RE: [313] Jeff Mills interview on-line
In my simple universe I have a simple theory : there are 2 kinds of music. Techno ( and all related genres ) is music with no message, you can't understand it, it beholds no meaning than the sound itself. You have to listen to it with your belly, your abdomen. It's music that you have to completely endure, let it flow through your body. It envokes a trance, like the shaman repeating mantra's over and over. You have to feel it, feel the bass through your flesh. It's overwhelming, even threatening to those not willing to assimilate. The music exists in itself, as an assembly of tones, rhythm. Tribal music ( remember Burundi Black ? ) was the first techno imho. It aims for the legs. The music is the essence. The music IS the message. On the other side, there's music with a message. The music in this sense only exists as carrier for the message of the composer. Whether it be to evoke the 4 seasons or to spread a fluffy message about a candle in the wind, it's music you have to listen to, reason about, understand. The author wants to tell something. Hiphop belongs in here, pretty obvious. The music is ( only ) a medium. In my simple universe there is also Jazz, on the boundary of these 2 types of music : jazz tries to catch the raw power of the first type ( call it techno :) ) in rules and regulations and standards as they exist in the second type of music. I'm not quiet happy with this thought, I must give it some more thinking. So for now I'll conclude : in Jazz music is a medium and a message. That's why I don't consider Jean-Michel Jarre's Oxygene or Vangelis' music as precursors of techno, although the music sounds techno, it has not that raw power that techno has, it does not invoke trance, the music in these cases is more a carrier for an image the author had in mind. Kraftwerk goes more the other way, autobahn or die klang der stern has more of that power in it. It's pretty obvious in this context that nor inspiration or knowledge are involved ( in the strict sense, of course you have to know which knobs to turn ), it's about tuning in into that energy that is out there, the rhythms of life... And maybe too much knowledge, trying to understand it and defining it in rules and prejudices is an obstacle. My 2 cents... :-G http://www.appletree.be -Original Message- From: Brendan Nelson [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: woensdag 14 november 2001 18:49 To: '313@hyperreal.org'; 'Lester Kenyatta Spence'; Brendan Nelson [EMAIL PROTECTED] Subject: RE: [313] Jeff Mills interview on-line | -Original Message- | From: Lester Kenyatta Spence [mailto:[EMAIL PROTECTED] | Sent: Wednesday, November 14, 2001 5:43 PM | | Hm. Although I don't think it is an accident that what we think of as | techno comes out of Detroit for the reasons you mentioned, I | actually think hip-hop might be the first post-industrial music...and | that techno is the first to actually REPRESENT itself as | post-industrial. Do you see the distinction? Yes, I see what you mean, and it makes sense... | But hiphop is the first music to violate those forms...and it | was produced | by some of the first casualties of the industrial | era--colored (black | american, black carribbean, latino, some white) men and women who were | unable to get jobs in the plants during the seventies. It | took a low-tech | approach with high tech tools and created a sound that was a | pastiche of | bits and pieces of previous work. And in juxtaposition to | the megaband, | all that was needed was two turntables and a mic. Note how | the scale | becomes more human...in pointed juxtaposition to the industrial trend. And I guess that a characteristic of post-industrial music is an industrial level of *energy* suddenly being directed into sound rather than into mass production - something that hip-hop and techno share, in my opinion. You get the sense of there being an industrial infrastructure either lying dormant or in decay; while a lot of rock'n'roll always sounded like work, work, work music (and having worked in factories playing MOR radio stations all day, I've always associated rock music with the process of industrial production), both hip-hop and techno sound like, well, here's all this machinery and industrialised sectors of the city, but it's not doing anything, just slowly decaying, and here's what that decay sounds like Perhaps techno takes it a bit further into ...and here's what these machines *should* be doing! - hence actually representing itself as post-industrial music in a way that hip-hop doesn't? You are completely right about the actual scale though - with hip-hop and techno, the scale is much more human, which is interesting as both genres seem to have a wider scope than rock'n'roll. Rock'n'roll tends to talk about human situations, but the scale is vast; while hip-hop and techno talk about
RE: [313] Jeff Mills interview on-line
Uh, I don't have a physics lecturer, sorry Buy yourself Scott Adams' The Dilbert Future, read chapter 14 and amaze your peers with your vast knowledge of physics, prooving that gravity is only an optical illusion :-) :-G http://www.appletree.be - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] Jeff Mills interview on-line
To return to the music site of things : techno has a intriguing ambiguity : it consists of electronic sounds, generated by machines and always reminds me of our modern society with its industrial sounds, never ending beats( like society has now become a 24/24 nonstop machine, not like before, when everybody rested on a Sunday ), energizing drive, and yet it's music that can only be savoured when listening with your belly in stead of your head, like most tribal music. Could we describe techno as the first attempt by people living in western ( industrialised ) countries to tribal music ? Or would that be Jazz ? :-G http://www.appletree.be - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: [313] miss kittin and ZE hacker.
Buy it ! It's good. They played at Katsu Club in Belgium, oct 26th and the place rocked ! :-G http://www.appletree.be has some pictures of them playing at Katsu -Original Message- From: Analog Headz [mailto:[EMAIL PROTECTED] Sent: maandag 12 november 2001 4:19 To: 313@hyperreal.org Subject: [313] miss kittin and ZE hacker. did any one got to listen to their new album??? i have their single on gigolo and it rocks. AH - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
FW: [313] Re: Techno for funerals
I've posted this topic on my site, and a visiting DJ has made a Good Mourning mix. Check it out at http://www.student.kun.nl/bobvanhoove/music/dr_bob_-_good_mourning.wma Other suggestions I liked : Beaucoup Worms, Underworld; Clubbed To Death; Portrait of a dead girl. Gery http://www.appletree.be | | -Original Message- | | From: Essenson Enar [mailto:[EMAIL PROTECTED] | | Sent: woensdag 24 oktober 2001 16:44 | | To: 313@hyperreal.org | | Subject: [313] Re: Techno for funerals | | | | | | Weird to dream 'bout that but if then... | | | | Id like to hear Jaguar played by a big orchestra: 100 violins | | and and and . niiice and touchy I think | | | | Everyone should then remember me :) | | | | | | All the best, | | Ess | | | | url: www.stereo88.com | | email: [EMAIL PROTECTED] | | | | | | | - | | To unsubscribe, e-mail: [EMAIL PROTECTED] | | For additional commands, e-mail: [EMAIL PROTECTED] | | | | | - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere
Sorry, that's the same critic techno ( or New Beat here in Belgium ) received in the beginning from classical (rock) musicians : with those machines it's easy to make music. 303 vs. drumset, remember ? You are talking about an instrument. Some will play with it, but few will squeeze original content out of it. It's a good thing that maybe more people will be attracted to Djing by this device. More people : more possible talent. It's not the machine that will be creative for you. I don't care if a mix is made with PCDJ or SL1200's, as long as it's a good, surprising, original set that gets my body shaking. :-G http://www.appletree.be | -Original Message- | From: ryan burns [mailto:[EMAIL PROTECTED] | Sent: zondag 21 oktober 2001 19:39 | To: 313@hyperreal.org | Subject: RE: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere | | | | i would have to agree, it cheating. | | burns | | | From: Subject Detroit [EMAIL PROTECTED] | | Mr. Woolums has taken the words RIGHT OUT OF MY MOUTH! | How advanced is a piece of equipment that can finally do today what | certain Detroit Djs could do 12 years ago? Where is the progress in | TALENT? All this does is make it easier for djs who | lack the ability to do it by hand. | Instead of raising the bar, they lowering it and trying to step over. | | back.Bone | | | From: Yair Etziony [EMAIL PROTECTED] | To: 'Vince Woolums' [EMAIL PROTECTED], '313@hyperreal.org' | 313@hyperreal.org | Subject: RE: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere | Date: Thu, 18 Oct 2001 22:25:07 +0200 | | Regards. | i really enjoyed reading your stuff vince i think that u | r like 90% | right. most of the time we think that technology will make us more | innovative and more creative, but alas i think technology is just | making us more and more dependent on it. | creative is something that comes from the mind not | something u can have | with technology, like any new gimmik the final scratch will | come and go. i | am not too sure that vinyls will stay for ever but i know | one thing- all | the | new technology stuff for dj`s is simple uncreative. they | made software who | acts as turntables ,they make cd who acts like a turntable. | if technology | were really creative they would just try to immitate but to innovate | something REALLY new. | | y/ | -Original Message- | From: Vince Woolums [mailto:[EMAIL PROTECTED] | Sent: Thursday, October 18, 2001 8:54 PM | To: 313 List | Subject: re: [313] [EMAIL PROTECTED] [EMAIL PROTECTED] everywhere | | | i don't think you understand what final scratch is, and | how de9(?) | was | made. | final scratch is a tool that allows use to use two regular | turntables | and | a | regular mixer to control any a digital file on a | computer just like | you | would a | slab of vinyl. you slow the turntable down and the digital file | slows | down | etc. | you do it live. it's not digital editing tool like pro tools or | peak | etc. | anything you do with you do live. | | i'm briefed on final scratch. i've seen acquav!va use it. in | addition, i'm aware of the production techniques involved in the | creation of both de9 and | closer to the edit. i'm also aware of the physics behind | the technology. | i've watched these develpments rather closely. | | you're missing one of my points: that many other DJs dont need it, | dont prefer it, and whose performance would be limited by said | technology. | | as for the detrimental trade on vinyl. well, it's heavy, | wears out, | and | is | hard | to distribute. digital files can be endlessly copied and emailed | all | over | the | place, placed on sites. it allows more people to have access to | more | music. what | you do on the turntables should be determined by your | skill level | and inventiveness, not by the vinyl you can afford or | have access | to. instead of letting record companies, distributors, | and record | stores | determine | what tracks you have access to you can play tracks by | anybody that | cares | to post | them. | | your words are very interesting. so what if vinyl is | heavy, wears out | and is hard to distribute? all of those things are unique | to the DJ | trade and the art form. thomas brinkmann is able to | utilize a unique | technological tool, one final scratch can't even approach and that | relies on vinyl and not mp3. | | that not just anyone can have any track is central to my argument. | dont think i'm preaching vinyl elitism - but if everyone | had access to | any and every track, would they create something unique, | special, or | anything but homogenized? here's an analogy - if everyone had the | exact same make, model and color Porsche, would it still be | special?? | | more people with more access is giddy hat-tip to liberalist | egalitarianism. | part of the fun of DJing, to me, is digging through crates | in used
