around 2000 i made the track "anything is possible", which was later released on widerstand records. this marked a point on a road i went on, which was that i tried to make my tracks continually more complex, thought out and and complicated. with this track, i felt like i had blewn it. it felt much *too* thought out, 'intellectual', quirky, i felt like i tried to hard to make it "strange" and intelligent. the joy, the liveliness that i felt in earlier tracks seemed to go missing. so i decided to call it a stop at this point, and to move in the opposite direction. to try to make basic, "simple" tracks with a fast paced feeling, enthuasism and spontanity. to try to get away from the intellectual angle i had on my music so far. the results were tracks like "urban uprising" or "acid 9", which became my most known tracks to this date. of course, as you suspect, i didn't really manage to get away from "intellectualism" and probably spend more thinking and philosophing about music than before. yet i was honest with my "keep it simple", keep it direct approach to music. eventually, the inevitable happened, and my tracks grew more complex again, the results were tracks like "don't let our dreams die", or "emerald planet".
after my break from the music scene, i actually started somewhere in the middle again - or rather, i had no idea where i started. so i went on the "complex" route of producing. this, again felt very quickly as not a very lively way to produce music again, and i felt my tracks had became cold and detached. this was were i hit a bit of an artist crisis and didn't know where to move to from that point this time. years ago i had started to develop a liking for the acid house and early techno sound of the late 80s and early 90s. this was where i orientated myself again. well, not exactly at the *sound* of this genres, (although in some tracks i did, this time), but rather, again, the whole approach at doing and producing music. to keep it extremely simply, to not overthink things, to have a kicking track that just makes you want to move, instead of overly complicating things and to strive for complexity. it goes actually way more deeper than this, maybe i will talk about it in another text. basically, i tried to ban every from of "intellectualism" from my tracks. with this approach, for a longer period of time, i never managed to create tracks more than 1-2 minutes, sometimes even much less time. the results of this period was released on my album "micro tracks for macro people" on k-net records. this may seem weird, but maybe you can imagine how limiting it is to be suspicios of any thing that could be "intellectual" in music and to not use it or remove it then.
this was also the basis of my doomcore sound, which results in around 15 tracks aptly named "doomcore (+number)" by me.
and again, the complexity of my tracks grew, but i always tried to stay carefully within the lines of anti-intellectualism. the end point of that period was the release "another uprising" which i released myself, without a label, on the internet.
by the end of 2013 i suddenly got rid of my anti-intellectualism, the story behind this could fill another text or even several ones. it came to my like a kiss in the desert, like being lost and found. it just happened. maybe i will write all this down elsewhere.
i immediately felt i should celebrate this, one of the deepest, changes in my life, by writing a piece of music about it. this was how the "trilogy of wisdom" came to be. it includes the tracks "wisdom", "take off" and "are you the goddess?". as you might suspect, i called it "trilogy of wisdom" to celebrate thinking, intellectual capability, knowledge and man's desire of exploration. finally, after more than 10 years, i felt like i was free
to use the full capacity of my brain again when doing art. anti-intellectualism be gone! this was a moment of deep liberation and joy for me, and i hope this joy is somewhat experiencable in these tracks.
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