JERTEMP711@aol.com
> Even German minimalist ("Ambient") composers such as Markus Popp (Oval)
and Stefan Betke (Pole) seem to approching texture and
> structure in a mannerist fashion by self-consciously adding pops, clicks
and glitches. Of course, this is the trendy present.
Some would argue that this is no longer the trendy present and has now
become "yesterday". As yet I have not been able to get an answer from these
people as to what is then "today".
So then how do people define "new"? I mean how many times do we see
arguments about who did it first, and is it important? Are we really going
to hear new sounds or are we going to hear new ways of putting sounds
together? Or is it new ways of getting sounds?
Or is it just going to be what the artist says about his music that will
define its place?
Earlier in this thread somebody mentioned the replacing of "real" drummers -
which I do not necessarily disagree with although in my experience it is
actually 'sometimes' easier to use a real drummer than having to programme
irregular timing, velocity, etc. I mean imagine sampling the complexity of a
drum kit and then mapping it - hitting the rim, hitting the centre of the
skin, a de-tuned kit, various velocities, etc.
On the most part digitally programmed drums will give you the "perfect"
sound, etc. But perfect drums sound shit in a rock group. Is it that there
is a time and place for both? I think so.
Create a nice day.
Bricoleur.
Jeremy Turner - I would love a copy of your interviews. Thanks.
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