hello,
In a message dated 2/13/01 7:03:02 PM, [EMAIL PROTECTED] writes:
>Actually, I've always wanted to know what 'problem' he has with out nd
>out> >dancefloor music. For instance: He often says he doesn't like to
use bass> >
>drums, because it's an easy way out / cheap trick / whatever. seemingly
>
>falling into the rather elitist pov that "dancefloor material is less
>intelligent'"...
I do not necessarily think that it is an elitist point of view, rather it
might have something to do with how music is perceived. Personally, my
favorite Derrick May tracks are the ones that do not have obvious floor
potential. I also find rhythms that are not tied to a bass drum to be a bit
more funky. You can change where the percussion accents fall in a bar, but
that steady kick drum cancels it out somewhat.
The other thing is, you did not always need huge kicks on early house and
techno. They did not completely rely on hyper-compressed kicks to get the
point across. I think part of the reason the big kick became so important is
because in the 90's the music crossed over to a rhythmically impaired
white-dj audience.
The best example I can give is from the DEMF. Derrick goes on and plays this
incredible soulful set, with change and variety, live percussion, spoken
word, the whole bloody lot. It was a first class musical experience, still
one of the best sets I've seen. Note, the white suburban audience hardly
moved the whole time.
Hawtin goes on next and does his 4/4 de9 thing. it was like electronic
hoedown music, I was waiting for him to bust out a devilfish banjo and give
square-dance commands. The music was so square, boxy, it barely changed,
grooveless and without soul. I did notice, however, that the white kids were
going apes--t. He played a single bar 909 pattern that was like a kick and a
clap for 10 minutes and people loved it.
It was sad, because Derrick's set was so much better, and so completely over
their head.
>
Perhaps he feels he's "been there, done that". Also I remember him saying
that he doesn't use bass drums because he feels that that is not the
most important part of the "song" or "track", the melody is...I'm
sure we all agree on that from all that we've ever heard from Derrick.
I think its kinda unfair to say "elitist pov" and if he is, I guess he has
a right to be.
The other thing to bare in mind is that dance music walked away from him.
The smooth, deep electronic soul records that he wanted to make just were
not selling like the stuff that went doof doof. I think there comes a point
where you decide that if the public doesn't get it, then they do not deserve
to hear it. You have two choices, you can write crap heavy metal techno and
sell a bunch, or stay true to what 313 techno was about and drift into
obscurity.
I think Derrick made the right call, he left while he was still on top.
It is sad though, I can only imagine where he would have gone if he had kept
going. I do not believe that he would lose it, I think he would still make
great records. The problem is that no matter what he does, it is going to be
a let-down. He cannot live up to the hype that has been heaped around him
for the last 8 years. He will never write another strings of life.
Take care,
Mike
Glyph
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