A Cynic Speaks! (was)Re: [thewire] Re: Bebop and minimalism
- Rhys Chatham wrote:
>Such labels appear to be useful in a limited way. The primary motivation for utilization of
> From: Rhys Chatham <Rhys.Chatham@...>
> I think these labelling terms are important, because believe it or not,
> they actually mean something to the people who really know the music! For
> example, I'm sorry, but jungle is not the same as drum n bass.
such labels appears closely linked to marketing strategy. Although not always the case with
artists, this certainly seems to be true with regard to a large number of record companies.
These designations of genre are perhaps useful as indicators of content, but the ossification
of genre conventions can obviously limit artistic development. "Thou Shalt Not" is etched in
stone in certain cases, and this can be hugely problematic.
I might be getting a little cynical, but I am inclined to agree with Lionel Snell that the
development of *taste* in numerous cases is premised on what is currently fashionable. For
instance, I adore Thomas Koner's earlier works, but feel that he bakes exceedingly bad techno.
The cynic in me ("a cynic is a man who when he smells flowers looks around for a coffin" -
Bierce) can't help but suspect that the limited sales potential of Koner's early works was at
least tangentially related to the formation of Porter Ricks. I feel this is true in a number of
cases, and with certain artists - who shall remain nameless, as I am feeling charitable today -
I know this is true. Genre-hopping with the implicit aim of maximising sales is an indisputable
fact of the current music *scene*.
(Sentrax site: http://www.ndirect.co.uk/~john.sentrax/ )
>> they actually mean something to the people who really know the music! ForIt may not be now but back in 1991-to late 1992 when it was being created
>> example, I'm sorry, but jungle is not the same as drum n bass.
bit by bit no such distinction was made. Then DnB became the dub of the
Jungle scene. Jungle iteself mutated away from the ragga samples and so it
went on. It was an exciting time because back then everybody hated it.
Only a hardcore of hip-hop / house / techno / reggae kids getting together
made it happen. However back then we could not get gigs, PAs or anything.
We were seen as kind of outlaws. Even back then when it was just starting,
in Nottingham we were working up at 145-160 BPM. Many people I knew turned
their backs in disgust when about 1993 things started to turn. Goldie's
"Terminator" got coverage beyond the usual and the house crowd started
appearing. All of a sudden it was as though all the people involved were
cast out and a new breed moved in. Of course they soon moved on to other
things, happy hardcore, hardbag and so on. Caused a bitter taste at the
time though. Anyway, it's all history now. It just made me reflect. The
true heroes of the time were people like Dj SS and D'Cruze, Q-Bass, Darkman
and others who released bone crushingly hard records for the time, very "out
there" and I think even now many records of today don't approach the raw
visceral limitless energy of those early records.