Sometimes it’s worth a reminder that electronic music isn’t all about how much you can do – and some good old hardware synth action is a good way to do it. Continue Reading
There’s a nice subtle link here from my last piece about genre (Kings of the City’s Darkness); J*DaVeY’s Evil Christian Cop has a few different sounds in the melting pot, from the soft rock sounds of Nirvana covering Smells Like Teen Spirit new wave overtones of Lazy Daze all the way over to the wonkiest of wonky Trans – but it’s all held together with a certain brand of electronica that’s come from a very definite place.
all held together with a certain brand of electronica that’s come from a very definite place
Going further to illustrate my point is the way that so there are so many genre names for a huge sea of electronica with enough homogeneity to fit in the same boat – simply because the reference points that different people have come from to get to glitch hop/wonky/skwee/beats/gargotron provide counter points of equal distance. A few days ago, I asked how you approach genre; the de facto schema you use for the sounds, speeds, moods and atmospheres you aim for in your music may well benefit from a lateral step, but subconsciously is the end result almost pre defined?