fresh good minimal » 2007

Nisip

This is not minimal

And this is not an escape

Posted in outfun on September 30th, 2007 by fresh good minimal | 0 Comments

Blogspotting: Aging and Techno

first issue:

“As a man (and a father) in my 30s, I constantly ask myself why this music (yeah, techno/house/electro, that’s what I’m talking about) is still relevant (to me). Now, I’m being completely subjective here, but as I’ve followed the path that normal society expects me to take (career, relationship, house, kids), where does my love of deep electronic music fit in, especially as the majority of my peers have left this shit behind, and its importance seems less and less significant?
[…]
But back to house/techno and how it is perceived in society. In this city (Dublin, Ireland), you go to a club and the average is under 25 (it seems that way to an individual edging ever closer to middle age). But in Berlin, for example, that age demographic is radically different. The city is techno. Someone in their 30s does not feel out of place (a darn good feeling), because the music is ingrained in the culture. It’s given much greater credence and respect – it has legitimacy, something that it seriously lacks in Ireland and, to a certain extent, the UK (even after all these years). It has certain connotations – it’s drug music, it’s simply boom-tsk-boom-tsk, it has no perminancy, it’s not even music – that’s what some of the detractors say (okay, my dad). Well, they’re wrong – this culture has legitimacy and, hopefully, is not ageist (heck, most of the top djs and producers are middle-aged, why not the fans?). I’m gonna stick with it, even if I embarrass my kids with my dancing. They can have their R&B (when I think of that term, I think James Brown, not Usher) and I’ll keep my Surgeon (still the man). I may lose my dignity, but I guess that’s the price I’ll have to pay.”

second issue (from an answer of some guy):

“Dance music is not legitimate because it critiques certain assumptions about art and ultimately about the self that you find in the Anglo-American perspective.
The most important of these is the rejection of the indivisible self
[…]
So dance music is the music of the decentered self, and this gives rise to the “disposable” nature. I put disposable in quotes because in reflects a bias toward the artifacts of music — tracks, songs or albums. Traditionally, the creation of these artifacts is considered to be the purpose of music for those that insist on an indivisible self, because they represent the artist after he has died, as in the phrase, “I am listening to Mozart.” It’s as if the artist achieves immortality through his or her artifacts, so preserving them and identifying their original author is very important. Remixing, sampling or otherwise blurring the bright lines of authorship is seen as suspicious, and the concept of artifacts that are collectively owned, such as myths, legends and other forms of folk art is rejected. The main criteria of whether an artform is legitimate is whether it has the potential to confer “immortality” on individual artists.

So where traditional art is seen as generating metaphorical discrete objects, the better metaphor for dance music is ocean waves. A wave only have temporary existence, and it never exists independently of the ocean — the body of influences and cultural factors — that produced it. So dance music doesn’t produce eternal artifacts that stand for artists, but a series of waves that come and go but are spiritual successors to each other. Of course, all kinds of music contain both of these metaphors, but dance music is unique in emphasizing the wave aspect and also unique in emphasizing dancing, a physical activity as opposed to a cognitive one, i.e. not viewing music logocentrically, as a kind of language or speech, but something “primitive” that moves the body.

Some fans attempt to “normalize” dance music and downplay its critique of traditional assumptions. This is a doomed enterprise, because as many parents have said, it’s bad music. And they are right. By which I mean that when we judge dance music by the normative standards that are embedded in the mainstream concept of music, it fails. It can only succeed by pointing out that there are other standards that apply, and individuals who attempt to legitimize it according to mainstream criteria are actually hurting it, because they are re-inscribing the universality of mainstream criteria instead promoting a truly alternative perspective.”

Posted in de-dans on September 27th, 2007 by de-dans | 0 Comments

hang

ping pong cu freshgoodminimal

azi: hang. unul din instrumentele cu sunetul cel mai ‘electronic’ din cate am auzit. l-am descoperit pentru prima oara la un tip in park guell din barcelona si am ramas inmarmurit si indragostit. primul filmulet e chiar intalnirea mea, al doilea e un related de pe youtube care suna foarte bine.

Posted in de-dans on September 25th, 2007 by de-dans | 0 Comments

inspirescu mania

nu o sa-mi trasform blogul intr-o cronica a succesului lui pedro ca producator dar pentru ca nu am reusit sa gasesc nici un link de direct download spre tips o sa postez un set facut de ronan fitzgerald in care apar 3 din cele 4 piese.

Lawrence-Rabbit Hole (DJ Koze Remix) (Mule Electronic)
Andromat 3000 and Jan-Microemotion (Morris Audio)
Guillaume and the Coutu Dumonts-Ocre (Oslo)
Petre Inspirecu-Galantar (Cadenza)
Lawrence-Place To Be (Daniel Stefanik Mix) (Liebe*Detail Speziale)
Chica and the Folder-Angelus Novus (Ricardo Villalobos Mix) (Monika Enterprise)
Andromat 3000 and Jan-Emovere (Morris Audio)
Samim-Blackdeath (Get Physical)
Radioslave-No Sleep 3 (Dedication Sound Channel Mix EQ’D) (Rekids)
Petre Inspirecu-Rackadoom (Cadenza)
Modeselektor-The Dark Side of the Sun featuring Puppetmastaz (2000 and One Mix) (Bpitch Control)
Petre Inspirescu-La Creme Bonjour (Cadenza)
Guillaume and the Coutu Dumonts-Mederico (Oslo)
Justin Martin-Nightowl (Buzzin Fly)
Pikaya-Jedi (Cadenza)
Marcel Fengler-Early Glow (Ostgut-Ton)
Marcel Fengler-Playground (Ostgut-Ton)

download

le: si un review la resident advisor tot de ronan fitzgerald

Posted in de-dans on September 25th, 2007 by de-dans | 3 Comments

I like

Astazi m-am invartit cu capul in nori

printre viata si reprezentare

printre expuneri sofisticate de forme narative nonlineare, insotite de performanta teatrala si de manipularea electronica a spatiului, a timpului si a imaginii.
take my hand. teach me to remember. teach me not to remember
timelines – joan jonas

Posted in outfun on September 25th, 2007 by fresh good minimal | 1 Comments

monday blues

foarte frumos sambata la embrio. robotnik disco-electro si modelul mai slab ca de obieci dar bine. oricum, altfel. ca o dezintoxicare de minimal. antren, lume misto, alternativ. disco privit pentru primele dati cultural. la noi. s-a legitimat ca valoare dar nu spuneti asta oricui, e greu de explicat. superficialitate de calitate.
iar petrecerile private ar trebui sa fie viitorul clubbingului. exista o evolutie a scenei si o evolutie a scenei personale. ma bucur pentru una dar o savurez pe cealalta. dupa o varsta, iti e din ce in ce mai greu sa te lupti cu copiii din martin. imi place muzica, line-up-ul, dar oamenii ma resping din ce in ce mai mult. nu stiu daca mai pot sa ii ignor numai pentru muzica. trebuie sa ne creem zone de asemanare si sa inventam locuri si petreceri noi. pentru noi. dupa atata entuziasm pentru “scena” e momentul pentru putin egoism. “scena” a facut masa critica, ne putem permite sa nu mai sustinem oricum, orice. segregare pentru diversitate. sa redevenim snobi, e o reactie de aparare.

le: eu lunea nu pot sa ascult muzica.

Posted in cum a fost?, de-dans on September 24th, 2007 by de-dans | 0 Comments

La colt

Minimal Acoustic Band
Soundul aborigenilor australieni, muzica japoneza si orientala, mixata cu dnb, techno si break beat, prin laptop si cateva instrumente SF.
Baiatul cu ochelari, care traieste momentul, bate la Hang, o percutie din otel, pentru sunete suspecte si la doua cutiute din lemn, pentru sunete minimale. Celalalt, mai hippie, canta la Digeridoo, tot un instrument australian, venit din familia trompetelor. Din cand in cand, mai bat in gong.