Whats your next generation of groundbreaking electronic music?

do you see artists of the current younger generations making groundbreaking electronic music like the old afx, autechre generation did and if so show some examples

did some of these Artists even exceed what the generation before archived? and if so how? 

I don’t believe in generations and groups that would be responsible for significant progresses in art (no matter what brian eno says), only in single geniuses which are dedicated enough to actually produce consumable highest quality art.
So, no reason not to be optimistic imo

the only problem i see is that today those geniuses have less chance to be recognized in their lives bc of the noise we’re living in and bc fine arts aesthetics and morality in art is getting progressively less valuable to the ‘generations’; to me it’s obvious that it’s almost impossible to find modern music which is as moral let alone more moral than autechre’s music (ae probably aren’t trying to achieve that on purpose tho but it doesn’t matter)

  On 6/2/2023 at 2:32 PM, o00o said:

do you see artists of the current younger generations making groundbreaking electronic music like the old afx, autechre generation did and if so show some examples

did some of these Artists even exceed what the generation before archived? and if so how? 

 

 

Part of the problem is that aphex, ae etc came up alongside a technical revolution. Their growth musically paralleled the increasing power and obsequiousness of computers. Because of that they were always at the tip of the spear in the 90s. That change essentially plateaued in the 2000s and while there are plenty of other people doing great stuff I don't know if they are going to have the same vibe of never-before-heard music. 

Currently we are at the beginning of another AI driven tech revolution and I don't doubt there will be people exploring that in ways nobody has thought of. Obviously listening to someone's prompt output is not going to be that exciting but I think there will probably be room for clever people to take advantage of it.

I guess its kind of like saying "are there any new inventors like Edison and Tesla coming along?".  There's a lot of smart people out there but the lightbulb was invented and we're using a.c. current already so kind of hard to duplicate.

This is a tricky matter, because although of course Autechre, Aphex Twin, Pan Sonic, and other artists making avantgarde things either more or less rooted in existing dance styles, even a ton of the "normal" techno, jungle, trance, hip hop music (among others) were themselves groundbreaking. Sampling had been used in music since the time of musique concrete, but it wasn't used in the way we're used to until the development of samplers that it became widespread in popular music. A similar story exists with the use of synthesizers, though of course there was a brief era of Moogsploitation between the academic use and more widespread adoption in the 1970s. The story of the Roland TB-303 being originally intended as a surrogate for a bass player before falling out of disuse before being happened upon in pawn shops is oft repeated and at this point a lot more known, but I repeat it here because although early Chicago house continued the legacy of looped drum parts in late era disco music and sequenced basslines by the likes of Giorgio Moroder, it was in its own right very much a new thing. Perhaps a decent number of so called "intelligent dance music" artists were innovating less than they are given credit for, since they were merely combining experimental approaches sometimes reminiscent of the academic electronic music with that of dancier styles. Certainly, Autechre's use of Max/MSP is something quite different, even from other artists who used the same program. So, yes of course people using artificial intelligence in their creative process are doing something heretofore not conceived of, but so have been the earliest people in various new musical developments of the 2000s and 2010s like dubstep and hybrid trap.

I don’t believe in technology as the main driver of artistic creativity, especially that’s the case since the 80ies for electronic music
Give ae brothers just a Nord Lead 2 and Nord Drum 2 and youll see!
…and Autechre haven’t released a single track that couldn’t have been made with Reason 5.0! Max, no max; it’s the same! 

I like what iglooghost is doing in terms of laying some new groundwork. A friend of mine called it maximalist once, that always stuck with me.

keep going back to mute egg here at 10:08. There's not a whole lot of music like this I'd say? Wish there was. This one's fun too, more in the hip hop beat vein:

"The Future of Music Happened Decades Ago."

Analog Africa

  On 6/2/2023 at 2:54 PM, xox said:

I don’t believe in generations and groups that would be responsible for significant progresses in art (no matter what brian eno says), only in single geniuses which are dedicated enough to actually produce consumable highest quality art.
So, no reason not to be optimistic imo

the only problem i see is that today those geniuses have less chance to be recognized in their lives bc of the noise we’re living in and bc fine arts aesthetics and morality in art is getting progressively less valuable to the ‘generations’; to me it’s obvious that it’s almost impossible to find modern music which is as moral let alone more moral than autechre’s music (ae probably aren’t trying to achieve that on purpose tho but it doesn’t matter)

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i don't agree. i think nearly all the big developments in electronic music were typified by scenes: industrial, house, techno, hip-hop, idm, whatever are all instances where a new kind of music emerged out of a community culture. 

you're talking about autechre - are we supposed to believe they are a "single genius" or a pair of such? reading the story of autechre through the 3 or so decades of interviews show that their work has always been something made possible by a broader culture, particularly the curation and business of Warp, Designers Republic, that whole aesthetic. i think there are obvious examples of this, too - like the sequence of "Drane" > "Bucephalus Bouncing Ball" > "Drane 2" which i think shows the collaborative play between artists in the same scene pushing and challenging each other. 

my own take on the broader question is that the creative flourishing of music and culture generally speaking has received a major blow by computers and social media. this pair of technologies has had a massively homogenizing effect on society and art which has severely (i sometimes even think fatally) destroyed creative, artistic scenes. local culture, unique and idiosyncratic styles could emerge from contained environments like little alchemical laboratories before the computer/internet, whereas now those technologies have just flattened the entire world and forced us to create and distribute music in the same way that we write a tweet, do our taxes, flirt on dating apps, hail a cab, order products, etc., etc., ad nauseum. i kind of think the only real innovation would inherently have to be offline and have nothing to do with computers. 

ITS ME IM THE SAVIOUR

  On 6/4/2023 at 10:19 PM, Alcofribas said:

i don't agree. i think nearly all the big developments in electronic music were typified by scenes: industrial, house, techno, hip-hop, idm, whatever are all instances where a new kind of music emerged out of a community culture. 

you're talking about autechre - are we supposed to believe they are a "single genius" or a pair of such? reading the story of autechre through the 3 or so decades of interviews show that their work has always been something made possible by a broader culture, particularly the curation and business of Warp, Designers Republic, that whole aesthetic. i think there are obvious examples of this, too - like the sequence of "Drane" > "Bucephalus Bouncing Ball" > "Drane 2" which i think shows the collaborative play between artists in the same scene pushing and challenging each other. 

my own take on the broader question is that the creative flourishing of music and culture generally speaking has received a major blow by computers and social media. this pair of technologies has had a massively homogenizing effect on society and art which has severely (i sometimes even think fatally) destroyed creative, artistic scenes. local culture, unique and idiosyncratic styles could emerge from contained environments like little alchemical laboratories before the computer/internet, whereas now those technologies have just flattened the entire world and forced us to create and distribute music in the same way that we write a tweet, do our taxes, flirt on dating apps, hail a cab, order products, etc., etc., ad nauseum. i kind of think the only real innovation would inherently have to be offline and have nothing to do with computers. 

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i want to also add that we are so beholden to technology in a way innovators are not. sean especially has always advocated for creativity over technology, and their whole history has been one of hunkering down with contained systems and sort of forcing magic out of them through diving deep. i think nowadays too many people are captured by the marketing mystique of technology and computers especially - how superior they are, how they are the future, how your computer can have unlimited samples and effects and synths, etc. - it's all just consumerism. we don't have a relationship with this stuff as a tool, it's an environment in which we are captured and bewitched. i'm absolutely skeptical of AI providing anything like some big artistic revolution, it's just a further degree of technological intoxication.

  On 6/2/2023 at 2:32 PM, o00o said:

show some examples

https://dopefist.bandcamp.com/track/canadian-sunset-2