Un text foarte bun al lui Robert Henke (Monolake & Ableton) despre conditia dubioasa a live performance-ului in muzica electronica, istoria conceptului, player piano, tape concerts, Mixtur Trautonium, the golden age of electronic super groups, live early techno, faima si miniaturizarea contemporana. Din pacate textul trebuia sa aiba doua parti, cea de aici e numai prima, cea care pune problemele si dilemele. Banuiesc ca partea a doua incerca sa dea solutiile. Nu a mai aparut.
“The laptop itself does not contribute anything on its own; we do not write a Symphony for Dell, perform a Suite for Six Vaios or Two Crashes for Power PC, unless we want to be very ironic. What makes it an instrument is the software running on it, and this is where things start to get complicated. The audience looks at a laptop while listening to music, but what exactly creates the music and how the performer interacts with this tool is completely non-transparent. The laptop is not the instrument; the instrument is invisible. And to obscure things even more, we have to realize that most of the time there is not one single instrument and it is not ‘played’ by the performer. What really happens and what remains completely undecodable for the audience is more described as a huge number of instruments played by an invisible band sitting inside the laptop. The only visible part is the performer conducting the work in a way that looks extremely boring in comparison to the amount of physical work carried out by the guy forcing a full-blown orchestra of stubborn professional musicians through a symphony. The minimum difference between pianissimo and a wall of noise? One pixel, 0.03mm.” Robert Henke
“happy music is easy to consume, you can just put yourself in the music and see what happens. it’s passive, you don’t have to do anything for it. with techno, it is not only dark but also very subtle and intense. it can make you lose your mind, make you freak totally out.” RA
“there’s no real definition of a good techno track – you just feel it : character, soul and a kind of hypnotic, industrial feeling. … for me purism means clarity, deepness and simplicity – that’s what techno stands for.” boing poum tchak!
“People jump on a trend, they develop a name, they blow up huge, they come and go. It’s because they are not connected to the artform. Whether it’s techno or house or minimal, they use it as a product, not as an artform, so there’s no longevity in it. My thing is to identify with your profile, tap into your musical roots, pay attention and don’t forget it – but also, look forward, and don’t dwell on the past. Then you’ll have longevity. Things are always gonna come in cycles, everyone’s gonna have their turn to tell the story. And depending on how you tell it, that will determine how long you last in this game.”
Dosarul tematic “Mortul viu de sub scara fara trepte – texte despre moartea minimalului” revine. Mai haios, mai inteligent, mai confuz.
“Minimal was a subtractive synthesis, not least of all because it removed the history-bound, sex, drugs, colour and identity-obsessed genres of the 90s: house as house couldn’t, wouldn’t stop being black and gay (Terre, shhh, no more AIDS talk and Madge bashing, okay… ); while techno couldn’t, wouldn’t stop getting all paranoid-schizoid – am I black, am I white? Do I originate from Detroit, Berlin, Roland, Poland, or just amphetamine abuse…?! Golly, the confusion was enough to make you attack people with layer upon layer of snare loops… minimal’s response was to wiggle its bassline-driven skinny boygirl ass out of this impasse by borrowing ‘as little as necessary’ from both: the boom click, the bassline (thank you, house), the sci-fi, and the mainroom dancefloor (thank you, techno/Richie). It was newly minted, fresh-faced, exciting: eighteen year old kids with laptops who didn’t know (or care) who DJ Derrick Jackmaster Levant was could send clubbers on down, down, down! past Fred Schneider and the Rock Lobster, right down into the k-hole, the coked hell, the e wasteland, right back into the emptiness of Berlin bliss, Tuesday 4pm: you could move to Berlin, get a Hitler Youth inspired haircut (vicious fade on the sides, long, asymmetrical fringe in front), start a label, print t-shirts, and be cool.” mnmlssgs
“Black Meteoric Star is a channel for my interest in dance music and dance culture. It’s also a way to experiment with pitch and rhythm relationships using a limited set of tools. The tracks are done in single live takes. The major difference between Black Meteoric Star and any of the earlier projects I’ve done is that it’s the first time I’ve made the choice to apply the compositional techniques and instruments I’ve used in more “serious” music towards the end of basically making intense and enjoyable dance music.” Gavin Russom – FACT interview
Popoviciu speaking: Piesa e o colaborare dintre Markus Homm, Jay bliss si subsemnatul, si a luat nastere cam acum un an de zile. Intre timp ea a ajuns la urechile lui Solomun, seful casei de discuri Diynamic Rec. care a hotarat sa o lanseze atat digital cat si pe vinyl alaturi de alti doi artisti. Sincer sa fiu, ne ne asteptam ca piesa sa aiba un succes atat de mare [n.r.: locul I in top 50 Resident Advisor pe luna Mai]. De fapt e un fel de filtered house al zilelor noastre, eu asa o vad.
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