Sir Mustapha
Group: Musicians
Posts: 2802
Joined: April 2003 |
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Posted: Sep. 13 2010, 11:34 |
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Quote (Ugo @ Sep. 12 2010, 13:39) | @ Sir M.: well, regardless of what the loop was inspired by, it is a loop. And there also is a loop in "Celt", which is slightly more shakey than the one in "Conflict". What I meant to say is that the repetitiveness of a loop-based drum rhythm is something that, at least to my ears, is present in techno music just like it is present in "Conflict". "Guilty" is not proto-techno or proto-anything, as Mike wasn't generating anything with it; rather, he was unshamedly climbing on the disco bandwagon... more so on the Exposed version than anywhere else. |
Loops were being used for decades already when Mike used them in QE2. Also, keep in mind that "loop" can be used with different intentions: a repeating pattern is a "loop", but it is one thing to perform one pattern over and over, and it's another entirely to create a tape loop with sticky tape or to create an electronic loop with a sequencer or something. Looping patterns are as old as men, and tape/electronic loops were already common business since those freaky old men started playing with tapes and machines. And one very important thing is that house/techno music don't use such loops to satisfy an artistic vision, but because that's what the musicians had at the time; that's what the machines were able to do, and that's why dance music evolved in that direction. As the machines evolved, much more complex and elaborate music came out. So, Conflict was not "inventing" anything that pointed towards techno, because that's not where techno came from. Guilty is, indeed, bandwagon-jumping, but THAT was the bandwagon that created house and techno. That music playing on huge old warehouses was nothing much more than disco music played on TB-303's and TR-808's. Guilty has a tiny little place in that history, whereas Conflict and Celt haven't.
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