conjacking and deconjacking

.forum – week eleven.

Commencing forum this week was Simon Whitelock who used his experience in DJing / club music, to talk about remixing, sourcing and plain out stealing, or ‘jacking,’ music from different places. His manner of speech was very funny, likable enough because he actually raised a very good point – he demonstrated at least dance three songs which are extremely well known, and that are very much ‘jacked’ from other artists. The fact that only one or two people in the room knew how unoriginal the tracks were, was disturbing I thought. This is not a room full of classical student, not even jazz, but music technology students, who in my experience have a great knowledge of modern popular music, and who had no idea that this music was utterly ‘jacked’.

When the forum opened up into general discussion, many points were raised about this ‘jacking’ issue; the post-modern climate, the over abundance of ideas already around, but for me one that I think these artists should think about: who is going to look back in twenty years or more and care about a composer who just slightly sped up someone else’s music? Further, are you as the composer going to be happy your life and work when the music you composed was simply music borrowed from someone else? Having said all this, I have nothing intrinsically against DJs, club music; just if I were ever to create music in such styles I would be a little apprehensive toward putting my name to something that I feel does not really have a stamp of ‘me’ in the music somewhere.

Next up Nathan Shea gave us a bit of an insight into the realm of ‘black metal’. He talked about the advancement of technology, and the way that some artists reject “new wave” technology. Case in point – some Norweigan artist who apparently basically uses 4 track tape desk, as well as a Discman to make his records. This guy sounds like the penultimate goth, he hates everyone so much he can not even face going into a studio. This particular goth must be metals equilivent to ‘lo-fi’ electronica. I have to say that all this lo-fi, lo-tech stuff is an intriguing field of interest, I am reminded of Seb Tomscek’s work with Game Boys.

Final presenter was John Delaney, who talked about visual sound. He discussed both the role of sound design in film, as well as the visual effects of ambient music. He referred to artists like Aphex Twin and Lustmord (who I will be investigating in the near future). I know some people think it is a toss, but I really like listening ambient music - letting it ignite your imagination in a way that no other music can. Delaney revealed a piece which made him feel he like he was ‘alone in a forest’; I certainly agree that it can be a very environmental experience. Ambient music does seem to evoke visual imagery, in the same that dance music evokes, say, dancing. Someone mentioned that ambient music is monotonously dark and dreary. While there is some truth to this statement, I would point them to the work of Sigur Rós, on their albums ( ) and Agætis Byrjun. Although for the most part they explore a similar dark low-level tension, over large lengths these constructs are subsequently shattered, releasing from tension with some the most beautiful, uplifting resolutions that I have heard in today’s music.

.sources.

Delaney, John 25.05.07 “Construction / Deconstruction,” Electronic Music Unit, Adelaide University.

Shea, Nathan 25.05.07 “Construction / Deconstruction,” Electronic Music Unit, Adelaide University.

Simon, Whitelock 25.05.07 “Construction / Deconstruction,” Electronic Music Unit, Adelaide University.