that I always found weird about production forums is the absolute obsession that a lot people have with individualism. Any question about "how do I make this sound" or "what's such-and-such doing with the drums here" gets met with a barrage of people who believe, contrary to literally the entire history of music (and probably art in general tbh) that you need to craft every element of everything you do free from outside influence and based only on the pure light of your individual creative spirit or your music will be worthless and derivative.

You're right, that's a bizarre attitude. Just to take a purely probabilistic approach in considering (say) the unimaginably vast total phase space of possible snare sounds, the chances of any given random combination of parameter values sounding any good is pretty small. So if you find a combination that sounds good, there's an overwhelming likelihood it's been used already, and probably not just once, but by hundreds of producers on thousands of tracks. And if you go out of your way to use a sound that's never been used before, then maybe you're going to get incredibly lucky, but there's probably a good reason it hasn't used before, because it sounds uninteresting or simply bad.

 

[pattycakes_]

feels like that speaks to it all being over as other_life said earlier in the thread. 'it' being discovery and exploration

 

[version]

How often do great artists live in the middle of nowhere? I'm sure it must happen, especially in certain artforms, but I think music is such a social/contextual thing that there's a reason it flourishes in the great metropolitan hubs. Also, that's where the media is - which is why if you live in London and make choons, you're more likely to get a career off the back of networking alone.

I think a lot of great artists tend to be isolated and left to their own devices in some way, either through geography or lack of involvement in any particular scene around them, just hovering on the periphery and doing their own thing.

 

[thirdform]

I was too nice to point this out but I spose someone had to

fuck off you english cunt it was a typo i meant to say you need to roll a henry of either skunk or preferably moroccan hash.

And posh people sell weed these days, you cockwombles. marijuana science wankers. if luca isn't careful he's going to turn into matthew 2.0 approving of David Cameron. disgraceful.

Cheers for pulling me up on it lol. rudeboy credentials all in tatters. maybe i was dancing to james blake in 2010, the horror!

 

[thirdform]

When I made music the only success I ever had came from purging it of my personality. So much of my music was full of these sappy melancholy melodies, embarrassing to listen back to, like reading an old diary.

I actually would advise imitation. Imitate whatever lights you up in other people's music and if you do it enough the imperfections will become a personal style.

I get the feeling what lights other life up isn't what lights me up so I can only critique his music in a detached and uncertain way

Hey, i mean given communism isn't happening in the future you might as well do a james blake and monetise it, churn it out. it's better than working a journalist job arguing with douglas murray fanboys or god knows what.

 

[Corpsey]

What's anything got to do with communism

 

[thirdform]

god's psychedelic providence.

 

[thirdform]

not to fucking be sorry for myself more than i already have fuck it here goes u have to understand i'm a wallflower living in the northern reaches of the american midwest who only turns 21 this year. in the fucking sticks. i don't have a context for club music, hardcore continuum the same way someone who say grew up in the uk in the 90s does, i *enjoy it sometimes* but it usually feels pretty out of place. so of course what i do is gonna sound like "2011 student house show/dance on ketamine" because *i saw* all of that but was too young to *actually participate* in it. it's really stupid but i feel envious of people who were able to because of how, frozen out and locked down and fragmented in all directions everything feels now

there was a midwest hardcore, drop bass network and all that mentalist hardcore acid, in some respects it went places where uk hardcore couldn't, well apart from somatic responses and the ambush/praxis lot.

what happened to those guys? where did they go? some went back into hard techno but not all surely?

 

[thirdform]

What's anything got to do with communism

communism is the worldwide realisation of the pink temple. that's what Luca has been trying to tell you for years in his flights of literary/deconstructivist fancy.

 

[thirdform]

I think droid's yer man for informed critiques of 30 minute long drone/feedback experiments. He knows the lay of the land - I'm sufficiently impatient to be unable to provide any useful input.

As I said on the drone/ambient thread, I can't really tell the difference between what's bad and mediocre in this genre. I can hear when something is really good, I think, like GAS level good...

I listened to a bit of the first track on the old album and I liked it up until the oriental sounding melody kicked in, which got on my nerves. What I was going to say re: the track before that melody was that it sounded good but could use some more protraction, some more spacing out of the ideas. I like ambient music (if that's what it's intended to be) to be eventful, but patiently so.

yeah this is my problem with hardcore drone as well, some indian classical stuff, elianne radigue and that's really all i need.

 

[luka]

This is true in as much as 3rd has his own psychedelic vision of communism which is much better than everyone elses

 

[thirdform]

I'm sure droid can tell the difference natch

The superlative stuff stands out I'm sure

But I'm suspicious in a way of noise/drone cos I feel like you can hide behind it

That's my inherent bias though and I feel similarly about jazz (which of course the clued up will tell me is the MOST skilful of genres)

free jazz and hard bop yeah probably. jazz funk not any more complex than regular funk. sometimes even less so.

 

[thirdform]

Yes. That's the quandary yyaldrin. That's the malaise. That's the swamp other life needs to find a way to wade out of. That's the big job.

Specific enemies also being the kitsch and the cutesy.

I would listen to the trackmasters productions on nas' album it was written I would listen to basic channel . I would listen to the trooper by dj hype I would listen to aphex selected ambient works and I would listen to timblands work with aaliyah to find ways of finding emotional depth, intensities, gravitas. Not by borrowing. By taking on those qualities and integrating them into your own being

loose ends and 80s rnb as well.

 

[thirdform]

also as your shaikh i demand you study footsie sci fi for 7 hours one weekend.

 

[luka]

I'm so happy we're finally going to have our own pop star. We've bred djs and guardian comment opinion jpurnalists before but never a pop star.

 

[thirdform]

also hyper on experience - half stepper, not the others, they are too hectic for the vibe you're going for...

 

[thirdform]

you could also listen to the dub on this.

 

[thirdform]

you also might want to study the tactile ambient/atmospheric nature of this.

 

[Leo]

what happened to those guys? where did they go? some went back into hard techno but not all surely?

kurt eckes revived the drop bass network "even further" raves two years ago, a summer weekend of old and new school acid/techno in a field in Wisconsin (where he owns a farm). best part: they offered an "old ravers" discounted ticket price to their original fans/followers (aka, people who went to the original "further" raves in the mid-90s).

he even just said he's (finally) putting the entire DBN catalog out in digital form, launching a bandcamp page in the spring.

 

[thirdform]

but also.