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Looper's Delight
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Hi, Since I've been thinking a lot on this I'm finding this thread very interesting. Thank you everyone for great posts! On 04-04-12 00.36, "Mark Hamburg" <mark_hamburg@baymoon.com> wrote: > 1. Someone needs to come up with a definition of the aesthetics and > experience from an audience perspective. Yes, it's actually a bit bizarre that we, as musicians, should come up with a name for the style of music we do. It has always surprised me how different people experience "music" - it's obviously all in the ear of the listener. When I listen to Andre's latest record I hear "fusion" and "funk" played by a skilled musician using the meta instrument made up by a guitar, an echoplex and a guitar amplifier - and delivered with a well defined attitude. When I listen to Matthias Grob's record I hear "brilliant group improvisation". When I listen to Rick Walkers records I hear "sophisticated and funny beats". When I listen to Ted Killians record I hear "screaming beautiful craziness". I must say that it hardly passed my mind that looping plays a big part in these four examples. And I guess a non musician listener couldn't care less. The more you play the more you realise that listeners never experience the music the way you expected them to. Here there is a big gap between the musician and the audience and this is exactly what we, traditionally, need record labels for. Record labels is an industry specialized in putting understandable labels on artists output. In the modern society and market this step is as important as the first step - the artist creating the actual expressive outlet. Yes, it's true that the increase of styles and sub genres of today has diminished the record labels role as "the curator", but the need for "an interpreter" for the masses is as big as ever. And this is not a job anyone can easily pick up right away to "pass over the middle man" and "go indie". I think Andre's talk about "turntablism" is a brilliant example of a good presentation trick. Not a musical style per se, more of a branding needed to come across in public. On 04-04-12 02.48, "hazard factor" <artists@hazardfactor.com> wrote: > Defining what *you* do is the hard part. For me, I usually tailor my > response to the venue. There's another strategy that works. But in the long run, and if putting CDs out, I think it's better to have a name, with some staying power, for what you're doing. Personally I agree with Phill Wilson (great post BTW) that "live looping" is a technique or a tool. (I'm using the four CD examples only because I have come across good recordings from these peoples) Best wishes Per Boysen -- www.boysen.se www.looproom.com