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ztt-digest         Tuesday, September 7 1999         Volume 02 : Number 133




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Date: Tue, 31 Aug 1999 19:16:04 +0200
From: [e-mail] (Joerg Fitzner)
Subject: Re: (ztt) Where is Trev located nowadays?

James wrote:

>     Really, I would be very reluctant to say that Sarm West is the center
> of pop music. Pop music -like pop culture- is, actually, behind the pace of
> innovation, fashion, style, and originality.  Of course, I have limited
> respect for pop anything. Consider it this way: nothing can become pop until
> it is pioneered by someone else. Then, it's badly mimicked and,
consequently,
> run into the ground. Various examples could be brought up apart from ZTT
> recordings; but, that is an easy way to trip off a flame war. In regards to
> the discussion, I would say wherever Sarm is located, that's the center of
> pioneering music. Or the center of the universe.

No, I really insist: to me SW is the center of pop music and not
the center of pioneering music (not anymore).

It's exactly like you say: something can only become pop, after the innovation
has become a trend. (However not necessarily exploited by somone _else_,
like ZTT have prooved with FGTH.)
But in fact, to my ears, what comes out of SW nowadays isn't that much
innovative. (TSOCD might be an exception, as far as it's recorded there
at all - which brings us back to the question from the subject line...)
I got the impression that people who are now booking Sarm are doing so
because they want to make a record which is technically perfect and which
is likely to become popular - and not to experiment with the technical gear.
(That's due to the fact that SW itself is popular within the business...)


>     If I were a multi-millionaire, I would live in either Portland, Oregon;
> New York, NY; or London, England. I, generally, don't like L.A.; as if you
> couldn't guess that one.

Love NY and London! Can't tell for Portland yet ;-)


Best Greetings

  Joerg




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Date: Tue, 31 Aug 1999 23:34:39 -0500
From: artisan2 <[e-mail]>
Subject: Re: (ztt) Where is Trev located nowadays?

Joerg Fitzner wrote:

>
> No, I really insist: to me SW is the center of pop music and not
> the center of pioneering music (not anymore).
>
> It's exactly like you say: something can only become pop, after the innovation
> has become a trend. (However not necessarily exploited by somone _else_,
> like ZTT have prooved with FGTH.)
> But in fact, to my ears, what comes out of SW nowadays isn't that much
> innovative. (TSOCD might be an exception, as far as it's recorded there
> at all - which brings us back to the question from the subject line...)
> I got the impression that people who are now booking Sarm are doing so
> because they want to make a record which is technically perfect and which
> is likely to become popular - and not to experiment with the technical gear.
> (That's due to the fact that SW itself is popular within the business...)
>

    Point taken... And an excellent one at that. Especially with AON making use
of the fad style of drum 'n bass. I think the problem may have something to do
with the professional company Trevor keeps.
    Consider the work that was pumped out when the whole five man crew of The Art
Of Noise was around. Then consider the work after Anne, JJ, Gary and Paul took a
hike. I still like the work that occurred after their departure. But, it seemed
to be lacking some dynamic, edgy, punchy quality. Part of that would, also, be
due to the fact that JJ took all the Fairlight CMIs with him. I think he,
ultimately, wound up with 2. So, Trevor resorted to using a Synclavier (ala Paul
Hardcastle and Harold Faltermeyer) as a main sampling super station, instead of
getting a new Fairlight. And what about the replacement staff he wound up hiring?

    It almost seems like the studio crew he hired was less adventurous or
experimental. That may just be some strange sense of loyalty to the remaining AON
staff of the time. In which case that's just something I'll have to work out.
But, look at the kind of sounds used for tracks like "Warriors of the Wasteland".
It's just not as risky. It worked well enough, though. I wonder if the style and
very daring of the musicians he is working with is that inspiring or influential
to his work. If that is the case, then, I want to see JJ or Gary (better if both)
come back into the game. Or bring in Boris Blank of Yello if the other options
fail.
    All of this having been said, I hope to see a greater outflow of original
musical style on their next album. As much as I enjoy "Seduction...", I feel that
it might have been better served being presented by Anne Dudley & Trevor Horn;
not so much the Art of Noise. I feel it rather inappropriate that a group, as
influential and important as they, should ever need to adopt musical styles that
were spawned by themselves and other pioneers. And hopefully they won't fixate on
all this millennial bullshit, either. It makes me tired.
    A theme project that would be deserving of the Art of Noise (I think) would
be collaborating with various bands that credit them as their inspiration for
being. That could, really, only work with all five original members present,
however. Think of it: AON & DJ Shadow/UNKLE; AON & LFO; AON & Prodigy; AON &
Crystal Method and so on! That's where the true seduction is occurring right now.
People that are inspired to create their own music because The Art Of Noise
performed and put it's own amusement on tape for the rest of the world. No matter
what happens I, still, must say thank you to them.

>
> Love NY and London! Can't tell for Portland yet ;-)

    I forgot to add New Orleans, Louisiana. But only from autumn thru spring.
Summertime at 6 feet below sea level and adjacent to the Mississippi River and
the Gulf of Mexico? No thanks.

- -- James S. Coward
    [e-mail]
  ------------------------------------------------------------------------

    "Due to the internal organisation of the musical work, the act of listening
to it immobilizes passing time; it catches and unfolds it as one catches and
enfolds a cloth flapping in the wind. It follows that by listening to music, and
while we are listening to it, we enter a kind of immortality."  -The Art Of Noise




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# Send the command "info ztt" to [e-mail].
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Date: Tue, 07 Sep 1999 18:43:17 -0400
From: [e-mail] (Alex Veronac)
Subject: (ztt) Wanted: Adamski featuring Seal: Killer(Promo)

Adamski featuring Seal: Killer
                                   CD5: 1990 US (MCA; CD45-18445)
[promo]
                                          4:10  Killer (short version)
                                          6:27  Killer (remix)
                                          5:35  Killer (long version)

pls eMail privately
alex v.
[e-mail]



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End of ztt-digest V2 #133
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