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anybody want to start a topic about music production feels or philosophy rather than tech


Ragnar

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did you guys know this article

 

https://www.cnet.com/news/ai-name-paint-colors-turdly-stoner-blue-funny-paint-names/

 

http://aiweirdness.com/post/160776374467/new-paint-colors-invented-by-neural-network

 

music genressssssssssss

 

 

Edit: aaaaaaaaaaaaaaaaaaaaa this has to be made up 'gray pubic'

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A lot of the techniques and styles that have their origins in IDM are in pop music now, and everyone composing electronic music now I've been thinking on it a long time and I think youtube is the worst thing that could have happened to music production.

 

I would like to know more about the geography of its growth and development. A lot of the Europe and UK folks I hear had a more relational experience with IDM, with record shops, clubs, raves and also competitiveness. Also the East Coast has their own shit going on and continuing to flourish. Like, the internet was the medium which we all listened to it but the reasons for listening and composing it seem different both cross geography and age groups. Around my neck of the woods, during the 90's, it was very individual, depersonalized and secluded and the music reflected that. West-coast IDM producers are hermits and pretty mentally fucked up to some degree. It was also driven buy a repulsion in not finding pleasure or connection with mainstream media at that and wanting something completely different than what was on the radio and television. You are removing the person from the picture and it becomes about the machines and computers taking over, and that was pretty punk and a pretty good artist medium to work with. I really credit public radio for playing bizarre shit at 3 AM during my insomnia as a driver and everything being blasted in the radio during the 90's and early 2000's as a repulsive, motivating force.

 

Today is completely different and its more relational based, self indulgent and people prominently display it as a group identity (especially the Aphex Twin fans. I think its because he brought the 'person' back into the picture.) It felt more of an accomplishment just to get a song played as radio waves out into space than getting a number of likes and subscribes. And if you really want people to like your stuff over a wide audience it becomes less about reaction and going for the most -towards-the-mean approach as possible. Autechre are really the only ones who haven't succumbed to that direction and still have it, as an example. I also blame the creeping influence of corporate marketing trying to persuade people "this is how its done" and you cant get away from it anymore because the internet is infested with it.

 

All of this is because of youtube. There are three main problems that it has: lack of regulations, the centralization of the individual and ease of use. First, there are multiple series of videos for every music tool under the sun now, and you don't have to be certified or even know anything about the subject and yet you can fill peoples minds up with all sorts of gunk and bad practice.

 

 

 

It's gotten worse now with monetization, and people making videos claiming that they have the right techniques but that you have to pay for them first... This is sophism and if sophism was wrong 2400 years ago during the Greeks, and they saw sophism as a cancer on democracy. Its the anti-thesis of creativity and information exchange, and leads to all sorts of weird behaviours outside of societal norms (like the formation of cults, personality changes, kooky beliefs). Secondly, the focus is back on the person again instead of the music. The artist is put in a position where they have to hustle themselves all the time for viewcounts and subscriptions so the artist focuses less on new ideas and more on keeping up with the Jonses. The corps absolutely want this, because its easier to sell equipment and software (and those sweet, lucrative x.0 upgrades) over and over, and they can use the youtube medium for their own insidious purposes. Finally, it reveals how to do anything you want, but it doesn't encourage exploration or thinking on your own. Its passive learning and it enables you to solve a problem without having any understanding of the problem, and you can't really learn your equipment or anything novel if you go this route. It removes any semblance of labour, critical thought or new ideas and reduces a person down to an algorithmic copy and paste robot.

 

Case in point: I tried to follow tutorial videos for Max 5 a long time ago, and all I learned from the tutorial videos was only how to make the stuff that was in the tutorial videos. There were no Max tutorials on how to think algorithmic to solve a problem musically, because its impossible to do so with a close-ended video. You either need to talk to someone about it with back and forth dialogue or put in the effort in solving it on your own

 

 

 

Funnily enough I believe that IDM's future might be something more offline and less electronic, ironically.

 

Interesting comment about the radio stations. I used to hear some of the most bizarre, leftfield, or virtually unknown music on KVRX in Austin 10+ years ago. Back then everything had to be either from their library or burned to CD and cleared. Some shows are still badass but now seemingly many are literally cut and pasted from lists of whatever is trending on pfork or stereogum.

 

The "offline and out of the loop" ethos is on the rise I think. In fact it's probably going to grow. I stumbled into this via tape labels years ago (though cassettes sadly have been made a fan since then as well). There is this very sincere actually DIY underground ecosystem movement of labels, artists, collectives, local scenes, etc., and this includes some of the labels and artists mentioned here on WATMM. The music is actually progressive, interesting, and/or of the "I don't give two fucks" mentality. Fans can actually talk to the creators of such music directly. People support each other. People are honest. There's this enthusiasm that transcends fans and trends that outshout everything else online. 

 

The irony? It will always been mostly ignored or marginalized. Individuals might break out into bigger fame sure, but for the most part it's very ethos will keep it from putting a dent in the mainstream and hyped shit on the surface. The quiet success will be a small but steady amount of people becoming part of it. But it will stay alive because music makers and fans will continue to look at the status quo and say "fuck this shit" and go back underground.

 

This thread is a most IDM 2018 contender for sure

 

 

I think a lot of the 'classic' period '90s IDM came from people like Autechre and Aphex going super-deep with quite limited gear; maybe ironically, the internet has made this harder for a few reasons:

 

1. With free VSTs and the like, there's an infinite selection of potential instruments, but this means that it's harder to go deep with any one piece of gear, whereas back in the day if all you had was a Casio CZ (for example), you had no choice but to absolutely rinse it and get frustrated with its limitations and force it into doing shit it was never really meant to do, with golden results.

 

2. Same thing applies with easy access to hardware via eBay etc. eBay's like the GAS-enabler, which again makes it harder to go deep with any one bit of kit.

 

3. YouTube tutorials are a great resource but they maybe have a bit of a homogenising effect, teaching you how to make a Hoover sound or a dubstep bass or whatever tha kidz are into these days; this means, perhaps, that instead of people developing unique flavours that are unmistakably their own, people become very competent at contributing to an existing genre.

 

 

 

 

4. Same thing goes for internet access in general; people are less isolated, and this makes it easy to start contributing to an existing genre rather than developing something really far off the map. It's easy to discover vaporwave or lo-fi hipster house or whatever and say, 'Hey, I want to do that' whereas if you were more musically isolated, so to speak, you might start cooking up unknown flavours of your own. A good metaphor might be how a century or two ago, different places had powerfully distinct cultures whereas today everywhere is moving towards variations on a theme of corporate neoliberalism (oversimplistic, I know, but I digress).

 

5. The sheer amount of instant entertainment made possible by the internet no doubt plays a role too; there are distractions everywhere, and the allure of Netflix, and so on. Whereas if you were stuck in Cornwall in the early '90s, say, there were fewer post-spliff entertainment options so you might as well go deep with synths and drummos

 

So I kind of agree with Entorwellian when he says that the future of IDM (and, imo, interesting music in general) might be more offline in nature.

 

Goddamn you guys are dead on. I told a friend of mine (on record actually, it's on his podcast) about how despite become less cynical and avoiding "old man yells at cloud" anger I've become extremely skeptical of most new music that has any kind of retro or genre specific reference point, especially with electronic music, because it's so damn easy to create.

 

- You can literally, as an artist or a band, completely change not just your sound but your aesthetic, visual style, ethos, bio, etc. LITERALLY overnight by looking up everything down to synth presets to use.

 

- It's been compounded by the fact that taste-makers are lazier than ever and historical information / knowledge is easier than ever to distribute. That's why you have entities like /mu creating these sometimes wildly bullshit canons based mostly off what people wrote about 10-15 years ago. "Obscure" and "indie" classics have been rehashed as influences over and over again while truly overlooked or underrated music languishes, increasingly pushed aside by listacles and streaming algorithms.

 

- Record store owner level esoteric knowledge, obsessive fans on forums, and sincere music journalists still exist but they're being exploited relentlessly. People literally have a careers now combing through playlists curated BY OTHER PEOPLE to pick music for TV shows and films. And nothing is allowed to be sat on for awhile. Music reviews and features exist in a flash-in-the-pan vacuum of discussion for days, even mere hours, before moving on to new content. People literally declare AOTY for albums before they even come out with little scoffing. I have no idea if it's even possible for writers to listen to something for more than week before publishing an article. 

 

- Mediocrity is king. Up until the 00s there was this dichotomy of underground and mainstream that would be regularly injected with a crossover hit or movement. Now anyone can access obscure and underground media, which is good, but it's also leveled the playing field by allowing already successful artists the same unlimited palette of sounds and ideas. Armed with that they tailor it to fit niches that are popular and trending. That's why you have wildly similar indie rock at the moment - a shitload of synthpop, pysch revival stuff, and plenty of people rehashing past styles. Most of it is meh because the people who soak it up are looking for meh music. They want background noise that's cool. Even though I'm not super into PC Music I can understand it's appeal as something very different.

 

- Mob mentality and viral popularity. Remember how dubstep was redefined and historically revised in a matter of years? It's only become worse in some situations. Knowledgeable fans, hardworking members of certain DIY scenes, and originators of music styles and subgenres can literally be outshouted by one slick idiot with a large twitter or youtube following. The truth can still be kept intact but it seems so damn futile when the only people who care are in a minority.

 

- Concepts and words like "Indie" and DIY have been completely appropriated and made meaningless by tastemakers, PR entities, and their corporate backers. 

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yeah I think I already mentioned it but PLACEBO is a big theme of mine, but it could be an extended use of the word like a 'philosophical placebo' or something.

 

https://antlerlemon.bandcamp.com/album/snorquil-2

 

i released this but as a joke kind of, PLACEBO snor quil

 

https://djsaint-hubert.bandcamp.com/track/vibrations-of-pure-love-energy-emanating-from-unseen-dimensions-of-cosmic-truth-and-colour-placebo

 

I think people assume my music is automatically some dark shit but I'm just ANTI VIBEZ sometimes. I don't want the music to get noticed for vibe reasons. I think most songs are just good or bad vibes and like 'you sure you yourself aren't just having a bad day' sort of questions. One guy thought my album covers look like some world war i artist, it was a different reference pic they had but the guy painted like TRENCH WARFARE ULTRAMORBID stuff that I even saw in a textbook once? To be fair that was scary shit in history class seeing the painting

 

https://djsaint-hubert.bandcamp.com/track/translucent-walnut-oryx

 

and yeah this could be read as dark but I think the only common denominator if anything is UNHINGED I guess? And if you don't adhere to musical conventions it's an easy feel to achieve really

 

off topic this channel has some ACTUALMUSIC by pure data standards

 

 

don't do drugs but NONDRUGINFLUENCE sometimes lol

 

https://djsaint-hubert.bandcamp.com/track/5-am-acid

 

 

 

I'm never like OVERPRODUCTION obviously but sometimes I do an album where I take a step back and do simple sounds and it's mostly trackerstuff/midi-like ideas going on. It's nice just being on bandcamp somewhere and not having to have the pretense of a certain level of production all the time

 

https://djsaint-hubert.bandcamp.com/track/reverse-panty-melt-jock-itch-bonus

 

i dunno I think it was supposed to sound like Identikit. jock itch subliminals. is it still a subliminal if it was nonintentional

 

I was writing a short story that is bullshit but with a foreword "People trust a writer more when they say stuff about themself even if stealth". Yeah my issue with IDM stuff is it tries to be complete sci-fi abstractness kandinski so I guess I fight that a little with random pop culture song titles and stuff

 

https://djsaint-hubert.bandcamp.com/track/gummi-bear-helicopter-airstrike

 

random 90s COMMERCIAL for like jeans or something vapid threatens the viewer triggering a sampler WHO ARE YOU WHO ARE YOU. Was that the equivalent of Sophie Lemonade in a McDonald's commercial back then

 

I do political stuff sometimes but I really only want to do it stealth. Did I link asda core. asda UK version of walmart

 

https://djsaint-hubert.bandcamp.com/album/brian-eno-was-my-dentist-staccato-slugstep

 

for some reason I considered this album some kind of buddhist thing. 4th track has a sample. also dogs and pineapples haha

 

how did the dog get into that bag of skin

 

https://djsaint-hubert.bandcamp.com/track/huecoyl-vrs-brekkek-fishygod

 

this was like 37/4 or something

 

 

 

ahahaha I have so many times I don't assess my own music well though, there's lots of albums where I at least append old tracks where it feels like they totally fit a theme. But this one I can see where I thought it was too simple a track and was concerned about IDM cred or something haha

 

https://djsaint-hubert.bandcamp.com/track/pimfrancie3

 

 

https://djsaint-hubert.bandcamp.com/track/melty-chimera

 

you can still have a hobby like music but anything and you can still make it pretty real in your head. But um, people focus on hobbies and not what hobbies feel like?

 

https://djsaint-hubert.bandcamp.com/track/mark-ecko-studio-monitor

 

mark ecko studio monitor such jokez, he has a cheap line of headphones

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- Record store owner level esoteric knowledge, obsessive fans on forums, and sincere music journalists still exist but they're being exploited relentlessly. People literally have a careers now combing through playlists curated BY OTHER PEOPLE to pick music for TV shows and films. And nothing is allowed to be sat on for awhile. Music reviews and features exist in a flash-in-the-pan vacuum of discussion for days, even mere hours, before moving on to new content. People literally declare AOTY for albums before they even come out with little scoffing. I have no idea if it's even possible for writers to listen to something for more than week before publishing an article. 

 

 

- Mediocrity is king. Up until the 00s there was this dichotomy of underground and mainstream that would be regularly injected with a crossover hit or movement. Now anyone can access obscure and underground media, which is good, but it's also leveled the playing field by allowing already successful artists the same unlimited palette of sounds and ideas. Armed with that they tailor it to fit niches that are popular and trending. That's why you have wildly similar indie rock at the moment - a shitload of synthpop, pysch revival stuff, and plenty of people rehashing past styles. Most of it is meh because the people who soak it up are looking for meh music. They want background noise that's cool. Even though I'm not super into PC Music I can understand it's appeal as something very different.

 

- Mob mentality and viral popularity. Remember how dubstep was redefined and historically revised in a matter of years? It's only become worse in some situations. Knowledgeable fans, hardworking members of certain DIY scenes, and originators of music styles and subgenres can literally be outshouted by one slick idiot with a large twitter or youtube following. The truth can still be kept intact but it seems so damn futile when the only people who care are in a minority.

 

- Concepts and words like "Indie" and DIY have been completely appropriated and made meaningless by tastemakers, PR entities, and their corporate backers. 

 

 

I mostly agree with this except it was already well underway in the 90s, the Internet just accelerated the process massively.  In the 20th century it was a cycle of countercultures developing and then being commodified (it happened to psychedelic music in '68-'69, it happened to punk in '78-'78, it happened to the underground rock music in '90-'93, it happend to all sorts of dance music in the mid to late 90s, it happened to underground metal in the early to mid 2000s.

 

The independent labels of the 1980s became the corporate "indie" labels of the 90s like Sub Pop.

 

Cutting edge experimental film in 1975 was TV commercials in 1980.

 

It's just that these days it's a continuous process of creation and commodification where the period of being "underground" doesn't exist and what doesn't get commodified stays more obscure now than it did before.  There's not much of a middle ground left.

 

I remember going on the Vaporwave Reddit a bit in late 2014 (because a few people had told me the stuff I was doing at the time sounded like Vaporwave and I wanted to learn more about what Vaporwave actually was since I'd never heard of it - I was just trying to make music that sounded like watching cable TV as a kid when I had a fever) and that was when the feeding frenzy was getting in to full force.  I spent a couple months lurking and watching what was happening with Dream Catalog and it was exactly like what happens with local music scenes that get a bit too popular.  One or two people from the early-adopter crowd, typically people who aren't actually participants in the subculture itself or latecomers, will install themselves as gatekeepers/curators/tastemakers/whatever you want to call it, and will end up reshaping the scene such that they become the path to potential success outside the scene, which conveniently benefits them socially and financially.  Artists that fit their vision agenda are supported, and artists who don't are marginalized or just leave on their own - usually that's the founding artists of that scene. That has happened to every local music scene I've been involved with that grew for more than 2 years and I've been on both sides of the fence as far as being supported or not by the local gatekeepers (for most of the 2000s I was in bands that the king hipster of that particular town at the time loved so I benefited from it a lot, then he was usurped by a rival who was really in to bland, post-Animal Collective jam bands and suddenly all of the shows were were a lot of rich kids nobody knew with expensive gear and djembes playing a blander version of the kind of music that everyone had been playing for a few years around there already).  What I saw on the Vaporwave reddit was the same thing playing out in real time on line, except it was happening in a matter of weeks rather than years.  I looked on there a couple weeks ago for the first time in years to see what was up and it looks like I was right about Dream Catalog.

 

Point is, this isn't really new or unique to the Internet, but it's much faster and easier to hide on the Internet.

 

 

 

Anyway, personally I just make stuff that I like and sometimes it happens to kind of fit in with a trend and sometimes it doesn't, but it's always drawing from the same pool of influences it always was. I'm not one of those people who's capable of making music that sounds like anything but me, for better or worse. I've noticed it's usually either 3-4 years ahead of what's popular or 3-4 years behind (back in 2008-9 I was really interested in the idea of "dystopian new age music" and nobody knew what the fuck I was even talking about, but by 2016 everything was dystopian new age music).  I really wouldn't recommend any other way of approaching music, especially these days.  Unless you want to make money.

 

 

 

Also, I didn't know there was ANOTHER psych revival going on.  That's at least the second one of the century so far althoughI'd say the third.  There was the big psych revival in the early to mid 2000s where a bunch of bands got famous by listening to Incredible String Band records (there's been a revival like that every ten years or so since the late 80s at least) and then there was the sort of heavy psych/space rock revival of the late 00s/2010s when every hipster out there couldn't stop talking about Hawkwind, and now apparently there's a third one?  I don't know I'm more detached from mainstream pop culture these days than I have been since I was in high school in the late 90s.

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yeah I think I already mentioned it but PLACEBO is a big theme of mine, but it could be an extended use of the word like a 'philosophical placebo' or something.

 

https://antlerlemon.bandcamp.com/album/snorquil-2

 

i released this but as a joke kind of, PLACEBO snor quil

 

https://djsaint-hubert.bandcamp.com/track/vibrations-of-pure-love-energy-emanating-from-unseen-dimensions-of-cosmic-truth-and-colour-placebo

 

I think people assume my music is automatically some dark shit but I'm just ANTI VIBEZ sometimes. I don't want the music to get noticed for vibe reasons. I think most songs are just good or bad vibes and like 'you sure you yourself aren't just having a bad day' sort of questions. One guy thought my album covers look like some world war i artist, it was a different reference pic they had but the guy painted like TRENCH WARFARE ULTRAMORBID stuff that I even saw in a textbook once? To be fair that was scary shit in history class seeing the painting

 

https://djsaint-hubert.bandcamp.com/track/translucent-walnut-oryx

 

and yeah this could be read as dark but I think the only common denominator if anything is UNHINGED I guess? And if you don't adhere to musical conventions it's an easy feel to achieve really

 

off topic this channel has some ACTUALMUSIC by pure data standards

 

 

don't do drugs but NONDRUGINFLUENCE sometimes lol

 

https://djsaint-hubert.bandcamp.com/track/5-am-acid

 

 

 

I'm never like OVERPRODUCTION obviously but sometimes I do an album where I take a step back and do simple sounds and it's mostly trackerstuff/midi-like ideas going on. It's nice just being on bandcamp somewhere and not having to have the pretense of a certain level of production all the time

 

https://djsaint-hubert.bandcamp.com/track/reverse-panty-melt-jock-itch-bonus

 

i dunno I think it was supposed to sound like Identikit. jock itch subliminals. is it still a subliminal if it was nonintentional

 

I was writing a short story that is bullshit but with a foreword "People trust a writer more when they say stuff about themself even if stealth". Yeah my issue with IDM stuff is it tries to be complete sci-fi abstractness kandinski so I guess I fight that a little with random pop culture song titles and stuff

 

https://djsaint-hubert.bandcamp.com/track/gummi-bear-helicopter-airstrike

 

random 90s COMMERCIAL for like jeans or something vapid threatens the viewer triggering a sampler WHO ARE YOU WHO ARE YOU. Was that the equivalent of Sophie Lemonade in a McDonald's commercial back then

 

I do political stuff sometimes but I really only want to do it stealth. Did I link asda core. asda UK version of walmart

 

https://djsaint-hubert.bandcamp.com/album/brian-eno-was-my-dentist-staccato-slugstep

 

for some reason I considered this album some kind of buddhist thing. 4th track has a sample. also dogs and pineapples haha

 

how did the dog get into that bag of skin

 

https://djsaint-hubert.bandcamp.com/track/huecoyl-vrs-brekkek-fishygod

 

this was like 37/4 or something

 

 

 

ahahaha I have so many times I don't assess my own music well though, there's lots of albums where I at least append old tracks where it feels like they totally fit a theme. But this one I can see where I thought it was too simple a track and was concerned about IDM cred or something haha

 

https://djsaint-hubert.bandcamp.com/track/pimfrancie3

 

 

https://djsaint-hubert.bandcamp.com/track/melty-chimera

 

you can still have a hobby like music but anything and you can still make it pretty real in your head. But um, people focus on hobbies and not what hobbies feel like?

 

https://djsaint-hubert.bandcamp.com/track/mark-ecko-studio-monitor

 

mark ecko studio monitor such jokez, he has a cheap line of headphones

 

 

I'm not spotting the Autistic Narcissism EP in there. Are you remastering that one?

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yeah I think I already mentioned it but PLACEBO is a big theme of mine, but it could be an extended use of the word like a 'philosophical placebo' or something.

 

https://antlerlemon.bandcamp.com/album/snorquil-2

 

i released this but as a joke kind of, PLACEBO snor quil

 

https://djsaint-hubert.bandcamp.com/track/vibrations-of-pure-love-energy-emanating-from-unseen-dimensions-of-cosmic-truth-and-colour-placebo

 

I think people assume my music is automatically some dark shit but I'm just ANTI VIBEZ sometimes. I don't want the music to get noticed for vibe reasons. I think most songs are just good or bad vibes and like 'you sure you yourself aren't just having a bad day' sort of questions. One guy thought my album covers look like some world war i artist, it was a different reference pic they had but the guy painted like TRENCH WARFARE ULTRAMORBID stuff that I even saw in a textbook once? To be fair that was scary shit in history class seeing the painting

 

https://djsaint-hubert.bandcamp.com/track/translucent-walnut-oryx

 

and yeah this could be read as dark but I think the only common denominator if anything is UNHINGED I guess? And if you don't adhere to musical conventions it's an easy feel to achieve really

 

off topic this channel has some ACTUALMUSIC by pure data standards

 

 

don't do drugs but NONDRUGINFLUENCE sometimes lol

 

https://djsaint-hubert.bandcamp.com/track/5-am-acid

 

 

 

I'm never like OVERPRODUCTION obviously but sometimes I do an album where I take a step back and do simple sounds and it's mostly trackerstuff/midi-like ideas going on. It's nice just being on bandcamp somewhere and not having to have the pretense of a certain level of production all the time

 

https://djsaint-hubert.bandcamp.com/track/reverse-panty-melt-jock-itch-bonus

 

i dunno I think it was supposed to sound like Identikit. jock itch subliminals. is it still a subliminal if it was nonintentional

 

I was writing a short story that is bullshit but with a foreword "People trust a writer more when they say stuff about themself even if stealth". Yeah my issue with IDM stuff is it tries to be complete sci-fi abstractness kandinski so I guess I fight that a little with random pop culture song titles and stuff

 

https://djsaint-hubert.bandcamp.com/track/gummi-bear-helicopter-airstrike

 

random 90s COMMERCIAL for like jeans or something vapid threatens the viewer triggering a sampler WHO ARE YOU WHO ARE YOU. Was that the equivalent of Sophie Lemonade in a McDonald's commercial back then

 

I do political stuff sometimes but I really only want to do it stealth. Did I link asda core. asda UK version of walmart

 

https://djsaint-hubert.bandcamp.com/album/brian-eno-was-my-dentist-staccato-slugstep

 

for some reason I considered this album some kind of buddhist thing. 4th track has a sample. also dogs and pineapples haha

 

how did the dog get into that bag of skin

 

https://djsaint-hubert.bandcamp.com/track/huecoyl-vrs-brekkek-fishygod

 

this was like 37/4 or something

 

 

 

ahahaha I have so many times I don't assess my own music well though, there's lots of albums where I at least append old tracks where it feels like they totally fit a theme. But this one I can see where I thought it was too simple a track and was concerned about IDM cred or something haha

 

https://djsaint-hubert.bandcamp.com/track/pimfrancie3

 

 

https://djsaint-hubert.bandcamp.com/track/melty-chimera

 

you can still have a hobby like music but anything and you can still make it pretty real in your head. But um, people focus on hobbies and not what hobbies feel like?

 

https://djsaint-hubert.bandcamp.com/track/mark-ecko-studio-monitor

 

mark ecko studio monitor such jokez, he has a cheap line of headphones

 

 

I'm not spotting the Autistic Narcissism EP in there. Are you remastering that one?

 

 

after "Listens to Actual Music and not just noisedarkambient EP"

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yeah I think I already mentioned it but PLACEBO is a big theme of mine, but it could be an extended use of the word like a 'philosophical placebo' or something.

 

https://antlerlemon.bandcamp.com/album/snorquil-2

 

i released this but as a joke kind of, PLACEBO snor quil

 

https://djsaint-hubert.bandcamp.com/track/vibrations-of-pure-love-energy-emanating-from-unseen-dimensions-of-cosmic-truth-and-colour-placebo

 

I think people assume my music is automatically some dark shit but I'm just ANTI VIBEZ sometimes. I don't want the music to get noticed for vibe reasons. I think most songs are just good or bad vibes and like 'you sure you yourself aren't just having a bad day' sort of questions. One guy thought my album covers look like some world war i artist, it was a different reference pic they had but the guy painted like TRENCH WARFARE ULTRAMORBID stuff that I even saw in a textbook once? To be fair that was scary shit in history class seeing the painting

 

https://djsaint-hubert.bandcamp.com/track/translucent-walnut-oryx

 

and yeah this could be read as dark but I think the only common denominator if anything is UNHINGED I guess? And if you don't adhere to musical conventions it's an easy feel to achieve really

 

off topic this channel has some ACTUALMUSIC by pure data standards

 

 

don't do drugs but NONDRUGINFLUENCE sometimes lol

 

https://djsaint-hubert.bandcamp.com/track/5-am-acid

 

 

 

I'm never like OVERPRODUCTION obviously but sometimes I do an album where I take a step back and do simple sounds and it's mostly trackerstuff/midi-like ideas going on. It's nice just being on bandcamp somewhere and not having to have the pretense of a certain level of production all the time

 

https://djsaint-hubert.bandcamp.com/track/reverse-panty-melt-jock-itch-bonus

 

i dunno I think it was supposed to sound like Identikit. jock itch subliminals. is it still a subliminal if it was nonintentional

 

I was writing a short story that is bullshit but with a foreword "People trust a writer more when they say stuff about themself even if stealth". Yeah my issue with IDM stuff is it tries to be complete sci-fi abstractness kandinski so I guess I fight that a little with random pop culture song titles and stuff

 

https://djsaint-hubert.bandcamp.com/track/gummi-bear-helicopter-airstrike

 

random 90s COMMERCIAL for like jeans or something vapid threatens the viewer triggering a sampler WHO ARE YOU WHO ARE YOU. Was that the equivalent of Sophie Lemonade in a McDonald's commercial back then

 

I do political stuff sometimes but I really only want to do it stealth. Did I link asda core. asda UK version of walmart

 

https://djsaint-hubert.bandcamp.com/album/brian-eno-was-my-dentist-staccato-slugstep

 

for some reason I considered this album some kind of buddhist thing. 4th track has a sample. also dogs and pineapples haha

 

how did the dog get into that bag of skin

 

https://djsaint-hubert.bandcamp.com/track/huecoyl-vrs-brekkek-fishygod

 

this was like 37/4 or something

 

 

 

ahahaha I have so many times I don't assess my own music well though, there's lots of albums where I at least append old tracks where it feels like they totally fit a theme. But this one I can see where I thought it was too simple a track and was concerned about IDM cred or something haha

 

https://djsaint-hubert.bandcamp.com/track/pimfrancie3

 

 

https://djsaint-hubert.bandcamp.com/track/melty-chimera

 

you can still have a hobby like music but anything and you can still make it pretty real in your head. But um, people focus on hobbies and not what hobbies feel like?

 

https://djsaint-hubert.bandcamp.com/track/mark-ecko-studio-monitor

 

mark ecko studio monitor such jokez, he has a cheap line of headphones

 

 

I'm not spotting the Autistic Narcissism EP in there. Are you remastering that one?

 

 

after "Listens to Actual Music and not just noisedarkambient EP"

 

 

I look forward to both

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I dunno how you mix up a moment of inspiring influx of memory (remembers random BT stuff in college and completely contextualized the grief at that time period) and having liked stuff and revealing influences and enjoying other people's stuff and nonstereotyped interests as autistic narcisism

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That Racked article was good; relying on algorithms leads to bland, homogenous content (how I hate the word content, btw, particularly when it's used in place of what we once would have simply called 'art' or 'music' or 'books').

 

I think this even extends to things like studio aesthetic; if you look at something like Attack Magazine (which has some decent articles) you'll see that pretty much everyone's studio in the 'My Studio' column is a variation on a theme, what we might call the 'Berlin Aesthetic': lots of clean white spaces with racks of tastefully vintage synths and a macbook at the centre, as if everyone's been a little bit groomed into thinking that this is what your studio has to look like if you want to be Mr. Big Balls Electronic Producer. Compare with the grungy chaos of some classic hip-hop producers' studios and you'll see what I mean. Again I'm generalising but I think the point still stands.

 

This is why I like guys like Legowelt; I get the impression that even if he'd never had any success whatsoever he'd still be living in a house full of plants and neglected '90s weirdsynths, letting the freak flag fly. Same goes, in a metal context, for Fenriz, and I get a similar vibe from Andrew Weatherall.

 

Algorithms are basically utilitarian but DULL in comparison with genuine freaky deaky music lovers

 

Edit: I should add that Fletcher's SNARE/RUSH zine is a good example of the realness that's still out there: https://forum.watmm.com/topic/91247-snare-rush-an-occasional-electronic-music-zine/

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Algorithms are basically utilitarian but DULL in comparison with genuine freaky deaky music lovers

 

next thing is going to be not algorithm. I wanted to figure out something where sound input would mess with patterns in some meaningful way so there could be some performance going on or reaction to the patch getting noisier etc. but I dunno maybe I was just trying to create a situation where it could be live stuff. Re: live stuff, it's kind of getting away from an aspect I always felt where 'this is kind of a journal just really abstract'

 

 

if you guys have followed there was an element of, I started music when stuff happened in the middle of college years (almost typed 't' feels like that was on purpose :( ) and I would work sometimes in this ridiculous not flashy but nice looking college library just on a laptop on tunez and I dunno I had headphones but don't know if people detected the 'working on stuff' aspect. I remember one kind of stoner guy said in the cafe another time ITS SO WHATSTHATWORD SYNCOPATED at least haha. Forgot if I even posted yet there was supposed to be an aspect back then of 'is this afterlife' dunno if I pulled it off or not

 

https://archive.org/download/ArchiveNo.1/kindergartencop2.mp3

 

nowadays my music is supposed to be like occam's razor skeptic 'nothing' at times and it might turn people off but the genre name I wanted was 'dark absurdity' and kind of element of people seeing what they want to see, someone really hated it but there can always be element of 'dark is absurd'. everything is context, things can be hilarious. only care about other people being gone ultimately because ON EARTH. MR SHOW is big aspect at times maybe "we're earthlings let's blow up earth things" would atheism just be Defunding the Space Program

 

 

also mixed feelings about eno but it should be established eno was momambient even if she liked the rock glammy stuff more

 

 

i dunno psytrance if LYFE and CONTEXT were known it could be seen where psytrance if 'music meant to take drugs to with no subtlety' could be a little annoying if there was an aspect of people who probably shouldn't be taking drugs. I dunno some diverse stuff happened wasn't there a STRAIGHT EDGE scene to do with drugz but that was hypocrisy?

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ugh like I dunno maybe I kind of respect snares for saying the "I'm gay now, super" thing? Regardless of what the heck he actually is, implying SNARES TECHNO BREAKCORE VIKING maybe is? Like pretty sure the actual real life vikings had /the gays/ among their ranks, lol. He doesn't even have to be gay or anything but I don't see it as a case of snares being immature retard imo, it's the fact that /snares/ is saying or claiming this? If random people assume gay=sensitivity maybe he's just gotten gay jokes amongst snares idiot friends for having 4700 cats at home? Just thru the 4700 cats he already had you DUPED about what the heck a breakcore producer is supposed to be like. If you assumed bald angry german no pets listens to Autechre it's still kinda a form of racism lol. Assuming certain 'scenes' lol can't make any, don't have to say 'good' but halfway creative or orignal music? Maybe others just know the music industry better about public image and want to actually get signed someday?

 

re: gay=sensitivity, wasn't like FRANCIS BACON gay and that's his depiction of a buncha men? What the heck. I knew a gay guy who had like favorite artists and it wasn't like Francis Bacon, but it was totally being able to see it from the perspective of like terrifying depictions of guys. I'm trying to get at that it's like "All IDM fans wear North Face sweaters" stuff is kind of poisonous musically if you extrapolate it to anything? People see a music video what people are wearing or the audience at a concert and everything's already kind of skewed what the intended audience is? My granpa heard Miss Balaton once, didn't really want to exactly but it was for the sake of, I wanted to consider myself partially responsible for the cool granpas/non-cool grandpas of the world, lol. Like music people kind of cloister the scene like 'no cool granpas need apply' sometimes even subconsciously lol, I dunno? He did kind of give constructive criticism my stuff was too repetitive which it kind of was at the time, I was also exploiting some time signature gimmick he might've not picked up on though, we both had our own background musically where we were coming from. I know I randomly got upset about BT's doggo but I really do think I made it REAL AS FUCK with pets and with actual people kind of said my peace before they were gone. Feels

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I'll try to listen to more stuff on here, I just like for one thing making music is like ONLY ENERGY to me at times, and second spi is maybe assuming narcissism but I think I wrote enough to make the case for 'own thoughts absorption' rather than 'self absorption' :p

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That Racked article was good; relying on algorithms leads to bland, homogenous content (how I hate the word content, btw, particularly when it's used in place of what we once would have simply called 'art' or 'music' or 'books').

 

This is why I'm kind of skeptical of that new Sononym program in the Superbooth '18 thread.  If I'm working with samples the last thing I want is machine learning "AI" involved in my selection process. Machine learning is why modern search engines are completely useless for actual research purposes or any other kind of deliberate searching, why would I want that junk in my creative process (other than occasional, deliberate experiments)?

 

I haven't read The Mind of God since I was 14 but I remember being especially struck by the parts covering our species' uncanny ability throughout history to look at the current cutting edge of technology and decide that it is a perfect microcosm of the universe, even though it's at best a decent analogy for an abstract, limited set of real world phenomena. That book spends a decent amount of time talking about the example of the Divine Watchmaker of the early enlightenment (watch movements were the most sophisticated technology in the Western world at the time, so we began to see the universe as a monstrously complex, precise "watch" that was constructed and set in motion by a deity) and comparing it to the computational model of reality that was popular at the time and is so much more popular now that most people take it for granted (the universe is just algorithms, MAAAAAN - never mind that mathematics in general is a symbolic system that developed to work with simplified, abstract models of real world phenomena that happen to be consistent and accurate enough to be very useful when and if they can be designed well - it's a map, but it's not the terrain and its accuracy varies a lot).

 

Hell, I go so far the other way that even if I'm sampling from something that I only have access to online I usually do it by patching a line out to the SP-303 that LimpyLoo gave me a couple years ago (I jumped all the broken traces where the PCB was cracked but I wouldn't trust it for any sort of real performance since half the pots aren't really held down by anything anymore, so I mainly use it as a sample prep tool, because it sounds GREAT for certain stuff), because I find myself making better decision and working more creatively with samples when I'm not working with a mouse looking at a monitor.

 

oldmanyellsatcloud.gif

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I haven't read The Mind of God since I was 14 but I remember being especially struck by the parts covering our species' uncanny ability throughout history to look at the current cutting edge of technology and decide that it is a perfect microcosm of the universe, even though it's at best a decent analogy for an abstract, limited set of real world phenomena. That book spends a decent amount of time talking about the example of the Divine Watchmaker of the early enlightenment (watch movements were the most sophisticated technology in the Western world at the time, so we began to see the universe as a monstrously complex, precise "watch" that was constructed and set in motion by a deity) and comparing it to the computational model of reality that was popular at the time and is so much more popular now that most people take it for granted (the universe is just algorithms, MAAAAAN - never mind that mathematics in general is a symbolic system that developed to work with simplified, abstract models of real world phenomena that happen to be consistent and accurate enough to be very useful when and if they can be designed well - it's a map, but it's not the terrain and its accuracy varies a lot).

 

ha, I get anti-conspiracy at times but this really hits home for me. People believe stuff like 'elon musk is right, reality is a simulation' when it's probably HUMANZ, collective human opinion/thoughts and then if it dates back to Enlightenment stuff it's like the same guys these people think are psycho Freemasons etc.? (Aaron Funk lol) aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

 

even if they want to be anti-Enlightenment figures, they're projecting Enlightment ideas in their theories? aaaaaaaaaaaaaaaaa

 

 

the algorithmic stuff was definitely a fun experiment though, even if 'random' what is 'human' randomness or human complexity in music? Sort of thing. It tied into anti conspiracy stuff to me I might've mentioned, the "logistically impossible to manage' atmosphere of the music ;p

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it's as if they hear the word "Enlightenment" and instantly think ILLUMINATI (pavlovian response) and are instantly turned off and don't want to research 'is this me?' :P

 

even if I didn't like Freemason stuff I'd take the high road and say 'it seems 'empty'' and not being like 'omg they sacrifice babies in there'

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I don't know why my phone capitalized JARON, I've never deliberately typed that word in all caps and have probably only typed it on the phone a few times ever.

 

PRRDICTIVE AI IN ACTION

 

 

Oh hey, it missed the actual typo there, too.

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I need to read more in general. A music guy I respected was like simultaneously, he liked some boring psytrance/berlin school stuff but also Autechre and stuff, and then I know he read a lot. And he was a drug guy but he admitted like 'music + books are the closest thing" to him. College was the closest thing to me lol

 

Edit: and then I do read but it's like wiki articles on HADAMARD TRANSFORM did I mention? I kind of, if I only have limited energy for reading I like to read how to do stuff or how it works

 

Edit: might've mentioned before but I do read art theory stuff, psychology stuff, don't do drugs but read what drugs do

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