Jump to content

headplastic

Knob Twiddlers
  • Posts

    34
  • Joined

  • Last visited

2 Followers

Profile Information

Previous Fields

  • Country
    Canada
  • PSN
    toxicated_wound1
  • Steam
    Birch Cottonwood

Recent Profile Visitors

314 profile views

headplastic's Achievements

Explorer

Explorer (4/14)

  • Reacting Well Rare
  • First Post
  • Collaborator
  • Conversation Starter
  • Week One Done

Recent Badges

25

Reputation

  1. @Alcofribas and @dcom, yeah, I think what you guys are referring to is "cultural omnivore" theory, where elitism is based on eclectic tastes that don't really concern whether the cultural texts being consumed are from 'popular culture' or the 'avant garde' I'm drawing on ideas like that for this paper I'm nearly done writing on idm.... thanks again for your inputs on that
  2. https://geometriclullaby.bandcamp.com/track/b-ss-cop NMESH going nuts
  3. Agreed. The back of my head tingles when an awkward silence turns into a comfortable pause between me and someone else, it is incredibly relieving. Reminds me of that Pulp Fiction scene with Uma, "why do we feel it's necessary to yak about bullshit in order to be comfortable?" always think about that line... I think this discussion is pretty cool. Sometimes I wonder if this digital age will push the majority of society towards a frustrated, anxious, depressed, and anti-social mess that's ripe to be controlled easier through media and misinformation. Yet I hope it leans more towards a knowledge-generating society that uses our skill for thinking to learn better treatment of each other and become aware of our shortcomings. Humans have really progressed pretty quickly in terms of tech and intellect (for the most part) since the industrial age
  4. I've been playing M4 Lema exclusively when walking around outdoors, epic af
  5. hey WATMM, thanks for your help and interesting ideas about IDM/braindance the last time I posted a topic. The feedback was humbling for the research, plus the sarcasm and general lels were pretty helpful too lmao If you are interested in helping further, I put together a quick, structured form to more easily track some community data for both idm/braindance related queries and representational data: https://forms.gle/zdNSAgEuoEjkJYNc9 If you choose to participate, you can be sure that all of the data is anonymous and no information is tracked beyond your answers (no emails, names, anything that specifically identifies you). Since this project is limited in its scope, WATMM is one of two online communities associated with idm/braindance/post-techno, whatever it may be called, to be analyzed for this research. The other is r/idm on reddit, mostly because these two forums are the ones I have most experience with/are most active. Plus, any more thoughts or questions on the research are more than welcome in this thread If you're curious to know where my research has taken me since I last engaged with you: The topic of what 'IDM' is became more necessary than I had intended, mainly because, as many of you pointed out, it's exhausted but there is still obvious uncertainty. I have come to the conclusion that while 'IDM' was historically used to classify certain artists and post-rave, explorative techno music, its definition has changed in the last twenty years to more accurately represent a philosophy behind making electronic music, or as some people have noted "a way of life". Not to mention 'IDM' was coined by Americans in an interpretation of what Warp was doing with AI. The tongue-and-cheek just got out of hand in the mainstream ('mainstream' being the commercial sector of widely accessible music, image, and other media). The term has controversy, and discussing it is exhausting, but it's still used popularly and has an interesting history to it. but enough of that There is much more to the research, mostly exploring how 'popular music' is much different today than it was 10, 20 and especially 30 years ago. There is some rave history involved and the transition from subcultural movement to commercial enterprise (raves > clubbing), and how electronic music blew up mainstream. Also I touch on online fandom and 'prosuming', as today us as fans add to the narrative of artists and engage with them in the digital space. if any of this interests you, feel free to comment or PM anyways, thanks again
  6. @cwmbrancity btw Microgravity by Biosphere is said to possibly fit under the same movement/era with acts like Coil coming out around '91
  7. Hard to say in terms of music style, I'm thinking about Love's Secret Domain, but it could be considered 'IDM' before IDM was introduced as a descriptor, by that I mean a real exploration of what the tech and other music influences had to offer. I believe the first documented mention of 'intelligent techno' is associated with Coil's The Snow EP, and that's dated 1991. It seems that incredibly adventurous forms of techno emerged around the early 90s. I believe the term electronica came later. To get away from IDM as a genre/style term, I'm re-framing it differently. It's important to remember that IDM is from an American perspective, too. @Zephyr_Nova brings up a great point, since the community is so scattered it's difficult to define it as an ethos. Maybe a philosophy works better? I believe IDM describes something beyond the music itself, whether it's an approach to making music or something else. Whatever it is, it has stuck around for 25+ years for good reason, and has been used in popular culture but not appropriately. I think it can be argued that it might represent [Edit: the values lost in the rave subculture with the commercialization of electronic dance music*], but I'm still wondering how you guys might also re-frame it. @chenGOD Yeah I see what you mean. I've been dying for AFX to release the "old saw era track" he played at Field Day 2017 (I find the brief stop at @2:40 so cheeky, pulls great energy from the crowd). An untouchable era. The late 80s and early 90s also saw the rise of electronic music 'auteurs'. Aphex may as well be considered something of the sort, same with Mike P, Luke V, Squarepusher, Autechre, the lot of them. Bedroom studios helped in that regard
  8. Yeah, good point there. I don't think the intentions of the music are to make statements or send political messages, but I do think the popular image that has been constructed for IDM involves the values I outlined above. There doesn't have to be intent behind music to give it meaning, especially in popular culture. Aphex has mentioned that he felt the public just wasn't ready to hear some of what he's made, I find that interesting from a commercial and artistic perspective. @cwmbrancity yes that's a good read, I support that recommendation to anyone interested in this kind of discussion. Alwakeel offers interesting theories on IDM and the continuous variation of its identity, as well as its dynamic rejection of any norm. My work builds on his breakdown of IDM from a popular music perspective. As a "minor language," IDM cannot be defined as a static entity, for its very nature is dynamic and evolving. Humour and playfulness are key ingredients to its success. But it's clearly more than just a style of music
  9. For anyone who is still interested, two questions have come up in my latest research and conversation with the community. 1. Some people have mentioned that listeners 'grow' into IDM/braindance, or that there is a bar of entry to the music/community. 2. I believe there are oppositional values in IDM, both in the popular images of big name artists (AFX, au, BoC, Squarepusher) and in the musical texts associated with the music (AI series, Rephlex braindance statement, squarepusher manifesto, The Philosophy of Sound and Machine). Oppositional in the sense that they reject mainstream, commercial EDM values, but hypocritical to a degree, in the sense that artists still need to make money and 'settle' with the reality of the multi-billion dollar industry. This idea comes from the fact that IDM/braindance is rooted in the rave scene which was considered oppositional. Is there a message inherent in this music? AFX kind of touches on this in the Syrobonkers interview when talking about why he released Syro at the time he did, to sprinkle on some good music in a heap of commercial shit. Any thoughts on these points? Happy to discuss An update on my research if anyone is curious: I am beginning to re-frame 'IDM' as an ideology that supports subcultural values in electronic music, such as creativity, social connection, imagination, playfulness, exploration, and adaptation. We see this as evident in the evolving, dynamic musical output from artists like Autechre and Aphex, even BoC. Not so much Squarepusher, IMO, although he speaks a lot about anti-mainstream in interviews, his music output seems to be more in-line with mainstream values. Totally up for debate on that. Therefore, the term IDM is useless as a genre classification or musical style descriptor. Not just because it's ugly, elitist, and clearly unaccepted, but also because it is often conflated with other music style descriptors or genres (ambient, techno, experimental, leftfield, absract, etc. etc.). Any thoughts on this are welcome, of course.
  10. Hmmm, you've inspired me to go back to SIGN, although PLUS really feels like an extension or bonus track EP. As if they were like "Oh you liked that? Here's this" Hahah I love it. I don't subscribe to the stars, but I could subscribe to weekly autechrescopes. I will ask the committee before I defend, "PLUS or SIGN?"
  11. SFWP - Having to constantly run my phone charger back and forth between rooms when I forget to charge it overnight. My attempt to just get a second one has been thwarted by Amazon's ability to lose my package twice in a row, so I'm just giving up at this point, but at least it's a test of my (failing) memory and some light at-home cardio....?.......?..
×
×
  • Create New...