[explain gabber to me]

the best stuff is the hard acid/industrial hardcore end of the sound.

 

somatic responses - dark lsd

 

 

[microtonal tunes]

 

[Decolonizing Electronic Music Starts With Its Software (Pitchfork article + browser apps)]

I meant to say chicago house there and I was comparing to progressive house. To me they have a different sound. the funk driven chicago house music is a minority when taken globally, which is quite sad really.

[Decolonizing Electronic Music Starts With Its Software (Pitchfork article + browser apps)]

On 5/14/2021 at 9:57 PM, ascdi said:

I didn’t call anyone any names in this thread.

I guess it depends on your mental model of how the music culture works. If you think all music cultures start equal, like there are house music message boards, house music record labels, house music live gigs and fanbases, drum and bass message boards, drum and bass record labels, drum and bass live gigs and fanbases, Iranian (to pick a non-western culture that has been mentioned here at random) electronic music message boards, Iranian electronic music record labels, Iranian electronic music live gigs and fanbases, etc., then I can at least see how you get to the argument that each culture has enough resources and “stuff” and should stay in their own lane, so to speak.

I don’t really think that. I think that the vast majority of electronic music culture is centered on the western world. Learning resources, record labels, gig opportunities, access to fans, etc. All — in my opinion — skew incredibly heavily toward westerners. I’m sure people can find counter-examples but I still think we’re talking orders of magnitude difference in the amount of “stuff”.

Beyond that, the actual issue is for people to have access to not only the same amount of stuff, but actually the same stuff. Not trying to be inflammatory here, but “separate but equal” didn’t work out so good last time.

And also, I don’t want to be part of a music monoculture. That sucks. It benefits everyone if people with new ideas and different backgrounds are invited into ONE music culture. This is why Colundi sequences rewire our western brains, because we’ve spent our entire lives listening to equal tempered 12-tone bullshit.

I love Aleksi’s work a ton, but honestly it’s telling that the second other tuning systems are mentioned here, half the discussion jumps to a western musician who only recently has started dabbling with micro tuning, instead of like, the massive extant cultures and musical languages from around the world for whom “alternate” (even this term completely misses the point) tunings are an integral part of like, centuries of musical tradition.

 

 

Not only is western approaches to electronic music the dominant ones, but even house/detroit techno/disco/idm are minority scenes within that dominance. It is the sad truth that for instance, the biggest forms of electronic dance music as conscious scenes are progressive house, edm and the like. of course as I mentioned stuff like dabki is bigger than this stuff when looked at geographically, but dabki is not classified as electronic music so much as pop/wedding dance music played on keyboard. So it is misleading to put it in same categories as Iranian or Egyptian electronic experimental producers. It is sheer economy. Omar Soulimans band is not doing anything new. We used to call it org in turkey, for the pitch bending keyboards.

[Decolonizing Electronic Music Starts With Its Software (Pitchfork article + browser apps)]

On 5/12/2021 at 10:43 PM, brian trageskin said:

yeah, aside from the cringe notion of being oppressed by music notes (flol really), this is probably the dumbest thing from this article. no one forces you to write 1-2-3-4 music dude, moving away from it is like, 2 clicks away from you lol, you just have to use different time signatures and shit lol. the same goes for loops, no one's putting a gun to your head while yelling "loop this thing, fucker, do it now" lol

 

Actually time signatures aren't the be all and end all, because you can subdivide them relative to the time elapsed, so you can for instance hear 4-4 each second, or you can hear 4-4 in 1 25th of a second.

 

Ableton is limited in this regard, but that has more to do with club music than it does colonialism (which is a massive issue but pitchfork loves to concatenate unrelated things together.) If you listen to the Safa album that recently came out on UIQ in some of the tracks you can hear how the standard techno grid gets divided so it feels like it's speeding up or slowing down, whilst keeping the same base time signature. Particularly the track called Uda and the Strikers at Najd. Some form of markov chain def needs to be implemented but I'm not sure if this software does that. I think Safa made his album in macs msp, which seems very amenable to this. But I am not very sure.

 

Greetings from Turkey!

On 5/15/2021 at 5:32 PM, TubularCorporation said:

Honestly, a bigger complaint I have is that sequencers are all based around divisive rhytm, that's a WAY bigger limitation.  Additive rhythm is a huge part of a lot of nonwestern music, is way more intuitive for me personally, and tends to produce a lot more variety but it's ridiculously cumbersome to sequence additive rhythms in more or less anything, hardware or software.  Microtonal music in a DAW is really just a matter of turning of the piano display on the piano roll if it bugs you (which is one click in Reaper, can't speak for other DAWs), using instruments that can support different tuning systems (tons out there) and working from there.  I guess it would be kind of nice if alternative mnemonic devices other than the piano keyboard were options in more DAWs but it's pretty easy to work around that.  Sequencing in additive rhythm is universally a fucking mess, though.

 

This is correct. in fact most turkish, arabic, persian etc melodies can be played on synthesiser no problem. After all dabki is one of the biggest forms of electronic music worldwide, much bigger than German techno. But the rhythms to a degree will always remain inferior to darbuka players.