There's good techno coming out of Sweden and there's bad techno - or maybe
I should say techno that's not as good as others - also coming out of
Sweden.
The two big names of course are Lekebusch and Beyer.
Personally, I prefer Lekebusch - there is more diversity in his work. He
explores dub, hip-hop, house(ish) sounds, electro.
Beyer tends to keep to the 909 drum kick techno - a few tracks when first
listened to are cool but after that I think they get boring.
I used to be a huge Swedish techno fan (and was on Stjartlapp as much as I
am on this list now) - had practically every Beyer and Lekebusch record
made but after a while I found the sounds and compositions getting
repetitive (no pun intended). I sold most of those records because I had no
use for them anymore. I've kept Lekebusch's Mr. Barth material because I
thought it was the most interesting - everything else was just a loooooong
exploration of the same sounds record after record. I lost interest in it.
That goes as well for people like Thomas Krome, Henrik B, David Roiseux,
Johan Bacto, Hardcell, Mhonolink - I was into all of them big time for
years and years but then I just found that their music wasn't very diverse.
Yeah, I was getting older but I think my taste in music was becoming more
deep. I used to think that harder faster darker was the best - and it seems
like the majority of Swedish tech is like this. From a talent side - I
found that the tunes had mostly a heavy drum pattern, then there was the
hook, maybe it was some twisted little break down or a couple of synth
stabs and then back to the drum pattern. And I never found the drum
patterns by themselves very interesting - they just "kicked". It was
usually the hook that got me to by the record. As time went on I found the
hooks to be more gimmicky - one person would do some new kind of filter
affect and then you'd hear it in several other records coming from the same
stables. Krome would do some weird distortion, then maybe a week later
you'd get Bacto doing it and so on. It got to be predictable - Air Frog
anyone? That to me was closer to pop music mentality than anything coming
out of Detroit.
Today I can't really tell the difference between most of these artists
anymore - they should just all get together and be one big Swedish Super
Group and play one big f*ck off kick drum loop and then go off and try
something different for a change. ;)
MEK
spw
<[EMAIL PROTECTED] To: "Odeluga, Ken"
<[EMAIL PROTECTED]>, <313@hyperreal.org>
gy.net> cc:
Subject: Re: (313) Every Dog 4
05/09/03 09:41 AM
It is my observation there is favoritism towards song based format techno
over track based techno form regular mailing list contributors.
This would explain the interest in pop music, deep house, pre-techno retro
music and a dislike of techno genres such as Swedish techno.
on 5/9/03 10:05 AM, Odeluga, Ken at [EMAIL PROTECTED] wrote:
>
> M McQueen
>> what Mills does in this style is better than a lot of the crap out there
>> diluting the market with average techno -- , but I'd rather have fewer
>> tracks that are just... well... more memorable or something. Or when
the
>> "best of Every Dog vols. 1 thru 6" comes out let me know. ;) I feel
like
>> I keep buying the same tracks. That said there are some standouts, to
be
>> sure!
>
> Could I ask whether you don't think there is a utilty for a dj in *all*
the
> tracks of each volume as a whole? (i.e. fewer tracks is fewer to play
with,
> more is greater freedom to be more varied in how you program/mix).
>
> Genuine q fr som1 who's not a dj, only plays records together (sometimes
> well.)
>
> k
