moves of evasion vs. commitment to a direction

[luka]

We are all in the same boat

 

[luka]

There's no wave of social energy to catch, at least not for us, which does condemn you to performing a series of disconnected experiments

 

[other_life]

naturally you're all familiar with and enthusiastic about my seminal blog series entitled Burrowing in for the Long Winter, but one of its central ideas is that you basically need a period of involvement in scenius (commitment) if you want to achieve your full potential as an artist. having never experienced scenius and seeing no signs of it on the horizon, my saying this basically amounts to a massive self-own.

i ruin my participation in scenius by getting horny. hence the religious turn.

 

[luka]

What's dance music without a dance floor to plug into?

 

[other_life]

there's a new scenius emerging though which i wanna participate in, yuri's imaginary label/dismiss yourself/landline collective &c. the shit my peers are doing in this capacity is shit a lot of you would enjoy actually, i've just got to bother getting thoughts together on all of it. i found yuri's imaginary label bc their youtube channel uploaded a cycheouts compilation i wanted to show gwen.
the best stuff in that milieu is straight ahead breakbeat-centric shit, and the associated youtube channels curate older stuff as well as putting out new music.
if i made a thread about their stuff it could maybe be fruitful for us to elaborate on collectively.

 

[other_life]

these people are active in discord servers but it's hard to have sustained discussion about music for itself in most discord servers anyway, a lot of what they do is shitpost self-promo and shoot the breeze/vent their troubles with each other. normal youth shit.
but it's a scenius of a different kind than dissensus. one is very realised -for music production- and the other is more realised -for thinking through music-.

 

[other_life]

mvuent's breakbeat stuff i envy, as well. for the same reason. they commit to a direction.
i guess the problematic is how to make intelligent dance music that functions as dance music? this is connected to the '3d modeling thread' as well because that kind of intensive textural-harmonic elaboration -within rhythmic genre constraints that have proven themselves functional- is a direction forward?

 

[catalog]

Scene of peers and dancefloor so you can get audience feedback are very important.

I was thinking this when i was watching that rl burnside video benny posted. Audience involvement is so critical. People singing or dancing along, creating something the musician can then see and riff on. Positive feedback loops.

And peers are important for the competition and imagined audience aspect.

 

[other_life]

i feel bad i've never read the homie's blogspot i'll do that now. responses to it probably deserve their own thread.

 

[kumar]

i mean clubs wont be open til 2028 so you have time to be evasive. i don't know how pathological that impulse to evade is, does it occur because we decided we're shy sensitive geniuses motivated to confound expectations or cos a restless destablising gremlin keeps hijacking the controls. the other day a legendary techno dj who has, incidentally, just released this

and has, incidentally, just stopped making music with a laptop, was talking about this, their increasingly fine tuned commitment to a certain sound and way of arranging music, and its partly due to more decisions being made by ear and fingertips rather than by eye.

 

[other_life]

the move i made towards drone was also one of trying to become more comfortable with hardware. and whenever i get the powercords + patch cables i need (i split half my equipment with delphi when avec le miroir split, i was glad to do it i'm not kvetching) i should try to get comfortable with hardware in genres other than that kind of accretive droning hypnagogia thing.

 

[luka]

Bartys found it for me

Innovation & Purification

Like the reasons why you like contemporary dancehall are the reasons why i soured off it, ditto mumble rap. It's hard to speak about this stuff in a detached way when people try to fit everything into a progressive vs reactionary box - i think that's too ontologising, a tune can have progressive...

www.dissensus.com

 

[william kent]

anyone who has sat down to make tunes in a DAW will be familiar with falling into a state of endlessly flicking through samples and presets. you can start off with a very clear idea of what you want to do and then its easy to pull in samples and vsts through the arrangement you've built, sometimes with interesting results but more likely you lose track of what you were trying to do. if your tastes are eclectic and you arent strict this will paralyse

Collateral Damage: Mark Fell - The Wire

Mark Fell argues that the limits of technological systems do not frustrate creativity.

www.thewire.co.uk

 

[other_life]

yeah mvuent's series is brill and if there's a thread about it already i gotta look for it
here's me making a 175 bpm jungle joint, proof of concept (other-life quits pussyfooting)

 

[thirdform]

yeah mvuent's series is brill and if there's a thread about it already i gotta look for it
here's me making a 175 bpm jungle joint, proof of concept (other-life quits pussyfooting)

The beats are good and i like the sample but the melody progression is a bit indie.





You have to go into the rnb modality rather than rap or juke per se.

Whitney acid for @pattycakes

 

[other_life]

you're right about the progression being indie because that is still all i know how to write (melodically)


i wanna learn how to make shit that feels like this. even if it sounds nothing like it i want to make shit that will make people feel like this.

 

[other_life]

the chord progression of that jones girls cut is a wider arc/set of moves than the typical 'indie' chord progression, which is usually a vamp within one key. there's no modulation, there's not even really any play/discontinuity that makes music, there's a shuffling cycle. i-maj vii-iv. i-ii-iv. i-iv-v. i-iv-ad nauseum.

 

[other_life]

pop composition that has earned the name as commitment to direction (via circuitous path to resolve) vs. the stock set of chord progressions as so many moves of evasion (illusion of direct forward line that is actually very short and folded on itself)

 

[thirdform]

the chord progression of that jones girls cut is a wider arc/set of moves than the typical 'indie' chord progression, which is usually a vamp within one key. there's no modulation, there's not even really any play/discontinuity that makes music, there's a shuffling cycle. i-maj vii-iv. i-ii-iv. i-iv-v. i-iv-ad nauseum.

british detroit purism/fetishism could also be an angle for you to investigate, even if it gets panned on here i like it

 

[thirdform]