What do you think ?

[Shy--Ism]

I don’t know about you guys/girls, but it has been almost a month now that I have been listening to my old compact disks and compilations. It might sound utterly weird for some of you to ditch a 2009/2010 production cd for a mixed compilation consisting of incredible tracks that bombarded old-school dance floors back in 2000 for instance. However when it comes to me, a person who has never physically experienced that era of time, I feel nostalgic in a quite intriguing manner. Do you find it weird?

And I always question myself; moreover I might even end up in front of certain friends expressing my thankful wishes to people like Florian Schneider & Ralf Hutter, as known as founders the infamous German band Kraftwerk back in the 1970s, when the majority were probably considering them two geeks electrified on a two electro organs, blending other rhythmic sounds and therefore composing a track that most likely kept an underground timbre. While the audience was obviously and majorly into Rock (Led Zeppelin, Pink Floyd, AC/DC, Queen … etc) and people’s Jackson 5 & ABBA mania was at its peak, these two electronic music architects were smart enough to keep their life busy on a parallel wavelength. I’m talking about serious keyboards and flutes, acoustic guitars, freshly eerie synthesizers, and a group of other musicians as well. The band’s ‘concerts’ used to be as awe in awesome, it was a new form of technology invading the music industry and possibly very few would have foreseen its huge impact on a scene that has been seeing the light ever since. Call them legends or pioneers; this group has been among the most hardworking names in the music industry, whether behind their outstanding live acts or heavily recording at Kling Klang studio. Listening to one of their 1981 live acts in Tokyo (only to name a few) makes me personally absorbedly taken away by such a special electronic music touch despite the bad recording sound quality on tapes or even bizarre sounds that might seem unpleasant to most of us. This is perhaps because technology was still in its early ages for such a big step, and imagining four of them behind heavy duty laptops now gives me a truly subliminal image. Aside bands as well, who can deny Jean Michel Jarre’s influential record on electronic music? This is certainly a turn-point in electronic music’s olden times, he made people go nuts by using his huge equipment during live performances. And personally I think a lot of current listeners are not keen on digging the past despite of how much they consider themselves ‘well educated’ in their field. Filtering quality sounds is also progressive education and requires expertise of course; however general backup information is undeniably quite important especially for fan bases and new rising names.

Point is, it’s sad that some current listeners are not aware of how it all started, and how certain people pioneered particular movements while paving roads for even more to come. Our scene certainly lacks of general education concerning this subject, seeing a contemporary listener bragging about an infamous “Radio Edit” of a track which in his/her opinion made history.
I am talking about a wave that has been influencing artists worldwide. I am talking about a whole artistic package consisting of classics like Massive Attack’s monumental series, Underworld and Enigma’s enormous work, Steive Reich’s, BOC’s, Aphex Twin, Tony de Vit, Steve Gerard, Danny Tenaglia, Paul Van Dyk, Paul Oakenfold, Ferry Corsten, Binary Finary, Armin Van Buuren, John 00 Fleming, Blue Velvet, Nick Warren … many other artists too. I am also talking about epic sounds like in Bonzai and Slinky’s early releases. About a progressive influence clearly obvious in BT’s renowned “IMA”, the groove and class in Diggers and Sasha’s Nothern Exposure ... the beauty in Sven Vath’s Harlequin album, Plastikman’s prosperous artwork … new artists re-introducing new sounds like Moderat, 16 Bit Lolitas, Roger Shah, Henry Saiz, Damabiah, John Talabot … etc. Many of those artists/djs/producers/labels were once deeply influenced by the origins and roots of this magical musical journey and they’re unquestionably carrying it up-till-now (in their work, in the records they achieve on daily basis). Most of the previously mentioned (and unmentioned) names wouldn’t have existed without the subsistence of a major establishment done by previous legends and musicians. And I strongly believe that regular listeners as well as even rising DJs/producers should have a minimum comprehensive knowledge about their specific meadow. The world is changing and so is music, it’s not about basing everything upon the past golden years rather than it surely is about knowing where we are presently standing.

I don’t know pals; it kind of breaks my heart every single time I watch a bunch of people disregarding legendary names (to name a few) and their classic releases. I am not saying that current productions are crap, WHATSOEVER. However I always end up having question marks concerning this particular subject: should everyone grasp a little bit of everything in order to build a solid musical education? How would they get to chance to know and experience what ‘some’ of us has? Raving and partying are certainly one way, but are promoters up to the level? Should we blame the media for any inconvenience relating to this issue? Or maybe this lack of general music education has started eventually laying its side-effects on the scene, such like the increase in numerous DJ rankings, or how homogeneous current releases and podcasts seem to be at some point.

And the frustrating part of all this, is when your surrounding in an exacting environment provides you with these odd facial expressions whenever you bring up this subject. You would look like you’re bragging about your background, while your only concern is spreading the knowledge. No wonder why I always end up by picking Dave Seaman Awakening Renaissance Series’ album (2000) out of all the new GORGEOUS releases before going on a road-trip, as I still find it one of the most expressive electronic music albums of all time. Perhaps I like its unique approach in unifying the rave-like physical overdrive with the strong sensual/emotional flavor, a special trait I can personally hardly find in today’s albums and compilations.
I think I’ve already reached a point where I can clearly acknowledge that old AND modern Electronic Music is absolutely scrumptious, making its own special way through classical/jazz/other verious sounds, eclectic, stylish, quite vivid and wholly energizing even in its lowest beats per minute state. Nevertheless, am I the only one to brainstorm about this entire topic at 2 AM?

[samer]

Musical education is like any other education, you can jumpstart on chapter 3! sure you can enjoy the current music and stay updated with anything going on in the present but if you're seeking knowledge and education then one need to certainly start from the past. I think any enthusiast (not to say fanatic) have to, at some point, be a bit curious about how it all started and who contributed in the formation of these styles! many of which you already mentioned Sarah! checking EDM in the 70's and 80's is not easy but not impossible either! i'd def put JMJ on the top of the list, along with musicians like Yanni, Mike Oldfield and Vangelis all the way to Enigma in the 90s, Robert Miles, Sasha & Digweed, Sven Vath, and the kick start of Trance with ppl like Dance 2 Trance, Paul Oakenfold, BT, Darren Tate, the Germans (ATB, PvD, Trance all Stars..), the dutch trio ( Armin, Ferry and Tiesto) and the creation of the many subgenres that followed.

[ziz00_909]

well.. i have to say that 2009 (maybe end of 2008 to) was the time that I first started to really understand Electronic Music and what it's all abt.. i'm still a starter i know and there's much that i don't know...
i always tried to get my hands on old albums and compilations.. just to see how it was back then..and how it evolved to give us the music we enjoy today... but i only managed to get to know really well a few artists and few genres such as: Massive Attack - Enigma(my fav. artist right after the RastaMan) ,some of the Early Sasha & Diggers sounds and a few shpongle releases.. will do my best to try to get more..

I understand your worries about the scene Sarah..it's really something not to underestimated.. even know there have been some good and impressive development in lot's of peoples taste to the best witch have been clear this past year.. but at the same time..some have reached a sadly -shameful "disgusting" level that they are not only sending a bad image about themselfs but also about the scene in general..and not givin it what it truly deserves..
this ugly fact also applies to all other countries to..not ours only.. it may be less or even more dangerous than ours.. after all David Guetta was voted #3 Dj in the world.

and it was 3 AM btw

[[IN]Head-Kay]

Thaddeus Cahill back in the late 19th century thought of transmitting sound through the phone lines, through some sort of mechanism which he later mastered, and he believed he can reach larger audiences this way. This led him to invent the Telharmonium, one of the earliest forms of electric synthesizers which weighed at the beginning around 8 tons and cost around 200K$, later models (only three were ever made!) went on to reach an epic 200 tonnes. Around two decades later came the mobile theremin, which in turn inspired a certain fellow named Robert Moog to create an instrument which he named after himself, and helped in the creation of another instrument known as the clavivox ... a revolution was born!

It's not a matter of agreement on how electronic music began, who made it what it is and why it took over 5 decades to establish itself as a sound that many have become addicted to, but what is certain is that it was a collaborative effort of gifted, passionate musicians and open minded individuals wanting to explore the futurism and build a soundtrack for that movement. A prime example on that would be the futurist Italian movement early in the 20th century, and a certain philosophy that made an imprint on the art world for generations to come. While it was not a purely electronic movement, the likes of Risolo made sure they made their imprint on what many called the artistic enlightenment of the century. It was a time of dreams and imagination, the future seemed to be on the doorstep and artists made sure the future felt as close as ever. Electronic music was the natural progression of the movement.

During the middle of the century a new age of musical composers and maestros were leaving their imprints. Stockhausen's visionary 'Gesang der Junglinge' is dubbed by many as the first true electronic masterpiece. This showcased a true shift towards German musical innovation, and for the next three decades Germany would go on to produce the finest most ingenious electronica known to this date, culminating in the birth of a "musical rebellion" epitomized by Kraftwerk and Klaus Schulze.

However, before we quite got to that, we had the swinging sixties. Probably the period which saw the quickest evolution in the genre (which it had become by then) to date. Movies played a big role in popularizing electric sounds, and surprisingly Israel saw the creation of a research project by Josef Tal known as the 'Centre for Electronic Music in Israel '. The period also saw a rapid rise in the introduction of new instruments, perhaps the Buchla might ring a bell? But it was undoubtedly the UK which at this point had the strongest impact on electronic music. The BBC led the way as it establish its legendary Radiophonic Workshop in it's still existing Maida Vale studios.

By that time computers were introduced to the scene, and were used asystematically by radios and tvs to produce jingles and fx.

What happened next was the introduction of a synth sound that would later be known as the Synth pop sound in the UK, but it was not all doom and gloom as the Germans had their mighty Kraftwek's early beginnings. The UK's early movement with bands such as The Human League, this was later completely taken down a popular stream with Depeche Mode and Gary Numan.

Over in France Jean Michel Jarre was realizing his potential under the guidance and mentoring of the great Pierre Schaeffer, his gift was being realized and he would go on to be a pioneer of a new age sound with works such as Oxygene and Equinoxe. Back in Germany the raw sound was being realized by a band known as Tangerine Dream, their 1973 album Atem would go on to become a soundtrack that defined a whole German generation.

Then came Kraftwerk, these four German guys with their short hair and uniform suits taking on stages in Germany, UK and all over europe, playing pure raw electronic sounds and mixing them with live instruments. Tracks like Ruckzuck and Morgenspaziergang showcase the ingenuity. They were one of the few bands at the time who merged video with audio, and in 1981 they did the famous Poket Calculator!

A track I specially enjoy by these guys is:



For those of you that listen to raw berlin techno sounds, you will notice an extreme resemblance with these sounds, and this only goes to show the effect Kraftwerk left on EDM.

The late 70s however saw the integration of EDM with the night life, the DJ/Rave culture was being paved. In Chicago the likes of Larry Levan, Frankie Knuckles and later Ron Hardy and Marshal Jefferson were picking up and pioneering what would later be known as house. This came after the great Francis Grasso has introduced slip cuing and the use of the headphone in New York a couple of years back.

A parallel movement was born in Detroit. Importing the German sounds and UK synth culture, legends such as Kevin Saunderson, Juan Atkins and Derrick May would forever change the shape of EDM and Detroit Techno was born.

Fast forwarding to today. I personally see a rejuvenation in the live acts scene, Moderat have potential to become a new Kraftwek, however they seem to lack the charisma to produce a sound that will inspire a movement. Henrick Schwartz's innovative approach to Jazz is phenomenal and his new tool the Shwartzinator is helping hundreds of budding live acts to do the same. Reboot, Modeselektor, Booka Shade, Mathew Jonson, Joris Voorn, Gui Boratto, are but to name a few. The Ableton movement as I like to call it has revived the electronic scene and has opened up the potential to a new raw music revolution. The adaptation between electronic sounds and live instruments has become seamless, and the advent of the internet has made this revolution a reality.

I personally cherish every moment of electronic music's past, but I also adore the present and look forward to a future filled with unlimited possibilities. I see a scene shifting towards increasing music fusion, and I see a scene that is open to all to contribute. A wiki of sounds if you want, and I for one cannot wait to see what this decade has in store for us.

And on this note I must end this, frankly I've got work tomorrow, so im out!

[[IN]Head-Kay]

Clarification: I was semi-high/semi-tipsy when I wrote then last night around 2AM incidentally so I was blabbing my ass off, just thought I owe Sarah an apology for sabotaging this thread!

[Shy--Ism]

[[IN]Head-Kay]

[[IN]Head-Kay]

[A-Cube]

Will come back with a lengthy response later (at least try). We all get those nostalgic "if only" moments, so a lot of us can relate to this little essay here.