>Also it's not material that > you can listen to in different environments necessarily, like on a walkman > in the tram/bus.
I disagree... > Also I doubt if anyone aside from a > trainspotter could recognise or name a track by either those guys or > Christian Smith - it's very anonymous. I state that this is the utter beauty of it!! Why have an identifiable artist? Also, the fact that its raw and so undefined allows so much more room for the listener to project out onto, the Jaguar and other melodic tracks are, of coarse, amazing in there own right, but the listener has very little freedom as to what to feel, the track tells them pretty much exactly how to feel, (notice for kicks and giggles, I'm not mentioning my own theory by name, but none the less, this is the very appeal I was talking about a minute ago). I find the some of the real innovation of that "Swedish" techno and this rhythmically orientated scene for the most part is that the listener has as much, if not more, autonomy as the artist, minimalism really, Bauhaus in structure, for the image and recognition of the artist as a revered entity is completely unnecessary for the listener... I think Beyer and Company found an important key, and I hold no grudges for them making a prolific list of very similar tracks, for since melody is gone, and their tracks operate on "effect", then why be drastic from change to change, subtlety is all that is needed for the listener to be free... darw_n "create, demonstrate, toneshift..." http://www.mp3.com/darw_n http://www.sphereproductions.com/topic/Darwin.html http://www.mannequinodd.com
