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Life in lockdown 
Just using you Sensi for a bookmark 
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Time for some Goa ITT
I also like things that gently plod along in an uplifting manner
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We hired Jeff for a stag night in a club before he was famous at Oswald St, across from the Arches which was not fully up and running a d was still an art show
Richie asked me if I could roll him a spliff while he got his set ready, sure lad as your just starting oot, I’ll assist and we took turns standing in the DJ box while the mixer blasted out some of these tunes… Probably the 2nd best techno night of my life, think we ended up in a flat over at Partick after, fun times.
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I don’t share your enthusiasm that this should be an objective of electronic or any music (i.e., incapable of being performed live). I think there’s music that falls into both categories and I wouldn’t upgrade or downgrade any of it based on that property. It seems like pure novelty or factoidism in and of itself. If binaural train beats music is good music then I’d like it for being good music, and the feasibility of performing it wouldn’t affect my judgment at all. That’s what I meant by falling down stairs vs. falling down stairs on purpose.
I need to post more music and less text so I’ll do that in this post, but let me preface it by saying the opposite of your point must also be true, i.e., that there are aspects of live music that can’t be captured by a recording which is why I believe people enjoy hearing live performances. For example, I’d pay real money (or Dogecoin) to hear this lady jam on her stable of crazy instruments whereas hearing her play it back to me on her ipod over a PA isn’t appealing to me at all:
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Oh shit ok, my bad, I’m not talking about any of this in terms of objective judgments of ‘good’ or ‘bad’ but I can see why it was misconstrued that way. This is a judgment free zone after all. This was all about trying to explain why sweet ass bitching electronic artists have live shows that sometimes fall flat, and I guess also trying to explain how subjective taste comes to be.
I was thinking about this before I went to sleep and the example that popped in my head was Phil Spector’s wall of sound. On his page there’s even this:
Spector helped establish the role of the studio as an instrument,[8] the integration of pop art aesthetics into music (art pop),[9] and the genres of art rock[10] and dream pop.[11]
That’s what I’m getting at, and you can’t put the recording studio on stage, but I don’t mean weird and avant-garde for weird and avant-garde’s sake, I just mean pushing the envelope of what can be achieved with a recording studio (or DAW in these modern times). Similar to ‘electronic’ music, people loved or hated Spector’s sound for precisely that reason even if they couldn’t articulate it as such.
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less words more block rocking beats
I had not thought of the glitch mob or the bloody beetroots in a long, long time
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Credit to this man for producing two of my all-time fave trance anthems from the late 90’s:
Rank 1 - Airwave
The Quest - C Sharp
This is a banger
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Probably my favorite house track of all time (though it’s close) and this youtube uploader is correct that it is the best version (the one with THE PIANO JAM but you have to wait til the halfway mark)
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