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Jungle / Drum&Bass Music

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Jungle / Drum&Bass Music Kim Cascone Aesthe/cs of Failure and Glitch Music – We therefore invite young musicians of talent to conduct a sustained observation of all noises, in order to understand the various rhythms of which they are composed, their principal and secondary tones. By comparing the various tones of noises with those of sounds, they will be convinced of the extent to which the former exceeds the latter. This will afford not only an understanding, but also a taste and passion for noises. — Luigi Russolo (1913) 1 Sunday, December 8, 13 “At some point in the early 1990s, techno music settled into a predictable, formulaic genre serving a more or less aesthetically homogeneous market of DJs and dance music aficionados. Concomitant with this development was the rise of a periphery of DJs and producers eager to expand the music’s tendrils into new areas. One can visualize techno as a large postmodern appropriation machine, assimilating cultural references, tweaking them, and then representing them as tongue-in-cheek jokes. DJs, fueled with samples from thrift store purchases of obscure vinyl, managed to mix any source imaginable into sets played for more adventurous dance floors. Always trying to outdo one another, it was only a matter of time until DJs unearthed the history of electronic music in their archeological thrift store digs. Once the door was opened to exploring the history of electronic music, invoking its more notable composers came into vogue. A handful of DJs and composers of electronica were suddenly familiar with the work of Karlheinz Stockhausen, Morton Subotnick, and John Cage, and their influence helped spawn the glitch movement.” - Kim Cascone, Aesthetics of Failure 2 Sunday, December 8, 13 Glitch Music • Chris/an Marclay • Pansonic / Mika Vainio (Finnish) (1995) • Oval (German) • Ryoji Ikeda (Japanese) • Carsten Nicolai – Noton / Rastermusic 3 Sunday, December 8, 13 IDM • From IDM mailing list on Hyperreal.org and Warp Records Ar/ficial Intelligence Series featuring Aphex Twin, LFO, Autechre etc. 4 Sunday, December 8, 13 Aphex Twin • 2 Analogue Bubblebath EPs 1991-1993 • Selected Ambient Works 85-92 on R&S Records (1992) • 1995-1999 Jungle/IDM/DSP stage • Come To Daddy (1997) #36 on UK Charts • Windowlicker (1999) #16 UK Charts • Two pop singles using DSP heavily 5 Sunday, December 8, 13 How did Stockhausen feel about Aphex Twin’s music and vice versa? (From the Wire’s “Advice for Clever Children” reading) What are some legal cases, precedents or laws involving sampling? Describe some from the sampling reading. Why does Bob Ostertag think computer music sucks? (From the “Why Computer Music Sucks” reading) Sunday, December 8, 13 Stockhausen v.s. Aphex Twin (from Wire’s “Advice for Clever Children”) “I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work Song Of The Youth, which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repeSSons, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were varied to some extent and if it did not have a direcSon in its sequence of variaons.” - Stockhausen “Mental! I've heard that song before; I like it. I didn't agree with him. I thought he should listen to a couple of tracks of mine: "Didgeridoo", then he'd stop making abstract, random paerns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline” – Richard D James aka Aphex Twin Sunday, December 8, 13 Stockhausen on RepeSSon, Aphex Twin and Richie HawSn “I wish those musicians would not allow themselves any repeSSons, and would go faster in developing their ideas or their findings, because I don't appreciate at all this permanent repeSSve language. It is like someone who is stuZering all the Sme, and can't get words out of his mouth. I think musicians should have very concise figures and not rely on this fashionable psychology. I don't like psychology whatsoever: using music like a drug is stupid. One shouldn't do that : music is the product of the highest human intelligence, and of the best senses, the listening senses and of imaginaon and intuiSon. And as soon as it becomes just a means for ambiance, as we say, environment, or for being used for certain purposes, then music becomes a whore, and one should not allow that really; one should not serve any exisSng demands or in parScular not commercial values. That would be terrible: that is selling out the music.” Sunday, December 8, 13 “I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work Song Of The Youth, which is electronic music, and a young boy's voice singing with himself. Because he would then immediately stop with all these post-African repeSSons, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were varied to some extent and if it did not have a direcSon in its sequence of variaons.” Sunday, December 8, 13 And the other composer - musician, I don't know if they call themselves composers... They're someSmes called 'sound arSsts'... No, 'Technocrats', you called them. He's called PlasScman, and in public, Richie HawSn. It starts with 30 or 40 - I don't know, I haven't counted them - fidhs in parallel, always the same perfect fidhs, you see, changing from one to the next, and then comes in hundreds of repeSSons of one small secSon of an African rhythm: duh-duh-dum, etc, and I think it would be helpful if he listened to Cycle for percussion, which is only a 15 minute long piece of mine for a percussionist, but there he will have a hell to understand the rhythms, and I think he will get a taste for very interesSng non-metric and non-periodic rhythms. I know that he wants to have a special effect in dancing bars, or wherever it is, on the public who like to dream away with such repeSSons, but he should be very careful, because the public will sell him out immediately for something else, if a new kind of musical drug is on the market. So he should be very careful and separate as soon as possible from the belief in this kind of public.” Sunday, December 8, 13 Aphex Twin on Song Of The Youth Mental! I've heard that song before; I like it. I didn't agree with him. I thought he should listen to a couple of tracks of mine: "Didgeridoo", then he'd stop making abstract, random paerns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline. I know it was probably made in the 50s, but I've got plenty of wicked percussion records made in the 50s that are awesome to dance to. And they've got basslines. I could remix it: I don't know about making it beZer; I wouldn't want to make it into a dance version, but I could probably make it a bit more anally technical. But I'm sure he could these days, because tape is really slow. I used to do things like that with tape, but it does take forever, and I'd never do anything like that again with tape. Once you've got your computer sorted out, it pisses all over stuff like that, you can do stuff so fast. It has a different sound, but a bit more anal… I don't think I care about what he thinks. It is interesSng, but it's disappoinSng, because you'd imagine he'd say that anyway. It wasn't anything surprising. I don't know anything about the guy, but I expected him to have that sort of atude. Loops are good to dance to... Sunday, December 8, 13 Ableton Beatrepeat DB Glitch Sugarbytes Electrix and Ar/llery Livecut Supatrigga Buffer Override Plenty of MaxMSP scripts BB Cut Supercollider KYMA Reaktor x The Finger 12 Sunday, December 8, 13 hZp://www.youtube.com/watch?v=V1nJVWd3ivI&feature=related hZp://www.youtube.com/watch?v=wUYpLrTqzb8 hZp://www.youtube.com/watch?v=4yqM3dAqTzs ChrisSan Marclay hZp://www.youtube.com/watch?v=4yqM3dAqTzs Oval hZp://www.youtube.com/watch? v=bG5jqcDhmBE&feature=related Sunday, December 8, 13 The Amen Break -"a six-second clip that spawned several en/re subcultures.” -Drummer Gregory Cylvester “G. C.” -“Color Him Father” 1969 B side “Amen, Brother” by The Winstons - Ubiquitous and part of the collec/ve audio unconscious -www.amenbreakdb.com “The break that’s been sampled so much it needs a database” Sunday, December 8, 13 The Amen Break -"a six-second clip that spawned several en/re subcultures.” -Drummer Gregory Cylvester “G. C.” -“Color Him Father” 1969 B side “Amen, Brother” by The Winstons - Ubiquitous and part of the collec/ve audio unconscious -www.amenbreakdb.com “The break that’s been sampled so much it needs a database” Sunday, December 8, 13 Jungle / Drum&Bass Music • Originated in UK, in the early 90s. • Fusion of Breakbeat Hardcore, house, hip-hop, reggae, techno, dub. “Jungle Techno” • Origin of name debatable. Club named “Jungle” in the UK, term Junglist used in Jamaican music/toas/ng • Generally characterized by breakbeats at around 160-180BPM 15 Sunday, December 8, 13 Jungle / Drum&Bass Music • "There was a progression as far as the speed of music is concerned.
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