What would it take to sound “new”?


ravel and debussy (and bach) are as new as i ever want to hear. if it gets newer than that i don’t think i will think it will sound new.



there’s no bar lines in that piece. when i saw the sheet music it blew my mind hard.


I found this both interesting and boring!? Not sure how that works, but I think it’s partly because (perhaps ironically) there was nothing new for me in the article, but I relate to a large amount of it. If you don’t know Laurent Garnier, he makes and DJs techno and is in his early 50s now.

I smiled at the bit where he throws in a definition of techno that can mean just about anything and then wonders if techno is capable of a dramatic step change. I reckon if you draw a wide enough circle around what something can be (all of this is techno) then you necessarily leave less room for something you’re willing to concede is genuinely new. You’re basically setting yourself up to see any new thing as just shades of what you’d already said could still be, in this case, techno. Maybe?


It’s so strange to me that the 20 years olds of today have no other choices than to listen to musical genres that belong to their parents’ generation.

Yeah, that is pretty weird.


I can certainly see that point multiple ways - his whole thing really hinges on opinions about what was or was not a massive step change, right? If you played a '78 funk track that leans towards rap, a '98 hip-hop track, and a brand new trap track, would the jumps between them feel any smaller?

Anyone on here 20 and want to comment? Anyone on here not analyse how music is made and want to comment? :wink:

Edit: personally, I do see things in a very similar way to Garnier, but I wonder how much that’s to do with decades of making and dissecting music.


post rock, math rock, dubstep, IDM, chillwave, trap, and indie rock all don’t really belong to my parent’s generation :slight_smile:


Ok, but they do all belong to the 20th century. I consider them to be music of my generation and I’m certainly old enough to have a 20 year old (perish the thought).


dubstep and chillwave at least are definitely music of this century!


and yet dubstep started in the late 1990s ! Of course over the last 20 years it mutated into something entirely new and different to its early sound.


Music also changes with the people listening to it. I don’t know what the 20 year olds of today hear when they listen to Velvet Underground or Schoenberg but my sense is it differs from what I’m hearing.

Or maybe that makes no sense at all. Or it makes… some sense?
Easy to fall into relativist abyss.


Well, the context is certainly different. I remember my mother’s irritation when I got super enthusiastic about her Led Zeppelin albums. “Do you realize how many times I’ve heard those songs on the radio and everywhere else?” Well, no, I really hadn’t fully contemplated it…


Chillwave, I’m old so I had to hit up everynoise, but yeah, I’m thinking this music has strong roots in the 1980s…


Oh for sure! I guess that my point was that all of the genres I listed had their sound codified when I was alive.

I think if we wanted to take the perspective of “this music has roots in [previous time],” we should end up disagreeing with Laurent Garnier again: every musical genre has a history that stretches back aeons. This should be exciting, not depressing, imo.


I think his point has more to do with the rate of change. I do think it has slowed. my hypothesis is that technology (for both production and distribution of music) has in some ways run ahead of us and we are trying hard to catch up.

Techno/dubstep maybe had a head start, but is also feeling a bit winded right now.



I may have already posted this interview (it’s great), my apology if it’s been covered.

Lambkin’s early work (besides The Shadow Ring) has always been exciting, or fresh-sounding, as he uses traditionally undesirable sounds, or corrupted / lo fi mediums. Things like wind noise, sounds of handling a microphone / tape recorder, exploiting (or exposing) the limitations of certain mediums (tape, cheap mics, etc.), recording an album (Amateur Doubles) while driving around in a Honda Civic, incidental (but a primary element) music playing on the car stereo etc. - bringing those ‘blemishes’ or mistakes to the fore… Salmon Run (album) is a good example of his work. It’s long out of print but fairly easy to find online. His collaborations with Jason Lescalleet (on Erstwhile Records) are also highly indiosyncatic.


well, not really. it has inherited stuff from other stuff that was around in the late 90’s but it’s definitely a 2000’s thing. just as techno is a late 80’s early 90’s thang that has inherited stuff from the late 70’s\early 80’s but you cannot say techno was around in '81…



yeah, ok, but not really techno


Seriously? 4/4 with kick on every beat. square wave resonant filter bass line. Warehouse party atmosphere. What’s it missing?