Archive for March 23, 2003

electronics

The guitar is a hollow bodied instrument with strings that at some point was changed over to steel strings that magnetically resonate over a series of… yes magnets, that in turn produce electric currents that can converted back into guitar like noises via an amp. It’s not a technically very complex thing, and the predominance of the electric guitatr affectively destroyed entire schools of harmonics that were made to carry long distances. Latin Jazz for instance, is played in notes that cut through the den of the crowd, it didn’t need amplifaction, it just was. The guitar, the electric guitar is an abstraction, one that’s greater freedom of distortion and signal bends expanded the vocabulary of playing, while rendering it’s previous status as a quiet instrument in Classical Music’s solos obsolete. The folk, the blues, the prominance of the guitar as their base instrument in America, made it something wholy other. It became an icon, an electronic icon, one step from it’s original state, and yet still with in what it symbolized, the truimph of a folk music over the artistocratic European music that came over to the U.S. with it’s original imigrants. At some point during the transgression from national idenities, to the internet’s more multi-flous ones, the next step, digital synthesis in itself became the style. It’s not simple keyboards and beat machines, the roots of new wave and electro, but music straight off the hard disk and never intended to do something that a physical acoustic piece could do. You’d think this would have expanded the vocabulary more, the possibilities enlivened Xenakis enough to experiment with it, yet mostly what you here is recreation. Lately I’ve been wondering why anyone bothered with it at all. Most folks are stuck between recreating the glories of Academic music, re-living industrial, or harkening back to keyboard odes and rock’s guitars. fuck them. i lost my place in this. Electronic music shares a heritage with jazz, jazz began dance music, popular in clubs, and eventually with be-bop, became a home listening experience. With home listening, we got the experiments, Charlie Parker climbing out of time, and John Coletrane ripping time and tonality to shreds for a greater purpose. With electronica we get a lot of boring avant-garde projects that don’t go anywhere and claim musique concrete is their base influence aka the folks re-living the glory days of academia, or kitschy bull shit that tries to be a modern update of new wave or indsustrial or hardcore or something, and let’s not forget the millions of talented truly amazing players of software synths who still fuck the dead corpse of Richard D. James every day. THIS SHIT FUCKING BLOWS. WHY ISN’T ANYONE FEELING THIS SHIT? WHY DOES A MUSIC OF SIMULATION SEEM SO CULTURALLY TIED TO RELIVING BULLSHIT SCENES FROM THE PAST? Where in fucking god’s name is the god damn fuck who’s gonna take these instruments AND MAKE THEM THEIR OWN? Who will invent their structures and DO THINGS WE DIDN’T KNOW WE COULD HEAR? Stop fucking corpses and live in the present for once.


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March 23, 2003 at 9:12 am Leave a comment


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