Heidegger

> but where is the acoustic beauty ?

My interpretation of the history of electronic is that at first only people already involved in “serious” music could get their hands on the equipment. But once the equipment had dropped in price to the point where anyone could create their own electronic music, then we began to hear from the people with the real aptitude for it.

Frank Zappa’s involvement is interesting because he was influenced by Varese in high school, but started a traditional band because he couldn’t afford the electronic equipment. By the 80s he could afford the equipment and began to compose and record electronically. As the equipment evolved he could produce more and more of the music himself, without musicians, and then moved from replicating musicians’ work, to producing new sounds that were only possible to produce electronically. But his appeal was limited to a select group of fans, while electronic music picked up new generations of fans who wanted music they could enjoy, and didn’t particularly care about how it was produced.

Today we have had a few decades of popular electronic music. The XXth century composers mentioned earlier are a historical curiosity, but they’re not really a part of the main narrative any longer.

One electronic artist that may be of particular interest to this crowd is Reinhart Voigt, who as the artist named Gas released three albums in the 90s inspired by German forests on the Mille Plateaux label. They are now out of print, but they circulate on the net.

Also, Ammer & Console’s “Heimat und Technik Das Heidegger Bootleg”.

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Posted on Sunday, May 11th, 2008 at 6:03 am
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