Re: [microsound] Are all electronic music related writers bad writers?

[guiver ben <benreviug@xxxxxxxxx>]

it
> makes me smile because these are the sort of
> comments i get in reviews or gigs 

yeah right i think when one is pushing the envelope /
paradigm in whatever medium this is going to happen.
i've had people come up to me at gigs-friends
sometimes-and say 'ohhh, ben, i think the pa is
breaking'. when it isnt its just some track i was
playing with a drone in it.

the jesus and mary chain had hassles in the 80's when
they wanted to record their feedback. some teacher
used ot repetatively rip up my creative writing in
front of me and my classmates (age 8/9) as it was "too
comic strip". 

some things never change.........

--- david de la haye <pinkanomaly@xxxxxxxxxxx> wrote:

> Just in response to this comment - 
> >>"the writing should mirror the aesthetic
> of the artist.  nobody. uses. punctuation.
> creatively. tiny little 
> words for a tiny little music." <<
>  
> [i've been creating glitch music for some years now
> and in the past have offered various publications
> reviews or details of this mode of composition |
> they were written in the same format as this
> paragraph | the severance that traditional
> punctuation implies is replaced by something more
> intrusive | it reminds me of how glitch sounds and
> hopefully that is conveyed somewhat to the reader <i
> cannot take credit for the style | only the context
> | see Jeff Noon's 'needle in the groove'> | i've
> found that the problem comes from the publications |
> i've been told that there are errors on the file
> i've sent or that it's just not appropriate | it
> makes me smile because these are the sort of
> comments i get in reviews or gigs | which makes it
> seem all the more fitting | "please check your CD's
> before sending them to us" (!) | so maybe it's not
> entirely the music writers fault]
>  
> D*
>  
> 
> graham miller <grahammiller@xxxxxxxxxxxx> wrote:
> writing about music is like dancing about
> architecture?
> 
> seriously though. it can very difficult writing
> about instrumental music
> unless readers have a common point of reference.
> onomatopoeia is a good
> way of handling things, i think, because it's the
> only form of writing -
> or words - that conjure sound in the mind's ear of
> the reader. music
> writing has to invent words for sounds that are
> beyond the standard
> lexicon of language. onomatopoeia - to a certain
> extent - knows no one
> specific language, just like music itself. CLICK.
> KABOOM. BZZT. TSST.
> BLIP.
> 
> magazines - like grooves, for instance - are
> incredibly formulaic. and
> way too self-conscious - and 'cool' - to actually
> articulate any kind of
> passion or excitement. in their desire to be
> objective and journalistic,
> they leave no room for what music actually means and
> how fucking
> mindblowing it can actually be. there is no sense of
> joy. only hard cold
> facts, mostly centred around everything other than
> the music, i.e. where
> the artist was born, who they played with, who
> they're dating, what
> their influences are, the names of tracks, the gear
> they use...
> 
> writing about music should be musical. it should be
> poetic. it should
> use rhyme and metre. and alliteration. and others
> forms of musical
> writing. i even do my academic writing this way much
> to the chagrin of
> the so-called academics. writing about microsound,
> for instance, should
> be without capitals. the medium should mirror the
> message. check out
> this site for some good music writing:
> 
> http://www.wavelengthtoronto.com/
> 
> it's not microsound, but it never fails to bring a
> smile to my face.
> kodwo eshun is another good example. just as we try
> to make new sounds
> up, he makes up new words to address those sounds.
> there really isn't
> any other way to go about it. english, or any other
> language for that
> matter, simply isn't sophisticated enough to
> articulate what is
> essentially a sound experience. listening to music
> and reading words are
> incredibly different imaginative experiences, in the
> same way that a
> script is not a film nor is it theatre. music is
> sensual. reading is
> intellectual. granted, they tread into each other's
> territories
> occasionally, but they are entirely different modes
> of communication. i
> rarely read reviews. everytime i pick up grooves it
> makes me so mad. but
> yet i still buy it. i applaud their efforts but it's
> pretty conservative
> in terms of the format.
> 
> i think a more narrative approach is necessary. just
> as tracks are tiny
> narratives. or sound landscapes. the writing should
> mirror the aesthetic
> of the artist. nobody. uses. punctuation.
> creatively. tiny little words
> for a tiny little music. even single
> letters...ooplooplooplooplooplooplooploopl...
> 
> the question is: is writing about music simply
> informative (which it
> usually tries to be) or can it be creative? can it
> be an art unto
> itself?
> 
> g.
> 
> Adam Young wrote:
> 
> > Has anyone else noticed how terribly articles and
> press materials and
> > things are written? Reviews, press, just about
> everything.. I'm no
> > professional myself but i've seen some pretty
> ridiculous stuff out
> > there. The number one thing I see is convoluted
> run-ons full of 88%
> > adjectives, among other things.
> >
> > Anybody care to wager a guess why it's all so
> embarrassingly poor?
> 
> 
>
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