some of it is going to be very fun and very good, some bits will be rough and bad. i'm cool with it. that's basically travelling in a nutshell. i'm moving to one of the most modern, convenient cities on earth, and one of the safest too. i am not particularly worried about racism or mistreatment. i have realistic expectations. i'm not seeking a surrogate family.
Well now that learning I'm not picking on you is out of the way, I can't wait to hear about Dilbert's potential adventures in working out of Rajasthan.
For crying out loud that's not at all what I was implying, but whatever. Way less interested now that you're so prickly about it.uziq wrote:
you talk about racist attitudes but i'm going to be hanging around with korean millennials, not grizzled korean war veterans who spit in the street whenever they see a GI in uniform. a good proportion of young asians go abroad travelling or to study, in any case. it's not like i'm going to be trying to penetrate some closed, hermetic world full of racist asian supremacists.
i mean your view of the place seems a little out of date. perhaps we are just from different milieux. a lot of humanities grads spend a few years in asia at some point. teaching english is incredibly common.
One of my neighbors taught English in China for awhile in the 90s/00s and talked about it at some length, I'm aware. Kind of already said I might be a little out of date, off the mark, misrepresented, pick a thing I can highlight. Why do things always seem to degenerate into some exhausting battle?
Anyway, I can wait until the froth simmers down a bit for you to keep us updated on your own time. You have a lot to say about what you expect, but I was more curious about how it will actually turn out. Relatively recent anecdotes I've read have had mixed experiences and it would be interesting to compare it with someone's who's been on the same forum for over a decade.
And no I don't think you'll be glowered at from windows and balconies while going for a coffee.
Fucking 9am and I'm already rubbing my temples.
Anyway, I can wait until the froth simmers down a bit for you to keep us updated on your own time. You have a lot to say about what you expect, but I was more curious about how it will actually turn out. Relatively recent anecdotes I've read have had mixed experiences and it would be interesting to compare it with someone's who's been on the same forum for over a decade.
And no I don't think you'll be glowered at from windows and balconies while going for a coffee.
Fucking 9am and I'm already rubbing my temples.
how did you want me to respond to a thing like 'i wonder how living abroad for a year will work out?'
the only plausible answer is 'some good, some bad: like living anywhere, really'.
the only plausible answer is 'some good, some bad: like living anywhere, really'.
It wasn't really begging an immediate answer, was it. "I wonder how it will turn out." What are you, a fortune telling psychic? Cross your palm with a gold doubloon for mystical portents.
"Bon voyage!"
"GRR! It'll be some good, some bad! RAR!"
e: larssen comes right out and says that someone's parents are going to spit on you but somehow it all transmuted into me being the bad guy. smfh
"Bon voyage!"
"GRR! It'll be some good, some bad! RAR!"
e: larssen comes right out and says that someone's parents are going to spit on you but somehow it all transmuted into me being the bad guy. smfh
it was a leading question. 'i wonder how it'll turn out' was then immediately followed by
no, newbie, they're not. young korean people do not go around regarding themselves as a master-race and staring in disbelief whenever they see a blonde person. it's 2020.
not quite pure and disinterested speculation is it? 'there aren't many foreigners there and they're all asian supremacists'.AFAIK not many foreign workers, and a master race doctrine taught in schools up to maybe 20(?) years ago? I expect racism is more subdued in wealthy/artsy areas of large cities, but elsewhere?
no, newbie, they're not. young korean people do not go around regarding themselves as a master-race and staring in disbelief whenever they see a blonde person. it's 2020.
The answer I'd have been looking for if I directly asked is when the Korean curriculum swapped out of that, if it was ever there (I'm not familiar with the history of Korean schooling). Not what your experiences in the country will be like, before they happen. All your sass for nothing. Yes, zeek, like other countries, I'm sure there are bigots, and I'm sure there are non-bigots. I'd think most of the bigots would be older. Hurr-durr, what a grand revelation. Thank you, Your Enlightenedness.
Lmao I would pay to see this happenunnamednewbie13 wrote:
Well now that learning I'm not picking on you is out of the way, I can't wait to hear about Dilbert's potential adventures in working out of Rajasthan.
child prodigy from detroit.
Okay in all seriousness, what exactly makes this so amazing? To my 'fucking moronic' boilerplate serial numbered self, the songs you post, though by different artists, seem almost formulaic in their development and progression. What's the big 'ooh' here, why is he a prodigy?
he's just been releasing top quality cuts of music on the best detroit labels since he was about 14/15.
his music is super informed by funk and motown, the basslines are great, the drumming is great ... it's catchy and it makes people move?
i mean it's house music, not berlioz, and he does it very, very well, and has shown a precocious talent for it since before he was old enough to even be on a dance floor.
seeing as you can't identify the difference between something made in fruityloops and something made on a $2000 synthesiser, i'm not going to belabour any points talking about how well-produced and put together his music is. but it's beautiful and warm and sounds great when spun on vinyl, which is how all this detroit stuff is meant to be found and played.
his music also isn't really 'formulaic'. it is frequently very odd and 'out there' in terms of time signature, drum pattern, and structure. what's formulaic is the stuff you linked in that live video. every song is EXACTLY the same structure and sound. why are you so excited about a guy playing 2 hours of laptop generica but this is any different? one is really at your pitch and the other, erm, isn't? i'm having a hard time just deciphering what it is you call a 'taste', to be honest. doof doof doof / uhn tish uhn tish uhn tish with a fake-ass poser on a laptop amazes you no end, but something made with soul and swing and funk strikes you as 'unoriginal'? do we even have the same ears and listening equipment, or what?
his music is super informed by funk and motown, the basslines are great, the drumming is great ... it's catchy and it makes people move?
i mean it's house music, not berlioz, and he does it very, very well, and has shown a precocious talent for it since before he was old enough to even be on a dance floor.
seeing as you can't identify the difference between something made in fruityloops and something made on a $2000 synthesiser, i'm not going to belabour any points talking about how well-produced and put together his music is. but it's beautiful and warm and sounds great when spun on vinyl, which is how all this detroit stuff is meant to be found and played.
his music also isn't really 'formulaic'. it is frequently very odd and 'out there' in terms of time signature, drum pattern, and structure. what's formulaic is the stuff you linked in that live video. every song is EXACTLY the same structure and sound. why are you so excited about a guy playing 2 hours of laptop generica but this is any different? one is really at your pitch and the other, erm, isn't? i'm having a hard time just deciphering what it is you call a 'taste', to be honest. doof doof doof / uhn tish uhn tish uhn tish with a fake-ass poser on a laptop amazes you no end, but something made with soul and swing and funk strikes you as 'unoriginal'? do we even have the same ears and listening equipment, or what?
nothing at all formulaic about this guy's songs, is there?
wow ... that same kick drum that appears in every single prog house song ... a slow build-up ... a bridge ... a drop ... open the filters! here's the slow breakdown bit where the synths arpeggiate and get louder and louder! ooh white noise tsssssshhh! a second drop! wow i have my eyes closed and these really obvious melodies and simple chord progressions are making me FEEL ALL THE FEELINGS!
it would sound good on a car advert where 'cinematic' qualities and readily available 'epic' feelings are needed, i suppose.
'flashbacks to taking my first MDMA pill at cercle, yah. percy from marketing was rushing off his tits, aha, yah, yah'.
wow ... that same kick drum that appears in every single prog house song ... a slow build-up ... a bridge ... a drop ... open the filters! here's the slow breakdown bit where the synths arpeggiate and get louder and louder! ooh white noise tsssssshhh! a second drop! wow i have my eyes closed and these really obvious melodies and simple chord progressions are making me FEEL ALL THE FEELINGS!
it would sound good on a car advert where 'cinematic' qualities and readily available 'epic' feelings are needed, i suppose.
'flashbacks to taking my first MDMA pill at cercle, yah. percy from marketing was rushing off his tits, aha, yah, yah'.
Last edited by uziq (2020-12-19 13:32:51)
If you think this is bad I dunno what to tell you man sry. At the end of the day it is 100% deep/prog house though so if the elements in the genre are not to your liking you could just say it's not for you?
I find it to be relaxing most of all.
My question was sincere because I honestly do have a hard time recognising all that makes this apparently fantastic.
Last edited by Larssen (2020-12-19 15:32:41)
Something else
prog house is just very cringe and relies upon the same 2-3 tricks every time. i could not tolerate an entire festival of it. the silly melodrama of it and the fact every single fucking song has some portentous build-up and drop. it’s the same dynamic in every single song: tension, release. slow build up to an inevitable climax.
i don’t think anyone who is invested in dance music could honestly describe prog or trance as ‘non-formulaic’. i don’t think being wildly original is even necessarily the most desirable thing in dance music: after all, it’s about maintaining a groove and a vibe over many hours and keeping people moving. but you’re here saying ‘what is interesting about this music at all?’ to me and then linking ... fucking prog house and trance. what makes it worse is that this is all pretty much 100% software stuff that all has the exact same beige, over-compressed, weak sauce sound signature to it. i mean, listen to THAT kick drum in every. single. prog. house. tune. STRAIGHT out of ableton. i mean, come on man you’ve REALLY got to try harder. you have the self-awareness of a mayfly.
also i listen to a shitload of ‘deep house’, it’s one of my most purchased genres, i’ve got a stack of vinyl full of it. your silly anjuna day parties stuff is not ‘deep house’, they are almost entirely a trance label (anjuna is a beach in goa ffs). i don’t know why you even try to put that label on it or why his music is described that way: making sticky melodramatic music doesn't make it 'deep house'. ‘maybe that genre is just not for you?’
this is 'deep house':
i don’t think anyone who is invested in dance music could honestly describe prog or trance as ‘non-formulaic’. i don’t think being wildly original is even necessarily the most desirable thing in dance music: after all, it’s about maintaining a groove and a vibe over many hours and keeping people moving. but you’re here saying ‘what is interesting about this music at all?’ to me and then linking ... fucking prog house and trance. what makes it worse is that this is all pretty much 100% software stuff that all has the exact same beige, over-compressed, weak sauce sound signature to it. i mean, listen to THAT kick drum in every. single. prog. house. tune. STRAIGHT out of ableton. i mean, come on man you’ve REALLY got to try harder. you have the self-awareness of a mayfly.
also i listen to a shitload of ‘deep house’, it’s one of my most purchased genres, i’ve got a stack of vinyl full of it. your silly anjuna day parties stuff is not ‘deep house’, they are almost entirely a trance label (anjuna is a beach in goa ffs). i don’t know why you even try to put that label on it or why his music is described that way: making sticky melodramatic music doesn't make it 'deep house'. ‘maybe that genre is just not for you?’
this is 'deep house':
Last edited by uziq (2020-12-19 23:25:49)
What sort of music is played at instagram blow-bang parties.
Fuck Israel
i’m guessing trap.
Look at the genre snob here, goddam.
Out of all the songs you posted the last one by sprinkles is something I would certainly expect to do reasonably well in a club. I can see that work. You speak of keeping people moving and in a groove but really honestly the stuff by Kyle Hall and Convexion are not something that would excite me on a club floor at all. Sprinkles at least has that bass and 'darker' tone in there that works so well on big sound systems in clubs.
If the purpose is partying and keeping people moving personally I move away from these genres and am partial to reggaeton/funk parties. Most fun I've had bar none is in those crowds, and if anything is formulaic it's reggaeton, but it's with the express purpose of making extremely danceable music. The retro electro stuff or Hall do nothing for me. I can't see party energy in a crowd with that, much less any appealing dancing. I'd expect drugged up weird white people chewing their tongues to bits while flailing their arms around out of rhytm, a bit like the böhmer crowd you disliked but with more drugs.
As for prog house: the whole point is to experiment with melodic elements and to have some 'dramatic cues'. I don't think I would ever go to a prog festival or concert, but I can enjoy it in my leisure time. I'm not likely to listen to any of it often, there's many other genres I much prefer (which seem to provoke your ire as well, which I don't understand at all), but it's there in my playlist if I'm feeling like it. And Böhmer is good at what he does.
I also find it kinda fucking stupid that you can listen to lots of elaborately, purposefully dramatic classical music yet label it cringe when elements are incorporated in other more modern genres like in this case house. If the purpose in your music is to show at least some creativity I really don't understand how you can't appreciate some experimentation in that way. Is Tiësto's rendition of adagio for strings also cringe and portentous to you?
Out of all the songs you posted the last one by sprinkles is something I would certainly expect to do reasonably well in a club. I can see that work. You speak of keeping people moving and in a groove but really honestly the stuff by Kyle Hall and Convexion are not something that would excite me on a club floor at all. Sprinkles at least has that bass and 'darker' tone in there that works so well on big sound systems in clubs.
If the purpose is partying and keeping people moving personally I move away from these genres and am partial to reggaeton/funk parties. Most fun I've had bar none is in those crowds, and if anything is formulaic it's reggaeton, but it's with the express purpose of making extremely danceable music. The retro electro stuff or Hall do nothing for me. I can't see party energy in a crowd with that, much less any appealing dancing. I'd expect drugged up weird white people chewing their tongues to bits while flailing their arms around out of rhytm, a bit like the böhmer crowd you disliked but with more drugs.
As for prog house: the whole point is to experiment with melodic elements and to have some 'dramatic cues'. I don't think I would ever go to a prog festival or concert, but I can enjoy it in my leisure time. I'm not likely to listen to any of it often, there's many other genres I much prefer (which seem to provoke your ire as well, which I don't understand at all), but it's there in my playlist if I'm feeling like it. And Böhmer is good at what he does.
I also find it kinda fucking stupid that you can listen to lots of elaborately, purposefully dramatic classical music yet label it cringe when elements are incorporated in other more modern genres like in this case house. If the purpose in your music is to show at least some creativity I really don't understand how you can't appreciate some experimentation in that way. Is Tiësto's rendition of adagio for strings also cringe and portentous to you?
i'm not being a genre snob, i like (some) trance and some prog house ... i honestly listen to (and mix) everything. it all has a time and a place. ultimately there is not a great deal of difference between a 120bpm 'deep house' track and a 124bpm 'prog house' track. we're splitting differences here.
seeing as you mention race, it's pretty weird how inverted your tastes are when it comes to, erm, really traditionally black music. house and techno emerged from detroit and chicago, and the whole 'deep house' scene, the 'underground', is still based on detroit record labels, detroit record stores/second hand spots, small press labels, small club nights, and a lot of artists who are really grinding it out to make a living. you dismiss all that as 'unoriginal and unimpressive' or whatever and opt for ... erm, a german white guy on a stage playing the most soulless, neutered, clinically boring version of that music possible. i hate to use such a problematic term but it's basically straight-up appropriation when a bunch of white germans or italians or whatever in v-neck tshirts try to claim their music as 'deep house'. deep house is kenny larkin, mike huckaby, larry heard ... omar s, moodymann, theo parrish ... it's detroit and it's chicago. i thought you were terribly interested in the 'african american' experience? anjuna and all these luxury cercle events hosted at french chateaux or what-the-fuck-ever are really not what the scene is about. that is straight-up whitewashing the scene in favour of a bunch of beatport.com millionaires and coked-up promoters.
prog house is just ... fine. the tracks you linked are ... fine. but they're definitely not wildly inventive and they're entirely formulaic. there's musicality in them, they're decently crafted, but they do all sound very much the same. i mean how many eyes-closed, hands-in-the-air moments do you need from an album? that's my problem with trance and prog house generally, they're a bit like 'dance music for beginners'. you can't listen to that stuff for 10+ years and still be interested in hearing the same dramatic, slow build ups leading to the same glitter-cannon/reach-for-the-lasers drops. it gets fucking old real fast.
i think you have an extremely narrow and limited exposure to these genres and really are so far out of your depth that it's not a very edifying conversation. the 'deep house' scene has existed since the 1980s. 'experimental' electronic music goes back even farther than that. copy+pasting the MIDI sequence for adagio for strings into fucking software and transposing the violins into trance synths is NOT it.
seeing as you mention race, it's pretty weird how inverted your tastes are when it comes to, erm, really traditionally black music. house and techno emerged from detroit and chicago, and the whole 'deep house' scene, the 'underground', is still based on detroit record labels, detroit record stores/second hand spots, small press labels, small club nights, and a lot of artists who are really grinding it out to make a living. you dismiss all that as 'unoriginal and unimpressive' or whatever and opt for ... erm, a german white guy on a stage playing the most soulless, neutered, clinically boring version of that music possible. i hate to use such a problematic term but it's basically straight-up appropriation when a bunch of white germans or italians or whatever in v-neck tshirts try to claim their music as 'deep house'. deep house is kenny larkin, mike huckaby, larry heard ... omar s, moodymann, theo parrish ... it's detroit and it's chicago. i thought you were terribly interested in the 'african american' experience? anjuna and all these luxury cercle events hosted at french chateaux or what-the-fuck-ever are really not what the scene is about. that is straight-up whitewashing the scene in favour of a bunch of beatport.com millionaires and coked-up promoters.
prog house is just ... fine. the tracks you linked are ... fine. but they're definitely not wildly inventive and they're entirely formulaic. there's musicality in them, they're decently crafted, but they do all sound very much the same. i mean how many eyes-closed, hands-in-the-air moments do you need from an album? that's my problem with trance and prog house generally, they're a bit like 'dance music for beginners'. you can't listen to that stuff for 10+ years and still be interested in hearing the same dramatic, slow build ups leading to the same glitter-cannon/reach-for-the-lasers drops. it gets fucking old real fast.
my guy, adagio for strings in a trance cover is 'experimentation' to you? jesus fucking CHRIST do some digging. that is not experimental music. that is corny as hell and very very predictable stuff. it's the dance music equivalent of a movie soundtrack over-using violins and strings. how the fuck is straight lifting an adagio from classical music 'experimental'? it's like fucking emotion ON LOAN.If the purpose in your music is to show at least some creativity I really don't understand how you can't appreciate some experimentation in that way. Is Tiësto's rendition of adagio for strings also cringe and portentous to you?
i think you have an extremely narrow and limited exposure to these genres and really are so far out of your depth that it's not a very edifying conversation. the 'deep house' scene has existed since the 1980s. 'experimental' electronic music goes back even farther than that. copy+pasting the MIDI sequence for adagio for strings into fucking software and transposing the violins into trance synths is NOT it.
Last edited by uziq (2020-12-20 04:10:15)
I mean that's not my experience. In these parts EDM, electro, all sub genres have been embraced by people here and every party is going to be 95%+ white guys/girls and there's always this corner of people completely out of it on drugs.
I never liked the term appropriation as it's far too casually thrown around and I don't think it's very applicable if it literally crossed a giant ocean and had its own further development here.
I never liked the term appropriation as it's far too casually thrown around and I don't think it's very applicable if it literally crossed a giant ocean and had its own further development here.
you don't know the history of the music or the scenes and, again, it's not an edifying conversation to have with you. i really don't feel like recapitulating the last 30 years of history, the detroit-berlin axis, the back-and-forth between scenes, etc. yes, europe definitely has a scene of its own. but, again, nobody in these musical circles is referring to their music as 'EDM'. that is a bogus term imported from the recent american commercial bubble; it's basically being retroactively applied online. NOBODY involved in the techno scene in berlin or the house scene in hamburg refers to this music as 'EDM'. there are record stores and labels and clubs in germany that are de facto musical institutions at this point -- hard wax, golden pudel -- and you will NEVER see them talk about 'EDM'.
and, unfortunately, the dynamic of new, inventive, underground scenes being commercialized and turned into merely tasteful shopping mall music, like in all that wide-screen 'cinematic' anjuna trash, does cross race lines. the most highly paid DJs in the world are people like Dixon and the Innervisions lot, who just basically play house music with all of the sex and funk and swing sucked right out of it. it's whitewashed stuff for the ibiza bikini crowd to dance to.
i really don't care 'what your experience' has been. you listen to 'the real thing' and all you talk about is 'people must be on drugs or out of their mind to like this', and you substitute the pioneers of the genre for giant, corporate, day-festival events hosted at french chateaux by mililionaire playboys. i'm afraid 'your experience' is firmly at the commercial-consumer end of the spectrum, and you're arriving to this stuff very late, via a long chain of mediation/reception. you're purchasing something that ultimately has been packaged for you in a very specific way. your finger is not 'on the pulse'.
this guy is the truth. not 'ben bohmer'.
and, unfortunately, the dynamic of new, inventive, underground scenes being commercialized and turned into merely tasteful shopping mall music, like in all that wide-screen 'cinematic' anjuna trash, does cross race lines. the most highly paid DJs in the world are people like Dixon and the Innervisions lot, who just basically play house music with all of the sex and funk and swing sucked right out of it. it's whitewashed stuff for the ibiza bikini crowd to dance to.
i really don't care 'what your experience' has been. you listen to 'the real thing' and all you talk about is 'people must be on drugs or out of their mind to like this', and you substitute the pioneers of the genre for giant, corporate, day-festival events hosted at french chateaux by mililionaire playboys. i'm afraid 'your experience' is firmly at the commercial-consumer end of the spectrum, and you're arriving to this stuff very late, via a long chain of mediation/reception. you're purchasing something that ultimately has been packaged for you in a very specific way. your finger is not 'on the pulse'.
this guy is the truth. not 'ben bohmer'.
Last edited by uziq (2020-12-20 04:18:41)
i'm also just SHOOK that you think someone pasting the adagio for strings into a trance VST is 'experimentation'. like oh my god, the most obvious, kitschy, schlocky thing imaginable strikes you as bold experimentation. you really do not know much about contemporary music, larssen.
this is some music that is at the forefront of 'experimentation' with new technologies, including novel synthesis, machine learning/AI, and new form (e.g. polyrhythms, microtuning, looking at non-western musics).
importing a fucking melody from a fucking 1930s adagio and sticking it on 'trance vroom vroom' mode is NOT experimentation.
this is some music that is at the forefront of 'experimentation' with new technologies, including novel synthesis, machine learning/AI, and new form (e.g. polyrhythms, microtuning, looking at non-western musics).
importing a fucking melody from a fucking 1930s adagio and sticking it on 'trance vroom vroom' mode is NOT experimentation.
I really don't understand your incredibly prickly and rigid attitude towards all this stuff. This kinda proves my point no? It's impossible for you to have a conversation on this stuff without the other party needing to apparently read and dive into the entire cultural history of your little pet musical genre. Commercial consumers not allowed. I must abide by your labellings and interpretations and any deviation is pounced on as 'fucking moronic', 'stupid', illiterate, you name it. Funny to me also that a legendary artist in trance is apparently derivative uninspired shit. Would love to see you have a sit down with the guy, who has been making this music for a living long before you were even born probably. I guess he needs lectures on the history and needs to up his game. Uziq, the editor-cum-self-styled-DJ, knows what the real stuff is.
In many ways you sound like an oldhead in metal who can't shut the fuck up about the early days of thrash and calling everything that came after as commercialised soulless drivel. Ah well, you can insulate yourself in your echo chamber without me interrupting you.
In many ways you sound like an oldhead in metal who can't shut the fuck up about the early days of thrash and calling everything that came after as commercialised soulless drivel. Ah well, you can insulate yourself in your echo chamber without me interrupting you.
Last edited by Larssen (2020-12-20 04:40:24)
you just have no exposure to this music but make strong pronouncements and have strong opinions. it's a bad combination. you're impressed by tacky things like tiesto's 'adagio for strings' and then quickly dismiss anything outside of your (extremely limited) sphere of exposure as 'music for people out of their heads on drugs'. it's just funny. if i'm a 'type' then very much so are you: a normie.
i'm not a self-styled DJ. i've DJ'd in bars and clubs and lived with promoters for most of my 20s. i used to do live streams for bf2s’ers ffs. half of my friends make their living by producing music and DJ'ing, and putting on parties, hosting radio shows, touring around europe, etc. what's self-styled about it? my whole social life and milieux is structured around music. i’ve bought records and invested 10,000s of hours into this hobby in the last decade or more. i know more about this music than you do, it's really that simple.
you have a really hard time admitting to ignorance on any topic. when someone shows up with more expertise than you, you quickly deflect into 'well, now, you're just being rude'-type mock-affront. it's boring. stop dismissing music as 'drug-taking trash' and substituting your own basic, white-bread idiot variations of the same. go and dig a little deeper. it's really not hard to discover any of this stuff in the era of the internet. it's all just a click away.
you also just seem plainly confused. i never dismissed tiesto’s evident commercial success: i said you’re at the consumer end of the spectrum, picking up on a very certain type of music (true) and that tiesto’s music is hardly ‘experimental’ (also true). importing some strings into a trance song is not avant-garde; actually it’s more like après-garde. that shit is just so obvious that it’s borderline corny. and that’s fine. that’s what tiesto does: huge stadium events for people to throw their hands in the air, etc. all i’ve said above, not controversially, is that you’re at this end of the musical spectrum and don’t know anything about ‘deep house’ or musical originators.
i'm not a self-styled DJ. i've DJ'd in bars and clubs and lived with promoters for most of my 20s. i used to do live streams for bf2s’ers ffs. half of my friends make their living by producing music and DJ'ing, and putting on parties, hosting radio shows, touring around europe, etc. what's self-styled about it? my whole social life and milieux is structured around music. i’ve bought records and invested 10,000s of hours into this hobby in the last decade or more. i know more about this music than you do, it's really that simple.
you have a really hard time admitting to ignorance on any topic. when someone shows up with more expertise than you, you quickly deflect into 'well, now, you're just being rude'-type mock-affront. it's boring. stop dismissing music as 'drug-taking trash' and substituting your own basic, white-bread idiot variations of the same. go and dig a little deeper. it's really not hard to discover any of this stuff in the era of the internet. it's all just a click away.
you also just seem plainly confused. i never dismissed tiesto’s evident commercial success: i said you’re at the consumer end of the spectrum, picking up on a very certain type of music (true) and that tiesto’s music is hardly ‘experimental’ (also true). importing some strings into a trance song is not avant-garde; actually it’s more like après-garde. that shit is just so obvious that it’s borderline corny. and that’s fine. that’s what tiesto does: huge stadium events for people to throw their hands in the air, etc. all i’ve said above, not controversially, is that you’re at this end of the musical spectrum and don’t know anything about ‘deep house’ or musical originators.
this is basically a normie credo. anything that isn't straight-up commercial, bestselling, beatport100-topping music = 'echo chamber'. it's a perfect formulation. never mind that these 'scenes' and communities, networks, record stores, clubs, etc, have existed for literally 40 years at this point. never mind that all the artists i've named are world-touring DJs (notice theo parrish is being interviewed by german TV in that youtube video i linked?) no, it's an 'echo chamber'. anything that larssen hasn't heard of, whilst grazing on the hillsides of commercial culture, is irrelevant! fucking LOL.Ah well, you can insulate yourself in your echo chamber without me interrupting you.
Last edited by uziq (2020-12-20 05:29:28)