I put a question mark behind electronic because it would appear not even their own artists can agree on what constitutes electronic music. The above post was put on FaceBook by a well known South African DJ I went to primary school with, and whilst I respect people’s rights to choose their own aesthetics and careers, I would argue with the above post as a metalhead in numerous ways, essentially on what is based on anecdotal evidence I have gleaned over the years, and what would seem to be the case to me.
I have a limited amount of compositional knowledge, I am a self acknowledged “metal elitist”, but I have played classical piano, flute and now I play guitar, program my own drums, do my mixing and produce my own music in the vein of my heroes.
To me as someone who writes music I look for something more in what I listen to: namely things such as technical accomplishment (use of odd time signatures and virtuosity in relation to chosen instruments, and a good comprehension of complex song structures). To name a few people in this vein that I listen to:
- Steven Vai
- Joe Satriani
- John Petrucci / Dream Theater
- Vindsval of Blut Aus Nord
- Ihsahn of Emperor
- Alexi Laiho of Children of Bodom
If one examines a genre such as technical-death metal (“tech-death”) one finds elaborate use is dissonant intervals (such as those found in the diminished scales, symmetrical scales – and so on), an emphasis on fast playing – tremolo picking, arpeggios and so on.
If one examines progressive metal: you will find with bands such as Meshuggah extensive use of polyrhythms and polymeter, well a lot of the bands who derived their sound from Meshuggah have been labelled “math-metal” – and I think this conveys the complexity of the theory deployed by these bands.
Emperor and Dimmu-Borgir, both second wave black metal bands use compositional and playing techniques derived from classical music. Blut Aus Nord are a world unto themselves. I translated a guitar tab by Blut Aus Nord in to a MIDI drum tab, and imported it in to my Digital Audio Workstation and discovered there were in excess of twenty time-signature changes, and probably as many tempo changes.
I don’t speak much on blues-based metal – such as that found in the USA as I am not too much of a fan of the new wave of US metal – bar say – Machine Head, and then some older school stuff I liked such as Fear Factory, Pantera – you get the idea.
I studied the philosophy of aesthetics at University: in particular the “subjective standard of taste” as defined by Hume and Kant. To paraphrase Humean perspectives: to more simple an aesthetic is, the more “popular” or accessible it is to the masses. The more technical the aesthetic becomes: the more education or experience with that style is needed to “decode” it, and hence one can normally find a trend with in aesthetics where by the more complex an aesthetic is, the less accessible it is. While this applies to all genres of music (as Metallica is metal) there will always be exceptions. But despite the status of The Beatles White Album, one cannot argue that the song “Love Me Do” is a piece of virtuosity.
My argument with dance music from the 1970s onwards: is that essentially is components of structure and audience require a consistent, “dance”-able beat which makes it accessible to many people who are there to do just that. The assertion that there is no constant BPM (which is what I am pretty sure the definition of the modern dance/EDM – whatever – DJ is – “beat-mapping”) in some dance music may be correct: but it would be a mainstay of most of the songs in the genre.
This type of music is repetitive, the structures are remarkably consistent. The scale/melody is very consistent: this is evidenced by the use of the terms “bass-drop”, “buildup” and so on. Now these terms exist in all forms of music – in other works from the compositional perspective “to build tension / and release”.
But where one finds variation in between tracks using the techniques, the very fact that electronic dance DJ’s have to beat-match – and get berated for messing this process up is the evidence one requires to debunk the quote at the start of this article.
No you will argue that certain forms of metal create a “head-bang” motion in the crowds: these tend to be the simpler bands who essentially do what DJ’s do, but in another genre: Metallica being a good example. The same could be said for country music. And so on.
One is looking at a genre that grew specifically out of a desire to be homogenous: and had a massive influence on popular music’s sound from the late 1990s onwards. It lacks a desire to push the boundaries, and as a result music is becoming more homogenised.
The reputation of electronic dancce music, how it desires to label itself as “underground” or “different” or for adults, has also created to the drug culture which it resides in. I would argue in order to combat the boredom, and to enhance the “samples” and electronic sounds – one would have to be “high” to actually take a consistent beat for 8 hours. Try being drunk and listening to this stuff, you’d leave after twenty minutes.
So one could posit the argument cited at the top of this argument: but I would argue that this is pushing against the tidal wave of evidence that is obvious on the face of it. I do not see the “virtuosity” in using an Ableton press button board of samples to “create” music, you are making in more homogenous and enabling people who probably should be taking some form of music lessons – create music, all the while thinking that due to this homogenisation and equipment destroys the need to study music theory (the above quote was made by Daedalus – ironically a music graduate of high caliber – but an exception to the rule).
I don’t see how a DJ is going to “improve their musical credibility” by putting such arguments forward. Sampling by its very nature – is plagiarism. Repetition at the rate present in this genre – and pop music – means one can clearly make the inference that it is written to be simple, and be related to by fairly mindless crowds – who essentially want to hear the same stuff week in, week out. People who lack the ability to push themselves, and do not want to.
The “old vanguard of rock”? Well – I don’t know who exactly he is referring to with that statement: but I loathe this type of genre with a passion. Look at drummers such as George Kollias, Derek Roddy, Terry Bozzio, Mike Mangini and even Dave McClain – and you find absolute masters of their instruments, years of practice and study. Look at Steve Vai and how he literally becomes a conduit of his music.
I just cannot agree there is much more to electronic music: I just don’t see it, and even if there was more to it, I’d argue these bands constitute less than 5% of the genre in total – regardless of what the fans say. I am always open to new ideas and proof, but I just can’t see it.
I have the same problem with metal/rock: but at least a degree of musicianship is required to play in a band with more than one person, and some knowledge of the instrument – so in reality – we are comparing chalk and cheese.
If they really want credibility: they are going to need to turn from keeping crowds happy, to attempting to write music the like of Tool’s 46 & 2, but a bunch of people who want to munch on drugs and dance for 24 hours are not really going to enjoy that, now are they?
Cosmopolitan Observations 