ENVELOPE FILTER
Jul 1, 2008 12:00 PM
LETTER OF THE MONTH
DIAGNOSIS: INDIER-THAN-THOU COMPLEX
In a recent issue of Remix, I read an interview of a fairly well-known band (well-known by Remix readership, at least) about its latest album, its gear and techniques and its opinion on the current state of the industry [Portishead, “Voyage of Discovery,” May 2008, p. 26]. I was struck by a couple of things: First, at least one of the band members seemed to have an advanced case of an “indier-than-thou” complex. It seemed like every other quote the guy was slagging on someone, apparently because he or she was mainstream. I'm not a huge fan of a lot of what's out there, but he seemed to take a scattershot attitude toward calling pretty much all of it “crap.”
Second, the band seemed to dismiss computer music software out-of-hand as patently inferior to hardware. I think that's bunk. Both hardware and software have their respective advantages and disadvantages (and I'm referring to only the sound here, not issues with ergonomics and price), and both can be used to make great music or crap music.
It's worth bearing in mind that great music is always at least as much about the musicians' talent, effort and creativity as it is about the gear they use. Esoteric gear can have its uses, but it's your musical skill and individual voice that make you unique.
Jeremiah Goertz
Elkhart, Ind.
PORTISHEAD FORECAST: HEAVY SMUG
Did you see the “Smug Alert” episode of South Park? (Of course you did). I thought of that while reading about Portishead's “Voyage of Discovery.” It made me go out and buy the CD [Third, Island/Universal, 2008] this morning so I could read about how things were done while actually hearing the end result.
Technology (old and new) makes for great tools, but in the end, isn't it all about the music? Reading about John Cage's work (or, for that matter, Amon Tobin's Foley Room), is far more fun than actually listening to the music itself (well, sometimes).
Take away the “making of,” and your ears (and soul) are left to judge the work. So while I find Third interesting, it's also vibe-less — music for the mind, perhaps more clever than brilliant.
I will listen again; the reviewers seem to love it. But who cares if it's Pro Tools or a TEAC cassette deck? How does the music feel, how does it make the listener feel?
I want music that gives me a visceral reaction. The process is always interesting (one good reason to read Remix, after all), but what I want most of all is to be moved.
Floyd Fisher
New York, N.Y.
ALL IS NOT FORGIVEN
In the May issue of Remix, we were willing to forgive Portishead's Geoff Barrow for his comments bashing American music, which reflected knowledge of only what most would consider pop music. We were even willing to forgive his attack on DJ Spooky's musical talents, which again reflected a very shallow understanding of DJ Spooky's eclectic and extensive body of work (which Barrow ought to take a closer look at). What we can't quite get past is Barrow's cry that “There are black people in England, so you don't have to come here and make out that there aren't any black people in England's art community.” Would it not be as preposterous to say, “There are white people in the States, so you don't have to come here, Portishead.” We quite hope we mistook what Barrows intended to say. Personally, we'd rather welcome the global community of musicians to travel the world freely to share the experience and the groove. Let's not be divisive along racial lines, or any lines for that matter. Criticize someone's creation, not the way he/she was created.
Chris & Beck Mooney
Highland, N.Y.
TOMMY LEE? SERIOUSLY?
After having read through countless editions of Remix, there are certain things that I've come to expect inside each issue. There are the techy parts, where I'm used to seeing countless unnecessary yet strangely intriguing hardware. And then there are the production tips, where I pick up useful production advice and techniques. And finally, there are the artist interviews, where the last person that I would ever expect to see covered is Tommy Lee (May Remix, “Shop.Talk,” p. 24). According to the article, the guy's found a spot in the electro scene, and in his interview after claiming to be the “whipped cream on top of nuts and bolts” (which sounds like a rather unpleasant dessert to me), he goes on to explain that his involvement in his DJ project doesn't even involve DJing.
After finishing the article, I simply had to check it out. A quick YouTube search brought up quite a few videos of his live performances, and after watching a few videos, I came to realize just how lopsided and unfair the music industry is. Tommy's performance, although nothing awful, was average. It was the kind of performance that, if done by an unsigned artist, would achieve no acclaim, and probably wouldn't even get the guy paid. It's purely the fact that Tommy was previously a member of a popular hair-metal band that he's encountered so much success, and because of that, I feel compelled to write this letter in order to pay my respect to the many talented artists who continue to go unnoticed simply due to lack of money, connections and fame. I feel your pain.
Stephen Corwin
Los Angeles, Calif.
AW, MAN
A little misinformation in June issue:?Not your fault, but just Chris Brann from Ananda Project confusing his facts. The Keith Jarrett album, Spirits, was not produced in the thrall of Epstein-Barr/Chronic Fatigue Syndrome in his bedroom. He wasn't diagnosed with that until the late 1990s and Spirits was recorded in full good health in 1986 in his studio, a very nice space in an out-building he has. He choose not to play piano because it wasn't speaking to him at the time and he was reacting against a string of classical performances, not because he was too tired. Jarrett talks about it in a piece called Thoughts in Sound which you can hear here: http://www.prx.org/pieces/22923Otherwise, it was fun tripping out with Brann on '70s and '80s fusion. A nice departure.
John Diliberto
Chester Springs, Pa.
For sending in this month's winning letter, Jeremiah Goertz wins the ultrasmall USB Pro Tools LE editing and mixing system for Pro Tools, the Digidesign Mbox 2 Micro (MSRP: $279). If you send in the most inspired correspondence next month — or simply the letter we like best — you'll win the Digidesign Mbox 2 Micro. All you have to do is send a letter to remixeditorial@remixmag.com. Please include your full mailing address. And for more chances to win prizes, visit http://remixmag.com/contest for the latest contests.
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