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-- paul van dyk "i make music for the clubbers, not the critics"
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he's makes music for the cocaine.
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| Originally posted by Neo95gt Who says a more commercial sound is a bad thing? |
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| Originally posted by paulandrews Also, as Cobalt nicely put it on discogs: |
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| Originally posted by SYSTEM-J http://www.trancecritic.com/modules...op=show&rid=327 I talk about this whole issue of his decline in the review. |
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| A few tracks, such as the Guiseppe Ottaviani collaboration La Dolce Vita, attempt to recapture the simple yet effective charms of vintage mainstream trance, but the end results sound like bad copies of something 4 Strings would have written six years ago. |
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| Originally posted by Minimalism does anyone know anything about him and his wife getting a divorce? it had something to do with him receiving 'special treats' from jessica sutta while recording 'white lies' |
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| Originally posted by saluyamo Are you arguing for the sake of arguing? |
He played a fairly good set. But the last 15/30 minutes of his set is so predictable. You can guarantee he always ends on 'Time of our lives'.......
He played a fairly good set. But the last 15/30 minutes of his set is so predictable. You can guarantee he always ends on 'Time of our lives'.......
He played a fairly good set. But the last 15/30 minutes of his set is so predictable. You can guarantee he always ends on 'Time of our lives'.......
Not EDM, but in Australia something interesting is happing with the Dutch violinist, Andr� Rieu and his Johann Strauss Orchestra. Not that his music is the highest level, but the show is. He plays what the audience wants to hear, adapting his show to the country which he visits. The audience loves it.
Result now, which started even before he visited Australia:
Aria TOP40 Music DVD Chart
"15 albums listed in the music DVD top 40. Except for No 6 (Pink) and No 7 (AC/DC) Rieu holds all of the top 10 positions."
"Record-breaking ticket sales and stage (375 feet wide and 100 feet high, Rieu's portable castle easily exceeds the size of the largest Rolling Stones' stage.)"
There is a lot criticism on Rieu, which IMO in a way can be compared to criticism to Pvd, Armin and Tiesto. But if you get a reaction from the audience like Rieu gets around the world and especially like he got at Melbourne, I completely can understand PvD's words.
Andre Rieu Draws Record-Breaking Crowds
i'm going to quote the sufi musician and mystic, inayat khan, with whom i agree wholeheartedly on this matter
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| In India musicians are now dying out because of lack of appreciation. Those potentates, those Gurus, those teachers of high inspiration who lived in the past, appreciated this music. But even in India people are becoming industrialized and more materialistic, and music is dying. There are very few now of those musicians of former times who would make all those who listened spellbound; they hardly exist any longer. Among millions there are perhaps three or four and they will have vanished in a few years. Maybe one day the Western world will awaken to India's music as now the West is awakening to the poetry of the East, and beginning to appreciate such works as those of Rabindranath Tagore. There will come a time when they will ask for music of that kind too, and then it will not be found, it will be too late. But there is no doubt that if that music, which is magic and which is built on a psychological basis is introduced in the West, it will root out all such things as jazz. People seem to spoil their senses. This music is destroying their delicacy of sense. Thousands every day are dancing to jazz music and they forget the effect it has upon their spirit, upon their mind, upon their delicate senses. There was a prince of Rampur who wanted to study music with a great teacher. But the teacher knew the character of the prince who was fond of music, and he understood that many musicians would want to show their talents before him. He said, 'I can only teach you on one condition: I do not want to hear any musician who is not an accomplished artist, because your sense of music must not be destroyed; it must be preserved for delicate music, it must be able to appreciate the fine intricacies.' When the education of the public destroys the delicacy of its musical appreciation, it cannot help the fact that it does not like listening to real music but prefers jazz. Instead of going forward, it is going backward. And if music which is the central theme of the whole human culture is not helping people to go forward, it is a great pity. |
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| If we study life today, in spite of the great progress of science, the radio, telephone, gramophone, and all the wonders of this age, yet we find that the psychological aspect of music, poetry and art does not seem to develop as it should. On the contrary, it is going backward. And if we ask what is the reason, the answer will be in the first place, that the whole progress of humanity today is a mechanical progress; and this hinders the progress of individualism. A musician has to submit to the laws of harmony and counterpoint; if he takes one step differently from the others his music is questioned. When in Russia I asked Taneiev, a very great musician, who was the teacher of Scriabin, what he thought of Debussy's music. He said, 'I cannot understand it'. It seems that we are restricted by uniformity so that there is no scope; and you will find the same thing in the medical and scientific worlds. But in art especially, where the greatest freedom is necessary, one is restricted by uniformity. Painters and musicians cannot get their work recognized. They must follow the crowd, instead of following the great souls. And everything that is general is commonplace, because the great mass of the people are not highly cultured. Things of beauty and good taste are understood, enjoyed and appreciated by few, and it is not easy for the artists to reach those few. In this way, what is called uniformity has become a hindrance to individual development. |
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| If a great opera singer or violin soloist has to play before ten thousand people, with all his ability he cannot touch every soul there. It depends upon the greatness of the artist of course. The greater the artist the more he will reach. But he has to consider what will please his audience, not what will be pleasing to God. When music becomes commercial its beauty is lost, and also much of its value. There was a time in the East when every effort was made by the aristocracy of India to keep the art of music from being commercialized, and they were successful for some time in doing so. Musicians were not paid a fixed sum of money. Their needs were supplied even though they were extravagant. Musicians felt that they should have the surroundings of harmony and beauty; they were generous and their doors were always open to others. They were always in debt, but their debts were paid by the king. Besides this the musician was not restricted by a program; he was left to feel by his intuition what people wanted. He had to decide at the moment he saw them, and as he went on playing or singing he knew more. The chemical effect of the listeners' minds told him what they wanted, and the result was a spiritual feast. |
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| What is it that keeps man back from spiritual attainment? It is the denseness of this material existence, and the fact that he is unconscious of his spiritual being. His limitations prevent the free flow and movement which is the nature and character of life. Take for instance this denseness. There is a rock, and you want to produce sound from it, but it does not give any resonance; it does not answer your desire to produce sound. String or wire on the contrary will give an answer to the tone you want. You strike them and they answer. There are objects, which give resonance; you wish to produce sound in them, and they respond; they make your music complete. And so it is with human nature. One person is heavy and dull; you tell him something but he cannot understand; you speak to him, but he will not hear. He will not respond to music, to beauty, or to art. What is it? It is denseness. There is another person who is ready to appreciate and understand music and poetry, or beauty in any form, in character or in manner. Beauty is appreciated in every form by such a person; and it is this which is the awakening of the soul, which is the living condition of the heart. It is this which is the real spiritual attainment. Spiritual attainment is making the spirit alive, becoming conscious. When man is not conscious of soul and spirit, but only of his material being, he is dense; he is far removed from spirit. What is spirit and what is matter? The difference between spirit and matter is like the difference between water and ice: frozen water is ice and melted ice is water. It is spirit in its denseness which we call matter; it is matter in its fineness which may be called spirit. Once a materialist said to me, 'I do not believe in any spirit or soul or hereafter. I believe in eternal matter.' I said to him, 'Your belief is not very different from mine, only that which you call eternal matter I call spirit; it is a difference in terms. There is nothing to dispute about because we both believe in eternity; and so long as we meet in eternity, what difference does it make, if the one calls it matter, and the other calls it spirit? It is one life from beginning to end.' |
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| Originally posted by nefardec i'm going to quote the sufi musician and mystic, inayat khan, with whom i agree wholeheartedly on this matter |
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| Originally posted by SYSTEM-J How much to do with this issue do those quotes have? They seem very tenuously connected at best to me, certainly not saying anything that you couldn't more succinctly phrase yourself. |
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| But he has to consider what will please his audience, not what will be pleasing to God. When music becomes commercial its beauty is lost, and also much of its value. |
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| Originally posted by Neo95gt Who says a more commercial sound is a bad thing? |
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| Originally posted by Neo95gt Who says a more commercial sound is a bad thing? |
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| Originally posted by Trance-MB Not EDM, but in Australia something interesting is happing with the Dutch violinist, Andr� Rieu and his Johann Strauss Orchestra. Not that his music is the highest level, but the show is. He plays what the audience wants to hear, adapting his show to the country which he visits. The audience loves it. Result now, which started even before he visited Australia: Aria TOP40 Music DVD Chart "15 albums listed in the music DVD top 40. Except for No 6 (Pink) and No 7 (AC/DC) Rieu holds all of the top 10 positions." "Record-breaking ticket sales and stage (375 feet wide and 100 feet high, Rieu's portable castle easily exceeds the size of the largest Rolling Stones' stage.)" There is a lot criticism on Rieu, which IMO in a way can be compared to criticism to Pvd, Armin and Tiesto. But if you get a reaction from the audience like Rieu gets around the world and especially like he got at Melbourne, I completely can understand PvD's words. Andre Rieu Draws Record-Breaking Crowds |
Man, who gives a f*ck about what PVD says or does today, he is obviously an old geezer who has lost his youthful creative spark and plays terrible watered-down trancey (god make it) pop music by numbers in order to appeal to the masses and receive the cash. Just listen to his first three albums which are all excellent trance works and you are done lol.
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| Originally posted by PETRAN Man, who gives a f*ck about what PVD says or does today, he is obviously an old geezer who has lost his youthful creative spark and plays terrible watered-down trancey (god make it) pop music by numbers in order to appeal to the masses and receive the cash. Just listen to his first three albums which are all excellent trance works and you are done lol. |
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| Originally posted by PETRAN Man, who gives a f*ck about what PVD says or does today, he is obviously an old geezer who has lost his youthful creative spark and plays terrible watered-down trancey (god make it) pop music by numbers in order to appeal to the masses and receive the cash. Just listen to his first three albums which are all excellent trance works and you are done lol. |
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| Originally posted by SMC I must say i share this sentiment. I see many here who don't like what PvD, Armin, Tiesto etc. are doing but they're still seemingly very intrested in these people, enraged by their choice of direction and very up-to-date with all this shit music they so much dislike. |
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| Originally posted by SYSTEM-J I'm up to date because I usually get given the new PVD releases to review due to the fact I'm a "PVD expert". I don't own Reflections and wouldn't pay for anything he's done since then either. I had POD2 but got rid of it after reviewing it. I don't have any of Tiesto or Armin's recent stuff at all, although I care less about them because they were never nearly as good as PVD in the first place. |
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| Originally posted by SYSTEM-J How much to do with this issue do those quotes have? They seem very tenuously connected at best to me, certainly not saying anything that you couldn't more succinctly phrase yourself. |
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| Originally posted by nefardec i had the book next to me when i checked this thread and thought it would add something interesting and possibly illuminating to the thread. i think it's rather directly related to the issue, which is the desensitization of people to music as they are inundated with forgettable commercial nonsense thanks for the review of my post though, lol |
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| Originally posted by PETRAN Yeah, but isn't all this a bit too New Agey for a cold, futuristic and technocratic techno music-fan (and musician)? I suggest you start listening to: Enigma Deep Forest Enya Sacred Spirit Yanni (lol) Amethystium (this is actually good) samples from the pygmies mating Oh, yeah and Mike Oldfield ofcourse |
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| Originally posted by PETRAN |
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| Originally posted by PETRAN Yeah, but isn't all this a bit too New Agey for a cold, futuristic and technocratic techno music-fan (and musician)? I suggest you start listening to: Enigma Deep Forest Enya Sacred Spirit Yanni (lol) Amethystium (this is actually good) samples from the pygmies mating Oh, yeah and Mike Oldfield ofcourse |
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