I remember the review. And I remember the
I've experienced the same (non)reaction to the
process used to create the music. But, that's fine too. I mean, I'd
rather be reviewed for the music, than the process. After all if the
PROCESS is more interesting than the MUSIC it seems the music isn't valid of
it's own accord - and to my ears it's about the music.
----- Original Message -----
Sent: Monday, April 12, 2004 5:19
Subject: Re: "Live Looping"
And yet (to reply to my own post,
which seems like a form of looping, doesn’t it!), when I came back to the US
from Japan in 2001 and saw “Bass Looping Festival” on the marquee of the
Capitol Theater in Santa Cruz, that definitely had a meaning to me. Too bad I
was a week too late to catch the fun, but point is, it does mean something to
a number of people—myself included--to use “looping” as a descriptive term.
But maybe for the people who aren’t practicioners, they don’t care so much how
we do it— they care how it sounds and how it makes them feel.
instance, there was a review in a local rock rag about a live CD I made at a
gig with Orange (Dave K, you were actually at that show— you played a set
too). It’s a pretty wild set of songs, considering the only instrument besides
drums and vox was a 4-string bass, but the reviewer didn’t mention how it was
done, even though I made that very clear on the CD, (because it’s something
I’m kind of proud of). Nope, he just talked about how it was dreamy, gothic,
ambient, or whatever, and complained that it wasn’t Kiss or
on 4/12/04 4:53 AM, Dan Soltzberg at firstname.lastname@example.org
beat, warhol’s factory, der blaue reiter,
cubism, impressionism, rock, harcore, grindcore, glitchcore, idm, dub,
Mark’s post and this whole topic has me thinking about how
movements happen. Seems like a combination of self-promotion, audacity, and
right-place-at-right-time-ism. And/or by having/being/doing something that
is genuinely vibrant and touches people somehow in a way that can’t be
ignored. But not by committee, I don’t think.
Jimi Hendrix came
along and blew the world away. He was definitely an electric guitarist, and
he wrote lyrics about the instrument and you could see in much of how he
presented himself that it was a huge aspect of him.
But he didn’t
have the impact he had because he played electric guitar, rather than tuba
(well maybe he wouldn’t have gone quite so far had it been tuba). He had it
because he had awesome music and human depth and he put it out there into
the world and lived large. A tool’s a tool. Tools are great— they let us
make the things we dream.
Loopers, hammers, guitars, paintbrushes.
That’s it— imagine a “Paintbrush Festival.” You wouldn’t do it
that way. You’d call it an art festival. My friend Pia says it best--
“describe how the music will make me feel when I listen to