> > Well, you have to understand that there is a DEMAND for records with that > > pumped up sound, when most records are like this, records that are NOT > tend > > to sound rather quiet and may unintentionally lower the energy. I guess I > > don't see anything wrong with making pumped up records if you are making > > them for club DJ's to play out in peak hour sets. A track made more for > > home listening or a deeper less aggresive set should probably not be made > > that way of course. Dance music does have a functional aspect, and I > don't > > think one should say a record made for a peak hour type set can't still be > > good. The aesthetic of such records seems appropriate to their > function...
I see what you mean, and I agree that there's a case for functional records. I love working a bonus beats track alongside a more melodic/leftfield one, or even two beats, eq-ing and crossing them over. I guess what I've noticed (like a lot of people) is that when those records become the majority, and then when the artists involved get major kudos in the press (naming no names!) it gets right up my nose. So many times, when reading reviews etc., I see a tune and think ''I'll go and find that'', only to be deeply disappointed - it's Just Another Record. This applies to all different genres, but then, reviews *are* subjective, aren't they? I'm not complaining (oh, alright, I am) but it's interesting to see what other people think. Andrew >
