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Re: [microsound] the rise and fall of the .ms dynasty



just like any relationship that goes down the path of neurosis, you get
bogged down trying to prove subjective points instead of makin' sweet love.


----- Original Message -----
From: "rj valeo" <rj@xxxxxxxxxxxxxx>
To: "microsound" <microsound@xxxxxxxxxxxxx>
Sent: Wednesday, September 26, 2001 12:16 PM
Subject: re: [microsound] the rise and fall of the .ms dynasty


> >  > > , skip to the next track, repeat process 6
> >>  > times for EP, 12 times for LP.
> >>
> >>  yeah, i know this from the whole sortiment of any record shop. going
to
> >>  the headphones with 10 things, buy 1 ... or 2.
> >
> >this is more than enough for me. i dont surround myself with music all
day
> >(especially because i spend a good part of my life with making music
myself)
> >so how much 'good music' does one need?
>
> watch out, diatribe ahead -
>
> years ago, back when wax trax actually released good music, there was
> an interview with alien jourgenson  in alternative press (or some
> *hip* mag at the time) and they asked him why he started writing
> music. his answer was (get this) - he was tired of listening to all
> of the crap that was out there. he knew he could do better - and, in
> some respects, he put his money where his mouth was and put out some
> really great material.
>
> he focused on the product, not the process. the process (which
> included as much jack daniels and lsd as he could get his hands on)
> was a life style. think about it - process as a life style. playing
> guitar is a process - doing sound design is a process... a life style.
>
> i am afraid has what happens in good 'ole rock 'n roll (the people
> who focus so much on being a good player that they forget to have a
> soul when composing) is invariable happening to the .ms (microsound)
> community. so many people focus on how they do it (create their
> compositions and or sounds) that instead of having quality (the
> compositions) they are a novelty. novelty in the sense that it's a
> gimic, or a new trick. once it's listened to, you have experienced
> the entire thing. there isn't too much to go back and rediscover
> because it's all right there in front of you - nothing is hiding in
> the crevices, nothing is buried in the mix because it's just one
> little sound placed in the left speaker with nothing else going on -
> repeated for 5 minutes. it's something that just about any person on
> this list could do with a sound editing program and about 15 minutes.
>
> the thing that sets music apart for me, is when the composer does
> something that not only does the listener not expect, but does it in
> a way that the listener has no idea how it was done, or when, or
> better yet, why. timeless music - music that defies not only
> classification, but one in where the process is vague or hidden to an
> extent, or not even able to be deciphered at all. mystery, not
> novelty. it will keep you listening because you don't know how, or
> why or when. it keeps your interest because it's deep - because on
> each listen you get something new out of it.
>
> or, it could simple be damn good *music*.
>
> everybody has their own line, their own proverbial measuring stick
> that things are put up against. one of the biggest problems in a
> genre such as this, is that most of the people who listen to this
> stuff are also the people who create it. it's the people who create
> it that can appreciate it. is that good or bad? not too sure, it just
> seems to be the case. it's elitist. not maliciously or by design, it
> just so happens that people who don't write and compose it are *less*
> likely to understand it. hence, a movement where most of the
> participants (consumers) are also the creators. this, in turn, lends
> it self to clicks and cults. like .ms or IDM or ambient.
>
> clicks and cults.
>
>
> rj
>
> --
> rj valeo
> rj@xxxxxxxxxxxxxx
>
> http://io-records.com
> http://www.tiln.net
>
> io distribution:
> http://www.platelunch.com
>
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