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russellk View Drop Down
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Direct Link To This Post Posted: May 19 2009 at 15:05
^ IDM is a controversial term (http://en.wikipedia.org/wiki/Intelligent_dance_music) that, in my view, covers techno with progressive leanings. That is, electronic music focusing on loops and beats, but with prog structures. Songs are complex rather than just '4 on the floor' and progress: a track doesn't finish where it starts. Many of the artists are self-confessed prog lovers, and reviewers consistently refer to 70's prog bands like PINK FLOYD and TANGERINE DREAM when discussing them. APHEX TWIN produces material from a wide variety of electronic genres, and it is his more ambient material (like 'Selected Ambient Works') that make him of interest to progressive electronic fans. (Though his more straightforward stuff, like 'Come To Daddy' and 'Windowlicker' are a great deal of fun!)

RojM30, the 20-minute mix was finally released in 2000 on the 'Alpha Wave' EP after years of fan agitation. I have a copy :) The 10-minute mix was widely available on the remix album 'System Express'.
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Direct Link To This Post Posted: May 21 2009 at 08:14
^ That's great news Russell!  Another one for the "to get" list.
 
I think the version I had was on an actual studio album (a bloody good one too) the name of which escapes me.  I'll have to dig it out of storage LOL and let you know which one.
 
I was listening to my Aphex Twin Selected Ambient Works 85-92 the other day.  The track Heliosphan still absolutely blows me away every time.
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Direct Link To This Post Posted: May 21 2009 at 15:23
^ The original 'Alpha Wave' is on System 7.3 Fire, with an ambient mix on the companion System 7.3 Water.

How's 'Music Has The Right To Children' going? It's probably different to what you were expecting ... I hope it sneaks up on you. 'Roygbiv' is the most beautiful 2 and a half minute track I've ever heard, and I've never heard anything quite like 'Telephasic Workshop'. The best track of all for me is 'Happy Cycling' - that seagull sound is amazing, and it has a totally prog ending. Sorry, I'm just going to take a cold shower.
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Direct Link To This Post Posted: May 26 2009 at 03:06
Well I've finally got round to listening to Music Has The Right To Children for the first time this morning, well half of it anyway.  It's fantastic stuff, right up my street!
 
An Eagle In Your Mind and Telephasic Workshop are stunning.  I'd say they are most similar to The Black Dog (so far anyway) with that mixture of hypnotic rhythms and gorgeous backdrops, the difference being BOC's rhythms are more hypnotic, TBD's being more complex rhythms.
 
I will listen to the rest on my journey home tonight.
 
Seriously if anyone on this forum is into Boards of Canada but hasn't heard The Black Dog you simply MUST check out Bytes and Spanners.
 
Thanks to all for the recommendation Clap.
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Direct Link To This Post Posted: May 26 2009 at 21:14
Has 'Not For Threes' arrived yet? Being such a fan of The Black Dog, I wonder what you'll make of Plaid (who are two-thirds of The Black Dog).

To give others an idea of what Plaid (and IDM) is about, have a look at these excellent vids:
http://www.youtube.com/watch?v=VDDnuZAL9ps
http://www.youtube.com/watch?v=nwOb4G6--xc (warning: this is disturbing)
http://www.youtube.com/watch?v=VrVYzwXabAM

They are as prog as it gets.

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Direct Link To This Post Posted: May 27 2009 at 02:51
I've not listened to the Plaid album yet, I just had to stick on Boards Of Canada again this morning.  That is one phenomenal album, probably the best new album I've heard this year (and I've heard a hell of a lot of new ones LOL).  You're right Russell by the way, Happy Cycling is staggeringly good.
 
To put things in perspective I've recently got IQ's new album Frequency.  Now I'm a huge IQ fan, and I'd been awaiting that for ages, but Music Has The Right... has made more of an impact on me, initially at least.
 
You know, it really brasses me off that bands like BOC and other IDM acts aren't on here.  Their music is what I would call truly progressive.  If post rock/math rock (where the link is very tenuous) is considered prog, I'd like to know how IDM isn't.  I guess there's some people who are just stuck and won't try and venture out at all.  It's their loss.
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Direct Link To This Post Posted: May 27 2009 at 11:45
Originally posted by tszirmay tszirmay wrote:

...  Anubian Lights ... Cabaret Voltaire ... Eat Static ... Paul Haslinger .... Riuichi Sakamot ... Spiral Realms ... System 7 ... Yellow Magic Orchestra..... comments?

 
Just to give you an idea how some stuff is connected ...
 
Anubian Lights ... is by Nik Turner ... with Hawkwind a lot.
 
Cabaret Voltaire has been in that scene since the 70's and then some ...
 
Eat Static ... This was/is Ozric Tentacles sister band. It started when 2 folks left the Ozrics.
 
Riuychi Sakamoto ... Oscar winner now as well. Started with Yellow Magic Orchestra in Japan. Has done some outstanding soundtrax as well. Also acted in various films. If you don't have "Beauty" in your prog collection you are not a proggy ... you are just a wannabe prog'r! And this guy loves to funk'it'up and then some!
 
Spiral Realms ... it's Simon House with his violin and synthesizers plazed and enveloped so much that you can't find him!
 
System 7 ... it's Steve Hillage and his wife
 
Yellow Magic Orchestra ... see above ... tighten up!
 
It actually makes a lot of sense in how Hawkwind went sonic ambient with some guitar stuff over it in Electric Tepee and It Is the Business of the Future ... and come up with some incredible stuff ... in some cases the hard rock over it in Electric Tepee is so out there that I'm not sure that most people can handle it ... it is excellent in every way otherwise.
 
Eat Static has opened more gigs for the Ozrics than anyone else ...
 
Pete Namlook ... learned a lot from Klaus Schulze I bet!
 
Paul Haslinger - played with Tangerine Dream for a couple of albums and toured with them.
 
Glo - This is Gilly Smith of Gong ... really nice with Steffi ... also get Electric Shiatsu
 
The Orb and The Future Sound of London I have not yet quite connected, but they are quite near the Gong/Hillage family of people ... who also have a lot of ambient trance stuff in their label ... and if you have not heard the glissando ambient stuff you are missing a treat.


Edited by moshkito - May 27 2009 at 11:53
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Direct Link To This Post Posted: May 28 2009 at 14:02
Originally posted by Roj M30 Roj M30 wrote:

You know, it really brasses me off that bands like BOC and other IDM acts aren't on here.  Their music is what I would call truly progressive.  If post rock/math rock (where the link is very tenuous) is considered prog, I'd like to know how IDM isn't.  I guess there's some people who are just stuck and won't try and venture out at all.  It's their loss.


I understand how you feel, but it's not worth worrying about. Go and read the definition of Progressive Electronic on this site and you'll understand why they don't qualify. I respect the hard work the collaborators have done in this genre, but they have explicitly stated that while they are in charge IDM will not be admitted to the archives. That's their right, and so forth. Doesn't stop us enjoying the music, I guess, but it does make it more difficult for us to interest fellow proggers in music I know they'd enjoy more than (with respect) some of the borderline stuff that has made it here.

Here's the argument I made a year ago. I've taken out references to the collaborators.

Let me start with a hearty thank-you to the progressive electronic team, who have carried the progressive electronic genre squarely on their shoulders. They are very knowledgeable about the sort of music they classify as progressive electronic, and have done many hours of research and hard work on behalf of the members of ProgArchives. For this I can only applaud them.

However, bearing in mind the inclusiveness at the heart of this great site, expressed succinctly by the site’s founder, I’d like to propose the genre should be expanded far beyond its current narrow limits. At the moment anything that is perceived as ‘New Age’ or ‘cheesy’ or ‘easy listening’ or ‘of the dancefloor’ is being rejected or at best placed in ‘Prog Related’ (e.g. VANGELIS).

I’ve read carefully the ProgArchives definition of the genre. To sum up things, the progressive electronic subgenre is dedicated to intricate, moving, cerebral, intrusive electronic experiences that get involved in “kosmische”, dark ambient, (post) industrial, droning, surreal or impressionist soundscapes territories.

This is very narrow! Fortunately for electronic music lovers, the genre is much more extensive than this extraordinarily narrow definition.

Electronic music which has as its focus unusual and changing time signatures, avant-garde sound effects, retro instruments (such as Hammond organ, harpsichord or Moog) and complex interplays of melody and rhythm ought to be described as progressive. There are dozens of artists and hundreds of albums from the so-called ‘dance music’ scene, and from many other places, that meet these criteria.

To the uninitiated the dance music scene is characterised by 4/4 beats and an absence of creativity, pandering to the mindless youth. However, this is to ignore the whole subgenre of IDM (intelligent dance music) and the many ambient artists spawned by the chill-out room.

I direct the team’s attention to the excellent article in wikipedia (heaven forbid we use this source as reference, but it just so happens this article summarises the genre perfectly):

Intelligent dance music (commonly IDM) is a genre name invented by the creators of an online mailing list to describe dance music of the 1980s and early 1990s which uses unusual and "weird" sounds, defies rhythmic convention, and is much harder to dance to than most forms of techno (http://en.wikipedia.org/wiki/Intelligent_dance_music).

In my view the major bands in the IDM movement are progressive. Here I offer evidence from the writings of professional reviewers:

“‘Second Toughest In The Infants’ [UNDERWORLD, 1996] is nothing less than the interface of prog rock and beats, representing one of the most mature and frequently surprising records of the 1990s” (Daryl Easlea, 1001 Albums You Must Hear Before You Die, Quintet Publishing, London, p790).

“What PINK FLOYD and THE ORB share is, simply, an approach to music. They represent a rare triumph of aesthetics over ideology; the former punk ignoring proscriptions, listening to the prog rock dinosaurs, creating the music he likes” (David Bennun, Melody Maker, 1993).

“[THE ORB’s] U.F.Orb reached #1 on the UK Albums Chart to the shock of critics, who were surprised that fans had embraced what journalists considered to be progressive rock” (http://en.wikipedia.org/wiki/U.F.Orb, referencing ‘Sullivan, Caroline. "Breakdown", The Guardian, 1993-04-09).

“Two months later, Phil and Paul released "The Box," a 28-minute single of orchestral proportions. It screamed of prog rock excess -- especially the inclusion of synth harpsichords -- and appeared to be the first misstep in a very studied career. The resulting In Sides, however, became their most acclaimed album, with many excellent reviews in publications that had never covered electronic music” (John Bush, Orbital, All Music Guide).

“[APHEX TWIN’s] music is just prog rock for the 90's, or put another way, noodly old hippie sh*t with no grip on reality” (Mark Sutherland, New Musical Express, March 1995).

“[FUTURE SOUND OF LONDON’s] latest release, The Isness, shows their ability to evolve from pure drum'n'bass to a more progressive rock sound that would surprise anyone who didn't already know they are capable of pretty much anything”(http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=FutureSoundOfLondon&cat=electronica&full=Future%20Sound%20of%20London. Sighted 3 May 2008).

The difficulty faced by those seeking to categorise such music is that the artists involved in the movement also indulged in more standard forms of electronic techno, house and trance. For example, the undeniably mainstream (but extraordinarily interesting) KLF sold more singles in the UK in the late 80s and early 90s than any other band, but also produced the seminal ‘Chill Out’ album:

The album has many recurring musical elements, which unify and merge the parts into the collective whole, such that a part considered in isolation is incomplete despite its distinctiveness. Common characteristics of most parts include ethereal background synthesizers, the use of echo and pitch bend, samples of nature and transport, and the punctuation of soft synthesizer loops by sudden flourishes of harmonious sound. The Deep South is variously represented using original pedal steel contributions from Graham Lee and emotionally-charged samples of US radio broadcasts: an evangelist's sermon, a range of samples of a very intense salesman, and, in "Madrugada Eterna",[3] the detailed news report of a fatal road accident. (http://en.wikipedia.org/wiki/Chill_Out)

I’d find it impossible to characterise this album as anything other than progressive, yet very little else of the group’s extensive work is remotely progressive.

This situation is further complicated by the offshoots of the KLF, including THE ORB, who produced a distinctive body of work seen as the logical successor to PINK FLOYD; and FFWD, a collaboration between members of THE ORB and ROBERT FRIPP (which appears in ProgArchives at http://www.progarchives.com/artist.asp?id=2353). Ironically this purely progressive electronic band is listed under Jazz/Rock fusion!

An example of the interconnectedness between traditional prog bands and progressive electronica is GUY PRATT, the bassist for the more recent post-WATERS incarnations of PINK FLOYD. He’s also a long-time THE ORB collaborator, writing some of their music and performing with them live and in the studio. Even more influential on THE ORB’s music was STEVE HILLAGE, formerly of GONG, who plays guitar on their studio albums and formed his own band, SYSTEM 7, with MIRQUETTE GIRAUDY. THE ORB has also collaborated with ROBERT FRIPP and BILL LASWELL, among many others.

Notwithstanding the difficulties, an effort ought to be made to incorporate musicians and albums whose impact has filtered through into ProgArchives. Perhaps the most telling recent inclusion is BATTLES, a band with roots in the New York electronic scene (including DON CABALLERO, also included in ProgArchives). They are signed to Warp records, a label that is the stable of many of the world’s top progressive electronic acts. Their sound is not unlike others at Warp, and it beggars belief that BATTLES, a relative newcomer to IDM, should be listed here and the bands – such as AUTECHRE themselves – on whose shoulders BATTLES sit, are absent. Of course, like FFWD they came into ProgArchives through the back door: they are listed as Post Rock/Math Rock. The ‘progressive electronic’ genre is far too narrow as presently formulated to admit them.

Ironically, the level of creativity and progressiveness in the IDM scene is a quantum leap ahead of electronic prog staples like TANGERINE DREAM and JEAN MICHEL JARRE.

Perhaps my point can best be illustrated by the following seminal albums:

KLF: Chill Out, 1990
BLACK DOG PRODUCTIONS: Bytes, 1993
APHEX TWIN: Selected Ambient Works 85-92, 1992
FUTURE SOUND OF LONDON: Lifeforms, 1994
ORBITAL: Snivilisation, 1993; In Sides, 1996
BOARDS OF CANADA: Music Has The Right To Children, 1999
THE ORB: Adventures Beyond the Ultraworld, 1991; U.F. Orb, 1993
UNDERWORLD: Dubnobasswithmyheadman, 1993; Second Toughest in the Infants, 1996
AUTECHRE: Tri Repetae++, 1995, Confield, 2001.

Try dancing to any of that lot.



As I said, this argument went nowhere. I'm articulate and can marshal an argument, and I'm knowledgeable about IDM. I fired my very best shots, and to their credit the team listened to the albums listed above, but rejected them all. Ah well, I tried.
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Direct Link To This Post Posted: May 29 2009 at 07:59
^ Russell, that is one hell of a submission Clap.  You stated the case very well, and very eloquently.  It's sort of what I'd like to have said too, but you put it much better than I could.  If THOSE albums were heard and rejected....... well, what can I say? 
 
As you mention, it's difficult to spread the word on PA, but fear not.  I placed a poll in "general music discussions" yesterday entitled "which BOC?", meaning Blue Oyster Cult or Boards Of Canada.  Last time I looked, there were 5 votes for Boards Of Canada, (including mine of course LOL) so there is some support here.
 
I've listened to the Plaid album twice, and it's another great one.  Not as immediate as the BOC album, but some great stuff on there, and on second spin more and more of it was getting to me.  It's really comforting to know that 2/3 of The Black Dog make music just like The Black Dog.  The opening track is absolutely out of this world, 8 minutes of the finest electronic progressive music you could ever hope to hear.  Rakimou and Milh stand out too.
 
I guess that means I'll have to hoover up the rest of their albums - can't believe I'd not tried them out previously to be honest Embarrassed.
 
One recommendation I've got for you is Reload, don't know if you've heard them.  They were made up of the guys from Global Communication, Middleton and Pritchard.  As far as I know, they only made one album, A Collection Of Short Stories and it's breathtaking.  At times dark and industrial, but also some of the most stunningly beautiful music, with layers of gorgeous keyboards.
 
Time to go now.
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Direct Link To This Post Posted: May 29 2009 at 14:55
^ Reload? Haven't heard it ... so I will track it down later this week. Thanks!

Plaid are a little jazzier than TBD, IMO. If you enjoy 'Not For Threes' you'll love their subsequent albums. Also, if you can find it, Balil's 'Parasight' is an excellent 4-track EP. Balil was one of the three Black Doggers. 
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Direct Link To This Post Posted: May 30 2009 at 00:06
I love IDM and wish some artists in that field were included here on this site.

Has anyone here heard Untilted by Autechre? This is the most prog-like electronic album I've ever heard. 8 lengthy songs where each track keeping mutating into one music idea into the next. There's even a song on there called "The Trees" (like Rush's)!
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Direct Link To This Post Posted: May 30 2009 at 14:08
Excellent post, Russellk. Better than I could say it!

---------------------------------

My favorite IDM artists include (in no particular order)

Brothomstates
Mira Calix
Clark
Diagram of Suburban Chaos
Food For Animals
Autechre
Beans
Two Lone Swordsmen
Mouse on Mars
Yvat
Aphex Twin




Edited by catfood03 - May 30 2009 at 14:12
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Direct Link To This Post Posted: May 30 2009 at 15:02
Originally posted by catfood03 catfood03 wrote:

I love IDM and wish some artists in that field were included here on this site.

Has anyone here heard Untilted by Autechre? This is the most prog-like electronic album I've ever heard. 8 lengthy songs where each track keeping mutating into one music idea into the next. There's even a song on there called "The Trees" (like Rush's)!

Absolutely. Untilted (love the title, I bet it frustrated a few downloaders) is an album that will stretch the prog listener. It's about as complex and challenging as music gets, along with most of Autechre's recent output.

I suspect we're flogging a dead horse, but it relieves a stain on my soul to talk about it. I doubt that many people would deny the prog influence, after a few careful listens to leading examples of IDM. The question is, though: is it a separate genre with progressive decoration, or is IDM inherently progressive? I believe the latter. But while the PA definition remains as it is, progressive electronic here will continue to be patronised by a very few listeners (check just how many reviews progressive electronic albums get).
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Direct Link To This Post Posted: May 30 2009 at 16:30

I got a copy of Untilted not too long ago. Because of the ridiculous amount of music I've been gathering lately, I've only had the chance to listen to it a couple of times. It definitely takes some time to grow on you and since I'm used to the Incunabula/Amber/Tri Repetae Autechre it's even more difficult to digest. Still, it's definitely good and I'm sure I'll love it in a couple more listens, considering it grew so much the second time around. I still need to check out Confield.

www.last.fm/user/ThisCenotaph
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Direct Link To This Post Posted: May 31 2009 at 21:54
Originally posted by russellk russellk wrote:

Originally posted by catfood03 catfood03 wrote:

I love IDM and wish some artists in that field were included here on this site.

Has anyone here heard Untilted by Autechre? This is the most prog-like electronic album I've ever heard. 8 lengthy songs where each track keeping mutating into one music idea into the next. There's even a song on there called "The Trees" (like Rush's)!

Absolutely. Untilted (love the title, I bet it frustrated a few downloaders) is an album that will stretch the prog listener. It's about as complex and challenging as music gets, along with most of Autechre's recent output.

I suspect we're flogging a dead horse, but it relieves a stain on my soul to talk about it. I doubt that many people would deny the prog influence, after a few careful listens to leading examples of IDM. The question is, though: is it a separate genre with progressive decoration, or is IDM inherently progressive? I believe the latter. But while the PA definition remains as it is, progressive electronic here will continue to be patronised by a very few listeners (check just how many reviews progressive electronic albums get).



I really don't know how Autechre would be tolerated by most members on this site. I haven't been around long enough on this site to detect negative feeling towards progressive electronic artists. I think IDM artists could be placed into "progressive electronic" without warranting it's own category. The IDM artists listed in this thread are as innovative as bands like Tangerine Dream and Kraftwerk back in their day.

Is Autechre prog though? I singled out Untilted because it has the lengthy compositions and movements within each track, something that isn't as pronounced on realeses by them before, or since. There are bands here that have only one or two truly prog albums in their history (Split Enz for example, most of their discography is pop). It would have to be on a band-by-band basis and not every IDM artist would be prog in my opinion (which is not to say that band or artist isn't good or innovative, just doesn't meet the traditional qualities of how progressive rock is defined). I think Autechre would qualify, but guys like Two Lone Swordsmen are too techno oriented, while Prefuse 73 too hip-hop (although all considered IDM!)



Edited by catfood03 - May 31 2009 at 21:55
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Direct Link To This Post Posted: June 01 2009 at 01:01
^Prefuse 73 is one of the most progressive electronic artists I've ever heard. And heck, his new album art looks darn reminiscent of 70s prog.
www.last.fm/user/ThisCenotaph
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Direct Link To This Post Posted: June 01 2009 at 03:03
Jumping in this thread a bit late, but wanted to add my .02$...

Boards of Canada's Music Has the Right to Children is a 5 star album in a major way, absolutely love it!!!

Also, Squarepusher, although my favorite album of his Music Is Rotted One Note has more in common with Bitches Brew than IDM.

Aphex Twin...fantastic mood music, I often jam him when working at my 'puter.

Prodigy's remix album The Dirtchamber Sessions, while maybe not strictly IDM is easily my favorite from them.

One artist that again may not be strictly IDM, but still falls remotely in this category are remix masters Kruder & Dorfmeister...the K&D Sessions album has been a longtime favorite.

Another (again, my not be considered pure IDM) I don't think has been mentioned is Leftfield, the Leftism album is phenominal.


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Direct Link To This Post Posted: June 01 2009 at 12:24
Originally posted by stonebeard stonebeard wrote:




That's what I have, minus ambient/drone. Cool

(obviously only some of that is IDM)
 
And you don't have Klaus Schulze in here?
 
Heathen!
 
Heathen!
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Direct Link To This Post Posted: June 01 2009 at 12:36
Originally posted by russellk russellk wrote:

 ... snip ...
At the moment anything that is perceived as ‘New Age’ or ‘cheesy’ or ‘easy listening’ or ‘of the dancefloor’ is being rejected or at best placed in ‘Prog Related’ (e.g. VANGELIS).
... snip ...
 
That's why Vangelis will be remembered and so many of these others won't! He even has an Oscar in his closet ... and last I heard only Mark Isham has one ... (I have to check it again ... but think he's the only new age artist worthy of mention) ...
 
Btw ... he never was New Age and never will be ... and he is way more classical music mind'ed that most people here care to admit and accept. In fact, along with Mike Oldfield and Klaus Schulze I would say that they are the 3 most important composers that will come out of these days ...
 
Vangelis was there playing his music and doing soundtrax before New Age was born as some commercial bs appeal to sell stuff ... and music that had as much soul as the broomstick on my mop in the kitchen! ... well, in all fairness, it does help clean the floor once in a while!


Edited by moshkito - June 01 2009 at 12:37
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Direct Link To This Post Posted: June 01 2009 at 13:08
Quote ... snip
An example of the interconnectedness between traditional prog bands and progressive electronica is GUY PRATT, the bassist for the more recent post-WATERS incarnations of PINK FLOYD. He’s also a long-time THE ORB collaborator, writing some of their music and performing with them live and in the studio. Even more influential on THE ORB’s music was STEVE HILLAGE, formerly of GONG, who plays guitar on their studio albums and formed his own band, SYSTEM 7, with MIRQUETTE GIRAUDY. THE ORB has also collaborated with ROBERT FRIPP and BILL LASWELL, among many others. ... snip
 
I'm not sure how accurate this really is ... You might want to sit through Fripp and Eno's " No Pussyfooting".
 
In general, I would say that different styles and things to do gave a lot of people some freedom that they otherwise lacked in the work they were doing ... In the case of Steve Hillage, he could be as free as he wanted and no one would mind ... and he could fly off the handle in the background in the guitar and no one would be the wiser for it ... and I think that finding out how well you can trip out and do things is one of the things that a lot of musicians like to try ... no one, not even you ... can sit here and honestly tell me that "No Pussyfooting" and the majority of the albums you mention here ... were "composed" and in that sense, it is liberating for many of these artists.

Quote
... snip ...
Ironically, the level of creativity and progressiveness in the IDM scene is a quantum leap ahead of electronic prog staples like TANGERINE DREAM and JEAN MICHEL JARRE.
... snip ...
 
This is grossly unfair and somewhat distorted. These two people/artists never were into the dance scene and they create music for the senses, not just a dance floor. Like 5 years plus! At least Tangerine Dream and then Klaus Schulze!
 
Both of these had never been a part of the dance scene anyway, so it is weird to see them mentioned here. However, the credit they DO deserve is that the majority of the synthesizers and sequencing designs that became the staple of dance floor music, was designed and created by these people who were capable of testing these machines and wanted to do things with them ... that no one knew how to do ... but they were trying to figure it out.
 
But we do not want to take away from the creativity of the "dance floor" stuff ... because not all of it is mindless music ... and some of it is actually well thought out ... but it takes a lot more talent and ability to create a real piece of music ... than it does to create a dance piece ... which you can do with Abelton Live, and a couple of speakers and no talent whatsoever for music!
 
The electronic dance scene followed disco ... and it was a natural growth from the 4/4 beats and tripping sounds extended somewhat from that point ... and this is in 1975 or so ... around the time of the Saturday Night Fever thing ...
 
In those days, TD and Jarre and Vangelis were already playing and learning the synths ... and you might really spend some time reading up on the history of many of these classic synthesizers and even more important coming out soon (I hope) would be a massive history and outline from Roland, Korg and Yamaha ... who ... btw ... all have affinity with dancing and timing --- which is better suited to this kind of electronica than the other more free fluid and wheeling styles ... you know why?  ... this is neat actually ...  they all started with people that were working with clocks ...
 
So clocks and music come together and you have your genre ... but please don't discredit the others ... they are more classical music of today than they are anything else ... always respect the art ,... please.


Edited by moshkito - June 01 2009 at 13:10
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