movement/accents on percussion

[Ingemar]

And now, as for the actual topic

isnt the actual topic 'movement/accents on percussion'

i thought i was ranting a bit too much

but if you play some leftfield track in 7/8 with every 5th bar being 9/8 only a very small group of rainmen will be able to fully keep up with the music and react to it.

come on bro, who is talking about that ?, you're not getting the point.

maybe im being a bit quixotical now, but there's so many producers who tries so desperatly to be 'pushing the edge' that their productions end up sounding like they are trying to re-invent the wheel. People have so many opinions on 4/4 being overdone, 440hz harmonic scale being overdone, claps being overdone and whatnot but they haven't explored every possibility of configuration within these parameters before they start looking down their noses at 'normal' music.

two clarifications, first of all i do not in any means think that anyone posting here is acting like this at all, and secondly that i made this leap of thought by thinking of the tribal quality of music. To me music is a means of connection and unity, not something meant to divide and flatter oneself with because it makes one feel superior to look down upon certain styles of music

[Ingemar]

and maybe im not fully talking about the point, but what i wrote has been brewing inside of me for a while and it needed to get out somewhere

and furthermore, i dont think theres anything wrong in doing weird ass spastic experimental stuff for the fun of it, but you have to be clear with yourself as to why and for whom you are doing it.

[steevio]

and maybe im not fully talking about the point, but what i wrote has been brewing inside of me for a while and it needed to get out somewhere

and furthermore, i dont think theres anything wrong in doing weird azz spastic experimental stuff for the fun of it, but you have to be clear with yourself as to why and for whom you are doing it.

but bro no-one is talking about weird azz spastic experimental stuff in the first place.

i find it faintly amusing that as soon i mention the word polyrhythm, or complain about 2/4 claps, people immedeately freak out and assume that i'm heretically suggesting a dismantling of our beloved 4/4 heritage, and a move to un-danceable music for geeks or something.
i've been doing nothing but make dance music for nearly 20 years, i dont think ive made a track you couldnt dance to, (i hope)

it only goes to prove how entrenched the cliche's are that many cant see that these simplistic rhythmic structures are not the only way to make people dance, sure they form a part of it all, but why allow them to be so dominant.

i think i'm as much part of the 'tribe' as anyone else involved in dance music today, and my reference to tribal music was purely one pertaining to rhythm.
music has to move forward, and the only way thats going to happen is if we experiment, why does the word experiment strike so much fear into some peoples hearts ?

[Casanova808]

There is crazy bromance percolating through this bitch.

[mizzdirekt]

Just youtube "drummer", download it, throw some reverb on it and call it your own...you did put reverb on it right?

[Ingemar]

There is crazy bromance percolating through this bitch.

so come join us

@steevio, i am in no way freaking out in a conservatist way and i think that we are looking at the same coin from two sides. I think it comes down to me being more of a melodic synth line guy who has my focus on those aspects of a track and wants them to be fresh, unique and not cliche - and not caring so much about how the drums beneath that happens to strike as long as it sounds good.

what's happened in the past and what's going to happen in the future is irrelevant, because music is only ever present, so therefor 'dismantling' todays sound is not interesting. Either it will happen or it will not.

personally im not at all afraid of experimentation because what do i have to lose on it? really? what do i have to lose if other people experiment? im just a dude making music. Experimentation is paramount to making music, but what i dont like is when one does something different simply for the sake of it and holds it as better than the rest simply for its individual traits. The proof of the pudding is in the eating, so to say.

there's no politics in rythm and i dont think there should be, everyone to each and his own

perhaps one reason as to why at least i am still working around the 'regular' outlines of a beat is that when i hear a good track using these techniques/cliches i am impressed by the producers ingenuity of placing bass and various components on and around the kick drum in the confinement of four beats. Think of it as a haiku; there's heaps of ways to write poetry but some people really like the creative boundaries of that particular form of it.

[AK]

thats pretty much how i feel about it. I too am focussed on sounds, harmonic content, interesting chords and musical motifs, the fact that i like to work in 4/4 and have no objection to a 2/4 clap routine has no bearing on output quality.

I certainly dont feel its cliched, i dont follow musical trends or use faddish sounds and create rhythms that i enjoy and feel. Regarding listener alienation, i probably might be borderline at times on a musical level due to some of my influences being atonalists but im content with programming rhythms in standard time as there a tons of possibilities ive yet to explore.

[steevio]

time to move on