24.08.2009-11:28:11 :: Remember, remember, the velvet November


node:	24.08.2009-11:28:11
template:	4
parent:	NEXT & EXPERIMENTALNE HUDBAE
owner:	normsko
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created:	24.08.2009 - 11:28:11

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ABSOLUT
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za kap bambino som aj ja.

a tiez - gang gang dance,lucky dragons,telepathe a crystal antlers

ak by bol takyto lineup, velmi by ste potesili, alebo aspon ak by boli aspon tie baby telepatky :-)

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crystal antlers rozhodne - teraz som videl dvakrat po sebe a vzdy to bola totalna jeba.
podobne ako health.

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telepathe by som tiez rad videl niekde, ale na next su prilis pop.

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taky pop neni nikdy zly. no a mohli by byt kludne aj solo koncert, mimo next ak su teda podla teba akoze prilis strednoprud ...

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tiez nemam nic proti dobremu popu, a nie su az tak strednoprud, len si nejak tazko viem predstavit ze by hrali napr. pred otomo yoshihidem:). ovela viac pasuju na fuckinghipster festivaly ako off alebo creepyteepee.

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hmmm ja si ich viem celkom dobre predstavit v dramaturgii s excepter a ggd .. akoze vysek kvazy sceny ..
imho "next" by nemusel znamenat zakonite len impro/noise.. kludne aj mutantske veci by tam mohli byt ..

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worst "genre" created by a journalist: Hypnagogic Pop-)) http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=73921

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samozrejme vzdy plati newest=worst:)

inac podla lastfmu sa zatial lepsie uchytil chillwave so 47 pouzitiami oproti 18 hypnagogickeho popu, zda sa ze carles (via hipsterrunoff) ma vacsi vplyv ako keenan (via wire)!

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"At least hypnagogic pop as a genre name is not as bad Pocahaunted is as a name for a band."

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mutanti iste, ale popu je dost na inych festakoch, nemyslis?:)

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ale hej hej, toto je ine.. ved si vypocuj.

btw cital som dnes (via ach) :

"Offering a refreshing antidote to Noise's refusal of dialogue, Ariel Pink's Invisible Jukebox underlined the reciprocal relationship between underground music and pop, insisting that "...everything in rock'n'roll music comes from experimental music, even Hall & Oates... It's all experimental to me, everything that's pop. Every time there is a breakthrough in pop is because of the experimenter behind it that lifted it up." Pink talks of pop as music that had been successively degraded across the decades, and of his desire to degrade it even further."

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"Been catching up with the reports from this year’s No Fun Fest, both from participants and attendees, and the feeling I get is that it was a pretty divisive weekend, split between the more musically adventurous noise satellites and the more fundamental power electronics hardcore. I even heard some dopes listing Chris Corsano, Sonic Youth, Bardo Pond and Jazzfinger as among the ‘worst’ of the weekend, which is kinda hard to believe and contradicts most of the enlightened eye-witness reports I’ve received. But in a way it’s no surprise. There has long been an anti-musicianship schtick amongst the more cornball noise artists (not to say a depressing anti-success mindset) and anyone who can actually play anything – or even use an instrument to do anything else other than ‘subjugate’ their audience - always tends to get their backs up. In a scene that would appear to reject accepted standards of musicianship - either way – the lowest form of noise dolt always seems to feel threatened by the ‘musician’, which only goes to show their lack of true faith in their own process, not to say the narrow-mindedness of supposedly experimental, forward-thinking artists.

It’s funny (or sorry, it’s not) but this year’s No Fun seems to dovetail with a feeling I’ve had recently, variously signaled, that Noise, as a creatively accelerated period of flux, is pretty much over, with the more interesting musicians withdrawing or progressing into more individual non-generic modes while the latest nth generation literalists combine with the last-ditch recuperation of mindless bottom-of-the-barrel garbage (I mean, Grey Wolves?!? What next, deluxe 4 LP retrospectives from fuggin Nocturnal Emissions? Uh, wait a minute…) in order to retreat back to the same self-congratulatory ghetto that power electronics has been festering in for the past few decades. You only need to put the feelers out and take the temperature of the current UK Noise scene to see what a conservative and artistically redundant prospect it has become, with Noise's prior urge to interrogation degenerating into vile racist idiocy complete with a support system that provides a platform for this kind of mindless trash. Of course there are still a few interesting artists working in noise-qua-noise but it really has become the ultimate loser with a chip on his shoulder schtick. I was always fan of noise music but never a fan of the culture.

So, yeah, I think from now on we’re gonna see a retreat into fundamental noise-isms and the re-establishment of Noise as a ghetto genre on the one hand while on the other a progressive artistic advance out of Noise by the more ambitious artists while it continues to infect new forms. Oh yeah, and loads of new sub-par generic doom/death metal groups featuring noise artists, the other friendless adolescent fundamentalist’s genre of choice.

No Fun 2009 exposed a fault-line that has long run through contemporary noise, one that divides radical and conservative factions, only in the reverse world of noise the conservatives tend to be the ones most associated with a fixed set of ‘extremities’ while the radicals are the ones more willing to incorporate ‘traditional’ modes. I think Carlos Giffoni has consistently programmed interesting festivals that combine classic noise moves with wildcard satellites but it looks like sections of the audience are simply not out for adventure. So let it die."

moze na tom byt nieco, ale ked to vztiahneme spat k telepathe: je tu rec od odkloneni od nihilnojzu k niecomu 'popovejsiemu'. ok, telepathe apod. su vsak na druhom konci spektra imho, odklon od konvencneho popu k trosku nezvycajnejsiemu zvuku. je to experimental len vramci pitchfork univerza, co sa zda byt iny hudobny svet, ako obyva no fun a next.

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inac fasa clanok, som sa pobavil na tom..

ja moc pitchfork neriesim, naposledy som tam na recenzie kukal pred dvoma rokmi a telepathe sa ku mne dostali nejako viacmenej nahodne. v ramci mojho zvukoveho univerza mi pridu experimentalne az az. ak by som mal vztiahnut nieco z toho clanku na next tak by to bolo prave si zobrat vystrahu z toho "self-congratulatory ghetto", pretoze mne, a kludne ma tu ukamenujte, pridu telepathe ovela viac experimentalnejsie ako polka free-improv "avantgardnych" veci co na nexte boli poslednou dobou. dovod je asi taky ze zatial co si telepathe (aj ked zneju pop pop) razia vlastnu cestu niekam do neznama, tak free-improv jazzle projekty starych panov zneju vsetky rovnako a nevedu nikam.

howgh. a teraz ma mozte .. zdrbat... whatever... na next sa tesim .. ci uz s telepathe alebo nie ... o to nejde ..

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nic proti dobrym pesnickovym kapelam: mne sa napriklad telepathe pacia, ale to uz by sme sa mohli rovno bavit o experimentoch u bjork alebo roisin murphy. hoci hranice su dost neostre, vsetci vieme, ze next neni festivalom popularnej hudby. ani festival vaznej hudby a ani jazzu, ale skor hlada tvorive a pokial mozno nadzanrove veci - trebars ortodoxny, vyhraneny noise tu zaznieva skor vynimocne (mne sa paci ina veta z toho clanku: "I was always fan of noise music but never a fan of the culture").
ak medzi tu polku nezaujimavych free improv avantgardnych veci pocitas napriklad kazuhisu, mintona, hautzingera a stangla, ktori sa minuly rok dali dokopy na objednavku nextu, tak to sa asi nezhodneme - pre mna to bol mozno najvacsi zazitok, aj ked minton ma uz riadne cez 60.

popove alebo tanecnejsie veci sa na nexte objavuju skor ako ozivenie, ale tiez sa snazime aby boli dost neotrele (monotekktoni, dj tendraw, jason forrest, yoshihiro hanno...).

mam vsak pocit, ze tu velmi chyba alternativny (popovy) festival a la creepy teepee, kde by sa clovek mohol dosyta vynadivat na brooklynske hypnagogicke kapely... co tak nieco zorganizovat? chce to len trochu aktivity, ne? netreba predsa vsetko nechavat na skostnatenych over-30 vyznavacov avant-free-exp-cutting-edge sceny-))

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jj, myslim ze sa nezhodneme :) nepamatam si to presne ale z toho vecera ma skor oslovili gentle evil..

a dodam uz len - hypnagogic ? - bavime sa o telepathe a tie do "zanru" nespadaju, clanok som nalinkoval len kvoli jednemu citatu, takze ano haha, zabavny nazov, zly zaner, whateva, ale je to imho offtopic v tomto threade (brooklynske hypnagogic kapely,, wtf ??)

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podla mna o experimentoch u bjork sa kludne mozme bavit. mne osobne prijde ze bjork ma napr kazdy album iny, zatialco freejazz impro paprdovia zneju strasne podobne az rovnako poslednych 100 rokov prinajmensom (a to nezvelicujem!)

(aj ked telepathe a jason forest a tie ine veci na ozivenie su pre mna zase opacny extrem a tiez nuda)

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imho netreba generalizovat. ako sa na minulom nexte ukazalo, niektori free impro (jazz by som vynechal) paprdovia stale davaju tak, ze mlada generacia ma co dohanat... a hlavne maju dachtori o 20 rokov viac ako bjork-)

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no mozu byt experimentalnejsie z isteho pohladu, ale nemusia pasovat do zaberu/dramaturgie nextu. pre dalsiu ilustraciu vid festivaly "novej hudby" a ze co sa tam hra a nakolko sa to da povazovat za nove, a ako by to islo dokopy napriklad s takym timbalandom, ktory napriek tomu, ze posobi v oblasti nakomercnejsieho bitchpopu, je vseobecne povazovany za najvacsieho inovatora dekady... su to rozdielne hudobne diskurzy asi.

inac pre mna je tiez momentalne hudobne najvzrusujucejsie a najexperimentalnejsie spojenie uplneho bordelu s uplnym popom:), ale podla 2 rocnikov co som doteraz zazil, next jednoducho nie je o tom a ani to nnejak neocakavam - mozno nespravne.

ad timbaland:
It would be easier to just come up with one thing that was musically great about the decade, because it would probably be Timbaland. I still propose that "Get Ur Freak On" permanently stopped experimental instrumental electronic music in its tracks. His casual brilliance in the studio has humbled us all at some point. matthew herbert
+
The Timbaland Era
+
BONUS
“That Ill, Tight Sound”: Telepresence and Biopolitics in Post-Timbaland Rap Production
Abstract
This article investigates the music created by current rap and R&B producers such as Timbaland and Pharrell Williams in order to understand how their works evoke certain constructions of sonic space. The opaque, spare, two-dimensional qualities of the virtual spaces assembled by these artists serve as a useful window onto broader cultural forces, such as the peculiar short circuit of space and temporality that Paul Virilio evokes in his concept of “telepresence.” The author argues that the sonic construction of telepresence allows contemporary black music to comment upon the notion of “biopolitics,” the reduction of the political to the horizon of the body. (lol)

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dramaturgia je jednoducha - hladame veci, ktore vyjadruju slova new, experimental, advanced music, bez zanroveho (aj vekoveho) obmedzenia, muzikalne, napadite, hrave. niekedy to vyjde, inokedy menej, nieco funguje skvele z cedecka, ale na podiu vyznie zdechlo, niekedy vidis vyborny koncert, no potom kapelu privezies a zazitok je polovicny...

hlavne si nemyslime, ze mame patent na vkus, po 10 rokoch hrozi riziko zacyklenia v kruhu. preto dik este raz vsetkym za tipy, co nevyjde na festak, skusime urobit pocas roka

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ale samozrejme, ze mame patent na vkus!-)

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sak v pohode, viem o co ide, ak teda myslime tu istu kapelu :) ja by som ju dala mozno na vianocny vecierok alebo otvorenie sezony, cim ju nechcem znizovat, mne to tiez s nextom nejde dokopy. ale to neva. mohli by sa zavolat, ak je velka vola ludu, do A4 tak ci tak.

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sak ved mutantske byvaju

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pravda. pre mna urcite

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s prvou vetou by som si dovolila nesuhlasit :)

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ja s druhou, tri prispevky vyssie :)

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mam v tom chaos .)