Examples of 'cutting edge' dance/electronic music?

[ZenPunkHippy]

Which ones do you think are interesting?

Can you explain how "dance music" i.e. music designed for dancing is supposed to change to become more "interesting"?

The same beats / rhythms have been played for > 10,000 years, and will continue to be the same for the next 10,000 years and beyond.

Dance music works, it doesn't need to change, other than refining production techniques to keep pace with speaker and amplification technology.

Peace,
Andy.

[andyf53]

it all seems like rehashed material

I'm always learning, and so I accept if I'm wrong, but how are things like the Grischa Lichtenberger, or Anstam, or Mark Fell tracks I posted earlier rehashed?

There's possibly error in the very nature of the phrase cutting edge dance music, since dance music follows established forms(however within those forms there can still be innovation).

More rarely, innovation (in this context) happens when something steps outside of those established forms, but could still be classified as music to dance to- though given how humans dance (two feet, between possible tempos) this is very difficult.

[andyf53]

Which ones do you think are interesting?

Can you explain how "dance music" i.e. music designed for dancing is supposed to change to become more "interesting"?

The same beats / rhythms have been played for > 10,000 years, and will continue to be the same for the next 10,000 years and beyond.

Dance music works, it doesn't need to change, other than refining production techniques to keep pace with speaker and amplification technology.

Peace,
Andy.

Agreed, this is linked to the points in my previous post, but more ably expressed!

[Eauson]

Tbh I don't need to respect current artists as this thread has summarised the lack of quality already

I've heard interesting things, where is the lack of quality ?

Sorry Davias, it all seems like rehashed material, instrumental hip hop jdilla was doing yrs ago or Dorian concept from 2007.
Which ones do you think are interesting?

My own posts of course !!

When I say quality, I mean merit, should have written that really

A lot of the better music I have heard recently is not so much polished, it has an earthy feel to it. Where as a lot of the posted trax/sound too clean/cold even.
Its as if the punk element of the original movement has been lost.

[ZenPunkHippy]

A lot of the better music I have heard recently is not so much polished, it has an earthy feel to it. Where as a lot of the posted trax/sound too clean/cold even.
Its as if the punk element of the original movement has been lost.

What you have just defined is ...

TASTE.

It's got nothing to do with "better" or "worse" for anyone except you.

Peace,
Andy.

[Eauson]

Which ones do you think are interesting?

Can you explain how "dance music" i.e. music designed for dancing is supposed to change to become more "interesting"?

The same beats / rhythms have been played for > 10,000 years, and will continue to be the same for the next 10,000 years and beyond.

Dance music works, it doesn't need to change, other than refining production techniques to keep pace with speaker and amplification technology.

Peace,
Andy.

Yes, it began in Africa ( I still love that line)
Well it depends on what you call dancing, there are many forms. From moving your feet a little bit to totally letting go.
I remember when hip hop started and people made moves that I still envy to this day.
People don't always need beats to dance, take classical music as an example.

We have been given the ingredients, which we will refine, however the next generation will take it a step further. The interest will come from ideas already archived in music that we now have.

[Eauson]

A lot of the better music I have heard recently is not so much polished, it has an earthy feel to it. Where as a lot of the posted trax/sound too clean/cold even.
Its as if the punk element of the original movement has been lost.

What you have just defined is ...

TASTE.

It's got nothing to do with "better" or "worse" for anyone except you.

Peace,
Andy.

Point taken

[ghettosynth]

I wonder if there is still an active hardhouse scene today, I liked it a lot at the time, more than techno (but less than trance ^^ )

I really liked chicago hard house, as opposed to UK hard house, back in the late 90s, but it really was not popular for very long.

This music is mostly a thing of the past.

[ghettosynth]

As I predicted, you seem to have a need to elevate your heros.


First we're comparing EDM artists to influences


We're talking about what's on the cutting edge of EDM, by definition

First off, I didn't realise you were a mystic, predicting stuff, so really you should know all about the cutting edge.
The title is dance/electronic, so edm is not the only discussion here.

But current is, so anything from the last century is, by definition, not cutting edge.

Also I was not elevating my hero's, I was pointing to the past, stating that a lot has been done previously, thats all.

No, you are doing more than that, you asked me point blank if I didn't agree that artists who built their own instruments were not better.

It's not like this is a new discussion. There always seems to be some attempt to remind artists who press play on drum machines how they're not artists and it's always combined with reminders of forgotten music that, frankly, sounds nothing at all like what current artists are doing.

[Davias]

Which ones do you think are interesting?

Can you explain how "dance music" i.e. music designed for dancing is supposed to change to become more "interesting"?

The same beats / rhythms have been played for > 10,000 years, and will continue to be the same for the next 10,000 years and beyond.

Dance music works, it doesn't need to change, other than refining production techniques to keep pace with speaker and amplification technology.

Peace,
Andy.

Yes, it began in Africa ( I still love that line)
Well it depends on what you call dancing, there are many forms. From moving your feet a little bit to totally letting go.
I remember when hip hop started and people made moves that I still envy to this day.
People don't always need beats to dance, take classical music as an example.

We have been given the ingredients, which we will refine, however the next generation will take it a step further. The interest will come from ideas already archived in music that we now have.

There is valse that I know, and you will notice the instruments are playing a beat, made by a repetitive cadenced rhythmic. Beats are not all made by drums or sound-alike ^^

Now I agree with you that one can virtually dance on anything, like dancing on the noise music posted before even if it didn't make me moving my body ^^
Some people are even dancing to venetian snares so one could dance on anything if he wants.

[Eauson]

it all seems like rehashed material

I'm always learning, and so I accept if I'm wrong, but how are things like the Grischa Lichtenberger, or Anstam, or Mark Fell tracks I posted earlier rehashed?

There's possibly error in the very nature of the phrase cutting edge dance music, since dance music follows established forms(however within those forms there can still be innovation).

More rarely, innovation (in this context) happens when something steps outside of those established forms, but could still be classified as music to dance to- though given how humans dance (two feet, between possible tempos) this is very difficult.

Okay, I'll go back to someone who I posted earlier Curtis Roads.



Ah, you are basically allowing the rules to be determining factor, where as its chaos which is the innovator

I could post more video's, sadly I have little time this month.
I should have stayed away from this post really

[andyf53]

I am aware or Road's work, and very interesting it is too
However I do think that his experimentation with microsound/ granular techniques has little relevance on whether some of the electronic work I noted was rehashed.

[ghettosynth]

it all seems like rehashed material

I'm always learning, and so I accept if I'm wrong, but how are things like the Grischa Lichtenberger, or Anstam, or Mark Fell tracks I posted earlier rehashed?

There's possibly error in the very nature of the phrase cutting edge dance music, since dance music follows established forms(however within those forms there can still be innovation).

More rarely, innovation (in this context) happens when something steps outside of those established forms, but could still be classified as music to dance to- though given how humans dance (two feet, between possible tempos) this is very difficult.

Indeed. It almost seems like in this thread the OP and others view innovation in dance music as the creation of what could be identified as new forms. Whereas music that has the same fundamental components as music from the past, is not on the cutting edge.

I really like a lot of the stuff that you're posting, it's certainly fresh electronic music, most of it is probably not going to launch a new form of dance music.

Although I can't stand commercial dubstep, I find its evolution interesting. It's taking roughly the same market as big beat did a few years ago, only it's even more extreme and dirty. It seems to fill a need for raw expression, very much like punk music.

So, perhaps if you want to identify what's going to be next, try to identify what cultural need is not currently being met.

[ZenPunkHippy]

Okay, I'll go back to someone who I posted earlier Curtis Roads.

Why post this? Is it an example of anti-dance music? The only type of dancing that could accompany this is free form / interpretive.

Nothing wrong with that (and I like the sound), but it's hardly going to excite you average party goer except as a break down prior to "the drop".

Peace,
Andy.

[ghettosynth]

Okay, I'll go back to someone who I posted earlier Curtis Roads.

Why post this? Is it an example of anti-dance music? The only type of dancing that could accompany this is free form / interpretive.

Nothing wrong with that (and I like the sound), but it's hardly going to excite you average party goer except as a break down prior to "the drop".

Peace,
Andy.

Oh, but we could loop it But you're right, Eauson seems to think that if something has some element from the past, then it's rehashed and not new, never mind that no music has nothing from the past. I think it's a deeper mistake of valuing content over expression.


The introduction below reminds me of Sartwell's laws:

Sartwell’'s First Law: The quality of a rock band is inversely proportional to its pretentiousness. The pretentiousness of a rock band can be expressed as the ratio of its artistic ambition to its artistic accomplishment.

Sartwell's Second Law: The quality of a rock song varies inversely as the square of its distance from the blues. The bluesier the better.

To me, there's very little here that wasn't in the Docksteader pieces I posted earlier. In fact, listening to this, induces precisely the same sense except Docksteader was better.

Frankly, where's the challenge here? It's nothing more than using granular tools and not having to worry about whether anything's in tune or in time. Give it a pretentious sounding introduction and you have art. I get it, he's an academic, this is related to his work in granular synthesis, that's interesting, as his his other work, but to me, the music is not. It's like a demo record that comes with a new synthesizer. It's as constipated as academic music can get.

Beneath the level of the note lies the realm of sound particles. Each particle is a pinpoint of sound. Recent advances let us probe and manipulate this microacoustical world. Sound particles dissolve the rigid bricks of musical composition-the notes and their intervals-into more fluid and supple materials. The sensations of point, pulse (series of points), line (tone), and surface (texture) emerge as the density of particles increases. Sparse emissions produce rhythmic figures. By lining up the particles in rapid succession, one can induce an illusion of tone continuity or pitch. As the particles meander, they flow into liquid-like streams and rivulets. Dense agglomerations of particles form clouds of sound whose shapes evolve over time." -Curtis Roads
POINT LINE CLOUD is a collection of audio and video collaborations between Curtis Roads and myself, it has been a ever shifting project over the years which constantly continues to evolve. The first performance of the materials that grew into the project was in 2001 at a concert with Autechre and Russell Haswell in Los Angeles. Since then it has been performed in many diverse venus around the world.