Otto Matta

I agree. Because the whole thing has become so broad, I prefer to generalize and call all that stuff "electronica". But "IDM" is still used, so I have to roll with it. If anyone's really curious about what IDM is, research the Warp, Rephlex and Skam catalogues from their inception in the early 90s to the present and go from there. It's not a straightforward path, and other genres have been involved. Boards of Canada, for instance, have practically spawned a new and very large subgenre by themselves (melodic, nostalgic IDM). Same with Autechre and Squarepusher, respectively. A family tree would look very complicated, because although it is a new-ish genre, it draws its material from all other 20th, and now 21st, century genres, electronic or not. But that's also what's so interesting about it, for those who like the music.

I think there's a huge misunderstanding among electronic music fans that all IDM sounds like Squarepusher. It's just not true. That's like saying all jazz sounds like Coltrane, whose music I personally find noisy and unlistenable. Fortunately for me most jazz doesn't sound like that. Also fortunate for me is that most IDM doesn't sound like Squarepusher. Yes, there's psychedelic-sounding IDM (eg, Bola), as well as melodic-sounding (eg, Kettel), classical-sounding (eg, Murcof), hip-hop-sounding (eg, Dabyre), ambient-sounding (eg, Isan), industrial-sounding (eg, Pan Sonic), jazz-sounding (eg, Amon Tobin), and so on.

Schnauss is on the hyper-melodic end of spectrum, in my opinion, in the not-all-IDM-has-to-be-glitchy section. Plus, he's released on City Centre Offices, which is a clue.

Plaid - Undoneson

You don't fool me, Le Vap.

If you like Kettel you should definitely check out the first three Plaid albums (in many cases, Kettel has lifted freely and unabashedly from Plaid), Not for Threes, Rest Proof Clockwork and Double Figure. Their later stuff gets increasingly more abstract and choppy, like Autechre. Also give Isan a try, like the album Meet Next Life. And maybe take a look at the other Sending Orbs label artists. You'd probably like Bola a lot, as a lot of people here do, since it's pretty psychedelic and melodic, but his affinity for dissonance throws me off, personally. And of course you'll get a nice variety of similar stuff if you load Kettel into Last.fm and/or Pandora. P.S. It's "My Dogan".

I can't really find anything redeemable here except that it manages to stay in the same key. It comes across as several minutes of convoluted bassline and some spaghetti gunshot samples. I recognize the power of the illusion of simplicity, but I think you've gone too far into actual simplicity here.

Thank for demo. EQ necessary. High note split brain. This what Pavel do in free time.

Hi Looks like the same stuff you've always had. I'm surprised you don't use much of it.

I recently picked up a copy of Wusikstation for the same reason, which was that I missed the features and sounds of the NN-XT. The customer service there is hands-down the best I've ever experienced. But I think you'll have a hard time finding an exact equivalent to the NN-XT, features, sounds and all. Soundwise, I'd take a look at KVR's database. I recall seeing a few orchestral samplers.

Doesn't really surprise me, but it's funny anyway. And RZA's beats are pure phatness. That wouldn't surprise me either. Just like some successful comedians pay writers for jokes.

That off-beat *ding* sound every eight bars (I think) in V.T.O.L. reminds me someone hitting a pot with a wooden spoon.

Well, in all fairness, Anoebis did announce that a new Ka-Sol album is going to be released on Schlab soon. Which is the best news I've heard in years.

Back in Germany, eh? So now we get to hear once again how all the German women are fat and how he misses the skinny (hungry) Bulgarian girls? :drama:

Yesh, me too. Also: The Delta - Pop Pleiadians - Meter Kills speakers, anyway, if not people.

Ha. True. :drama:

50 Cent can't write a beat.

I want a synth that I can control with my mind, via a headset of some sort. One that will not just come close to the sound I'm thinking, but beats, melodies, effects, voices, etc. If it's wrong, think it again until it's closer. And closer. Adjust. Adjust. Fine. Manually tweak if necessary. Early on, I assume everyone's music will sound the same due to limitations in the technology, but further along it will release one's individuality like never before. Of course one will still require sampling from the real world to keep things grounded and human, but the all-mind music should be very interesting. I predict early, functional, accessible versions should arrive around the time we step on Mars, and will increase rapidly in sophistication thereafter. By 2050 everyone will be making "music", more or less, for better or worse.

I hear you. It's interesting to see people's differing motivations for listening to this stuff. Personally, I got into it because I wanted something electronic and aggressive at the same time, to complement the relatively unaggressive IDM stuff I was listening to at the time. It basically replaced heavy metal for me. The fact that it was trippy and had lots of interesting things like melodies and effects going on (as opposed to standard techno) was a feature I found I enjoyed, but less than the aggression. Since then my bar for aggressive electronic music has been continually raised, and there are only a few artists who satisfy me anymore.

Fascinating. This is not very far from a lot of what we normally consider "early" Goa Trance from a few years later. It also has techno elements, which is cool, too, since it shows a part of that evolution. It's also called an "ambient mix", so I'd be curious to hear the original mix. And I also can't help but think how relatively difficult this stuff was to produce compared with the ease of today's technology.

Once you've had dark, you never go... er... bark?

Both. Trippy alone doesn't cut it for me, probably because I'm not big on drugs. I lean towards killarghs, but require some trippiness (a.k.a. synth wizardry).

I can't be the only dark-only lover.

Loud

Yeah, probably the internet thing was an issue. It was also released at what most would consider the peak, or slightly after the peak, of Goa trance, which means it may have been buried to an extent by a large number of similarly terrific albums. Also, the fact that it was released on Hypnotic probably didn't help, at a time when larger, more Goa-focused labels like Dragonfly, Blue Room, Flying Rhino, Matsuri and Phonokol, to name a few, were the fashion. I'm glad it's getting some recognition. That's a sign of good music.