After an unbelievably drawn-out meeting that monopolized most of yesterday, I decided to unwind by throwing together a little groove. In less than ten minutes, I had some intriguing bits of electronica tracked into in Logic. I tossed some synth pads in the pot along with a dash of electric guitar long-tones.
To my ears, this ditty is a simple but addictive recipe that keeps me wanting another bite. The issue is that I have no actual awareness of what to call this music, or what elements it needs to take it to the next level.
In the realm of electronica, there are labels like Techno, Trance, House, Hip-Hop, and Club, each of which is defined any number of ways by a plethora of unofficial websites. Complicating the conundrum is the endless love-child spin-offs that result from the blurred lines between the vague genres. We have Trance-hop, Trip-hop, Techno House, and so on.
My training in classical and jazz music has not exactly encouraged a working knowledge of electronic music. Though I am lost in terminology and clueless of how to construct convincing tracks, I am excited that the Redline Project, and its resulting collection of hardware and software, has cracked open the door to a new universe of music.
Electronica is a realm to which I once turned up my nose. In downright snobbiness, I considered sonics produced with computers and synths to be a cheap knock-off of actual musicianship. As I commence exploration of this infinite array of possibilities, I quickly realize my opinions were formed in ignorance.
This week, I am going learn as much as I can about the evolution and nomenclature of electronic music, posting my findings on this blog. If any readers want to offer information (favorite electronic music artists, historical resources, genre classifications), please send it over.
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