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Comments
Exactly what I thought.
I think it's just a standard in modern publishing to create something provocative, possibly some form of controversy, in the title of a piece. That helps draw the reader. However, I think the title reflects what Eno is talking about if the "danger" is apathy or laziness.
Doubt everything. Question everything. Artists ARE questioning it. Digital technology is not going away, and it gets no free ride.
I see a lot of parallels with this and CG in movies.
Thank you.
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throw out the grid
never use quantise
any loop used must be a minimum of 31 bars in length
ditch link
From the POV of a dabbler, with great sonic imagination, but little real world instrument skills, ISTM that music making has diverged. I don't miss notes, because I'm not doing live performance. I use samples, a vast and sprawling array of samples, limited only by how I combine them. Some I make myself, others I buy are recoded by professional musicians, and therefore of high quality.
Irrespective of whether an individual or band are using the above method as a basis/starting point, or playing and recording real world instruments themselves, we're all still using the same notes.
As for musicianship, I know of many musicians who are highly skilled, talented people, whose ability is secondary to the twin great deciders; luck and imagination. If you have luck, you will achieve some measure of success. But without imagination, it will be unsustainable. Only those who have both, consistently, keep flying high.
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I wonder what he'd think of the current Depeche Mode album, in which they have pretty much become a rock band, and sound all the better for it.
EDM can be very complex, and not for a moment am I knocking those who like it, or the skills of those who make it. But as a genre, it doesn't go anywhere it hasn't already been. This is true of some, but not necessarily all genres, of course. Country music last evolved when the Eagles and Jackson Browne gave it a kick. Heavy Metal hasn't so much evolved as devolved into Death Metal. As for Pop, it's currently stuck in a horribly formulaic mish mash of misogyny, sexualisation and Hispanic exploitation.
With you there. While I respect what was done in the past, and like everyone have my influences, the last thing I'd want to do is sound like a poor man's Jimmy Page. Especially as he's been living on fumes for around 40 years. Just like so many after their period if greatness. Some still surprise, like Bowie and Springsteen, proving - as much to themselves as to us - that the spark of brilliance is still there. Others are clapped out, but still keep shovelling.
I think the greatest influence on me and the way I work are artists who have broken the rules, stepped outside of what has been rigid and formulaic before. An example being Massive Attack, from whom I learned many things, including the possibility of using the same great bass line all the way through a song, without any break. I also learned in general that all ideas have their time, and no matter how good or original a piece may be, if the time is not right it isn't going anywhere. What Public Service Broadcasting are doing successfully today, I was pioneered 20-25 years ago. Back then, few wanted to hear it. Now, it's back to the future.
Yes - It's a good article to ponder on "how" to play music - not how to be "played" by technology.
Breaking the rules - or more to the point > avoiding them.
Eno has always had really interesting angles on what / what not to do, and brought them into projects he worked on.
He did SO much amazing work.
(and surprisingly he could even work with such atrocious acts like U2 - and make them more successful.)
I think of him more as an architect or artist who works/weaves within the music and production world.
He went downhill after the synth solo bit in Virginia Plain.
I'm a bit surprised at all the Eno threads that get posted here. He's like the Phil Jackson (NBA coach who is widely considered the greatest ever who cultivated an unorthodox 'Zen master' image, but who really just lucked into Michael Jordan and Shaq) of the ambient world, as opposed to a Pat Riley or Greg Popovich.
I see him more as a Neil Adams then a John Byrne. Well maybe a Mike Grell but certainly not a Todd McFarlane.
Todd McFarlane.
The Spawn guy???
Yah! Err, my bad thought we were talking about baseball. I'm not a sports guy.
http://content.time.com/time/arts/article/0,8599,1650788,00.html
Haha I forgot he bought up those balls. Seemed to turn out well for him.
Ha!
If you have a name you can say everything
I like some things from him but there is a lot more interesting stuff made from less famous artists with digital tools.
It all sounds like the old man´s "in the past was everything better" meh´
Neil Adams. I remember being captivated by his 'pulse pounding pencilry.' As Marvel termed it, in a classic X-Men comic. I think it was the first appearance of the Living Monolith, and big reveal of Havok's powers.
Not that much later, Adam's quit comics. Now, he sells his artwork - much of it comics characters - for thousands of dollars. John Byrne I met at a US comicon. While impressed with his work, didn't like the man. But at the same event I met Barry Windsor Smith, who bought me a drink. Mainly because English guys were rare at US comicons, way back when. I was there as a comics dealer.
I grew up a Scott Lobdell/Chris Claremont/Jim Lee era X-Men fan in the early-mid 90s. The peak of their story-telling for me was the crossover with the hologram covers, and namely when Magneto ripped out Wolvie's adamantium on Asteroid M.
Not sure how they're looked upon in the history of X-authors, but I certainly ate it up at the time. I don't read comics too much anymore, but Joss Whedon did a great job with his X-Men series.
I met and interviewed Claremont, back in the day. Head nearly as big as Roy Thomas. But Claremont's partner in the early days of the New X-Men, Dave Cockrum, was a great bloke. He showed us around Marvel comics, and let me sit in Stan Lee's chair.
Stan was elsewhere, that day.
Cool! I always loved Barry Windsor Smith, what a cool and distinct style. My time collecting was 85-90 but every four or five years I do a bit of catch up on what is going on. Usually when I am hit by some weird bug or ailment and am on the couch for a while.
Haha. I met Lobdell/Jim Lee at a comics signing, and they messed with me because I brought a comic Lobdell but not Lee had worked on. Their actual signatures: 'Scott Lobdell wrote this book' 'Jim Lee skimmed it'. I felt like such a 10-year-old dunce.
My time collecting was 85-90 but every four or five years I do a bit of catch up on what is going on. Usually when I am hit by some weird bug or ailment and am on the couch for a while.
I gave up collecting when I had most stuff I'd ever wanted. Lots of it signed up. Then I sold it all over a period of years. Including almost the entire book of original art from one of the Cockrum/ Claremont X-Men. Can't remember the number, but the last page was old X-Men facing off against New X-Men. Probably worth a lot more today.
These days I still appreciate some of the better comics, but only occasionally read them in digital form.