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Yeah, I’m definitely sticking with practice until further notice. Maybe when I’m older and more jaded with it I’ll focus on technique; I hope to eventually, for obvious reasons. I’ve noticed the “floundering” you mentioned (i.e. repeating myself) on quite a few occasions, but all I needed to do in those cases was listen to more music to emulate elements of, with MIDI transcriptions (or decompiled from the source) when possible. I suppose that’s a kind of studying, but it comes naturally enough to me that it doesn’t feel like it. In terms of language learning, this is comparable to comprehensible input (https://www.youtube.com/watch?v=NiTsduRreug). No such thing exists for production, however. (Keep in mind less than 5% of what I write is freeform or otherwise genre-based.)
I like your overview of the pros and cons a lot, and if you end up delving deeper into production, we should definitely collab at least a few times, being at opposite ends of the spectrum.
The language for Xochitlán is apparently Nahuatl. This might help with more translations of his titles.
I did a much more clear and concise rundown on my creative (lack of) process on Twitter earlier:
I no doubt would be able to write a lot of stranger stuff faster if I studied formally. One of these years I want to have the attention span and lack of stress to cross music over with memorizing technical terms and symbols at a time I’m interested in it.
Just one hobby I’m still not comfortable making a discipline though…
Currently it’s like a space where I want to go and communicate with its forms of sentience without having to worry about knowing the language. It starts out feeling embarrassing each time, but once I’m feeling “in it” that stops.
I think the intermediate fluency stage (http://ascd.org/publications/books/108052/chapters/The-Stages-of-Second-Language-Acquisition.aspx) is the point I’d start calling someone a composer. (I still don’t know what to call myself.)
Now that I’m more aware of how deep it goes and how simple it makes a lot of my stuff compositionally I feel better keeping it to myself, though.
As for mood, I just don’t ever try to convey one other than imitating an element of a track I already know. It just…sometimes comes about, sometimes doesn’t.
I don’t know what motivates me to continue, honestly. For a lot of people it’s emotional expression, but to me that’s what listening is for. Could be why I go entire months and years sometimes with no output.
The bolded parts are what I was trying to get at with the “thoughtlessness” (used in a neutral sense) about it.
Good to see another active DJ enter the fray! Like I said on the previous version, superb track selection with underplayed but top-of-the-line tracks all the way through. Mind Distortion into Aurora is probably my favorite transition given the harmonic overlap. Moving Power Conduit up or down a semitone fits it into the circle of fifths there I think, though it’s best not to take that as gospel and the transition doesn’t sound bad to my ears in its current state anyway. Just something to consider. Regarding the last two tracks from your previous one, a “madness finale” certainly isn’t foreign to most visitors here, but it didn’t come across as effective to me when it required the BPM to be lowered instead of the other way around.
Keep it up (with production too if you don’t mind me saying so), and looking forward to catching up sometime!
I’m glad it did for somebody! Because looking back, it really went all over the place. The main thing for me is the way it shed a new light on the name of the site in a very freeform-appropriate manner.
For me emotion comes first when it comes to the appeal of music, though I can’t imagine most of what I listen to having much if any emotion put into it, so that would be emotion in the listener, i.e. myself. This is also why I don’t dismiss ambient/drone/noise and the like, as I don’t pretend to have definitions of “good” or “bad” in creative works other than whether or not they please me at a given moment. My top 10 list is thus a ranking of how many moments each summation of sonic elements happened to appeal to me, weighted by how powerful those moments were (not that that’s what was going through my head at the time…) Maybe I’d benefit from a more properly thought-out philosophy on art, but I’m not good for much more than this off-the-cuff type of thing at present. Maybe when I’m older we’ll see; for now I just have an unpopular opinion on what constitutes quality.
It definitely does rule out lyrics for me if they’re in a language I understand, though. I don’t think any vocalist has any business telling me what to feel. As much emotion as clearly goes into freeform and related electronic genres, that type of music shows instead of tells (again, id over ego.)
This is quickly turning into another personal rant, so it’s just as well I can’t think of what else to add.
(This place has become so quiet…could it be a lack of live events that’s done it?)
- This reply was modified 3 months, 1 week ago by Sherkel.
Good to get confirmation you two were able to have a fun time for me, haha. 😛 Thanks for all the clips and details too. It seems like the relatively slower stuff is easier for most crowds to get into, considering who played. Not a problem if the music is still in the FINRG/Romancer tradition, I guess. I’m not even sure I’d appreciate any of it nearly as much live anyway, but I’ll cut this digression off here. I hope Iron Squid was a strong enough finale to make up for the beginning, as much as Megatherium‘s grown on me…and there was a surprise appearance from Rx too?!
I believe Alek played the faster remix of Score in an online set recently. Shouldn’t be too hard to find a decent portion of it.
Also, at the same time this event happened, I hear Shimo was in the middle of playing live! The setlist was as eclectic as we’d expect, but with Self Extortion and Quicksand as immediate standouts. Bet there’s a good story to be told there. 🙂
Interestingly, I was planning to post a similar thread myself, but instead about video game arrangements and why they’re so unlikely to be the producers’ own transcriptions. This is definitely more accessible though and gets a similar message across. I only know of one example as I never got that deeply into other electronic music, which would be:
(Pay special attention around 3:00! Or skip to it.)
Actually, there’s one more, but it might not count. The build out of the breakdown at least suggests some influence, though:
- This reply was modified 7 months, 2 weeks ago by Sherkel.
Lab-4, Alek, Proteus, AND Carbon Based?! Some possible Tyranoid/Strongstream too. Such an incredible lineup for an event that I…absolutely can’t make it to, unfortunately. 😛
Amazing that all of them are still playing live this long down the line, though. (It at least offsets the bitter taste of others not making it that far…)
Good to see you back, anyway, and somehow getting this community to actually speak up again. Hope it’s as great a time as it’s looking to be, or better!March 27, 2019 at 9:41 am in reply to: Paokala – Neutron Highway and !Cube – Bullet Sequence (Byproduct Remix) #3884
Haha, I appreciate the shoutout and the “educated guess”! Oddly, though, I’m leaning more toward Alek’s original this time. Odder again, looking back to Distant Worlds, I think I’d take it over both, plus more…seems I can’t even predict my own taste. I should probably just go through all five of these albums.
Why didn’t I think to look a bit further, huh? Thanks for the additional info! I still wonder if anyone here knows more about the “Tankobu Heso Taro” character, but if it was a stream-of-consciousness deal then maybe he wasn’t very clearly defined to begin with.
When reading this, I couldn’t help wonder: did BTW make musical drugs? If so, I believe he succeeded.
My first thought was “that would be whatever music the reader likes”, but thinking about it a bit more, the quirkiness, extreme variety, high energy even when sad, and overarching theme of embracing absurdity do make Betwixt’s work seem to arguably embody the mentality of hallucinogens and stimulants. I wonder if he was an Earthbound fan.
Found out that the “beam” from I Believe Nothing/Freeform Mercury/Freeze Highlander is from a sample pack called “Vengeance”. Haven’t checked it out myself, but it might be a good place to start for anyone in need of some variety in their sounds.
I have never formally studied music, so intuition is all I can use for now I’m afraid.
I don’t need to follow the tonal centers of anything, buddy.
Besides, even though music is an artform, I do not believe it can be evaluated and judged with the same criteria used for visual arts
You have never opened an art theory book in your life. You probably don’t even know two things about art’s history.
I’m sorry to all the “thinkers” who equated “repetitive music” with the death drive… but this is what the most energetic and productive activity sounds like. It’s unconscious genius perhaps, but it’s truth that is being aurally expressed by Száhala.
I’m not claiming Száhala is making any testament.
This I’ll do, though:
stop writing for a sec
Are you really giving me any choice? Enjoy one more thread for nothing but your own posts, I guess.
The thing is that anyone can hallucinate a narrative out of Firecloud. In other words, the “narrative” is not in Firecloud at all, it’s in your brain, i.e. it’s entirely fictional and superimposed on the track by you.
As is the testament you claim he’s making through Enuma Elish’s simplicity. I don’t buy it, but again, personal opinions.
Like I said, follow the tonal centers. Follow the basslines if that’s simpler. Look for the relation between each part. Mine has a theoretical foundation too, even if it’s weaker for a number of reasons, one being that I don’t know all the right terms. (And also was trying to keep it simple so that people who haven’t dabbled in theory could follow along.) No, by the way, it’s not what I think of when listening to it. I was considering adding timestamps considering how much interest you seemed to have in it, and if I had more time right now I might. For now, I’ll just add for the tenth or so time that I’m not speaking in absolutes.
Not sure what gave me that idea actually. I think I looked at a Google Translated version of some page when I first discovered him and didn’t think to look back into it. Everywhere seems to say he’s Finnish through and through.
Guess I can’t blame you for not understanding it as I wrote it all when half-awake on my phone (don’t even know why; originally I just had the Hyphen quote), but in short, Firecloud uses its structure to suggest a possible narrative, and it does it in a way that’s quite straightforward but that for some reason, other tracks simply don’t do, the majority of his own included. (Actually, that’s the type of complexity you want to denounce, but I’d rather not get into which is “better” as there’s no accounting for taste (hence my stance on reviews)). What do I think he more likely intended? To put down random notes until he liked how it sounded. Why do I think so? Because it’s advertised as music, not storywriting! Nonetheless, the excitement factor from having all those distinct sections just can’t be overlooked in my opinion.