Before Edm ( Eurodance, Dance-pop, House, Techno, Trance, Drum And Bass, Dubstep)
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Enid
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Before popular electronic dance music of today?
I'd recommend Terry Riley. Putting on headphones and listening to this track over and over changed me in a weird way
It made me better at visual collage. It made me realize how collage can create something incredibly interesting and compelling
I'd recommend Terry Riley. Putting on headphones and listening to this track over and over changed me in a weird way
It made me better at visual collage. It made me realize how collage can create something incredibly interesting and compelling
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Could you explain the idea even if it's not the subject of the thread. In fact, I'm looking for some ideas for my creativity.
Enid
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Quoting from the article I linked
https://tv.avclub.com/its-funny-watching-me-get-crows-feet-john-early-talk-1844249535#replies
Riley was particularly interested in the way playing the same patterned phrases against each other can create a disjointed rhythm and unusual harmony (a technique he would apply to some of his more familiar, more formal minimalist compositions like 1964’s In C). So when the owner of a Philadelphia disco—clearly still addled from watching Riley perform an all-night concert of alto-sax feedback—commissioned him to compose a “theme” for his nightclub, Riley took the opportunity to apply that process to something a little more club-friendly that he could totally fuck with.
Riley’s victim was “You’re No Good,” a just-released R&B cut from vibraphonist and minor Latin soul sensation Harvey Averne, with vocals by Little Anthony And The Imperials’ Kenny Seymour. On its own, “You’re No Good” is a solid little tune, with Seymour engaged in a catchy call-and-response with a finger-wagging female chorus over his cheatin’ ways. But in Riley’s hands, it becomes a true exercise in delirium. Beginning with nearly three full minutes of synth drone that suddenly breaks, in media res, into the song’s funky verse, it only gets more disorienting from there.
Riley plays with the channels, panning from side to side and cutting speakers out completely, before introducing a doubled track played at a slightly different speed. It echoes at first, then abruptly slips out of time—Averne’s vibraphone notes cascading infinitely upward, the frustration of Seymour’s rejoinder, “I’ve been through this scene once before,” matched by the song’s increasingly maddening loops. Finally, near the end of its 20-minute run, Riley tosses the whole thing into a bleeping, buzzing cacophony of synth drones and glitching reverberations, as though the song is being torn apart and scattered to the ether—soul destroyed by the machine.
“You’re No Good” was similarly lost in space until it was discovered and finally released in 2000, at which point its ideas on sampling and manipulation had become old hat in the hands of decades’ worth of electronic music artists and DJs. But even today, “You’re No Good” remains a fascinating, funny, and completely engrossing listen, if you’re willing to give it the time.
https://tv.avclub.com/its-funny-watching-me-get-crows-feet-john-early-talk-1844249535#replies
Riley was particularly interested in the way playing the same patterned phrases against each other can create a disjointed rhythm and unusual harmony (a technique he would apply to some of his more familiar, more formal minimalist compositions like 1964’s In C). So when the owner of a Philadelphia disco—clearly still addled from watching Riley perform an all-night concert of alto-sax feedback—commissioned him to compose a “theme” for his nightclub, Riley took the opportunity to apply that process to something a little more club-friendly that he could totally fuck with.
Riley’s victim was “You’re No Good,” a just-released R&B cut from vibraphonist and minor Latin soul sensation Harvey Averne, with vocals by Little Anthony And The Imperials’ Kenny Seymour. On its own, “You’re No Good” is a solid little tune, with Seymour engaged in a catchy call-and-response with a finger-wagging female chorus over his cheatin’ ways. But in Riley’s hands, it becomes a true exercise in delirium. Beginning with nearly three full minutes of synth drone that suddenly breaks, in media res, into the song’s funky verse, it only gets more disorienting from there.
Riley plays with the channels, panning from side to side and cutting speakers out completely, before introducing a doubled track played at a slightly different speed. It echoes at first, then abruptly slips out of time—Averne’s vibraphone notes cascading infinitely upward, the frustration of Seymour’s rejoinder, “I’ve been through this scene once before,” matched by the song’s increasingly maddening loops. Finally, near the end of its 20-minute run, Riley tosses the whole thing into a bleeping, buzzing cacophony of synth drones and glitching reverberations, as though the song is being torn apart and scattered to the ether—soul destroyed by the machine.
“You’re No Good” was similarly lost in space until it was discovered and finally released in 2000, at which point its ideas on sampling and manipulation had become old hat in the hands of decades’ worth of electronic music artists and DJs. But even today, “You’re No Good” remains a fascinating, funny, and completely engrossing listen, if you’re willing to give it the time.
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