Wheels Of Steel by Losoul

Wheels Of Steel by Losoul
It takes at least one step outside to create music, which stands for itself.
Today, there are loads of producers around the world. There have been lots before and now, there is no way to listen to all the music being released on a daily basis. I presume that at least 90% of all the music coming out is just a closer reproduction of what was released before, often from those releases with some more significant importance for the culture of electronic music. So it seems obvious that the goal here is to take the easier road and do something more or less subtlely similar to just gain some success among some type of producers, get reputation, money, ladies, etc. Ain’t that sad? There have always been some of these main references in all the generations of electronic music, which have been more or less imitated just to feel safe in compatibility, professionalism or something alike. Aside from the individual characters of these references as producers and artists all these role models have one more thing in common: success among people who don’t know too much about what producing and composing music is basically about: standing up straight for an individual or represented cultural background, a vibe or maybe even an introduction of more special ways to the common view. So many of these people just referring to some justified idol seem to believe that it’s just about appearing or sounding like some successful example to deserve the same worthiness and receive the same results for their own ego and reputation. Ain’t that sad? Nobody claims that a production or composition has to be 100% unique from scratch. Everybody is emerging or referring to something. We all are part of a community, a society and a culture; we all are educated by parents, schools, universities, history, streets, situations, relations, whatever.. call it life. There has always been a thing called sampling. In ancient times, in the medieval age, in the modern era – until today everybody who is about to produce a piece of music or art has not very many choices but to match aspects or elements, which have been used in other relations or conditions before. This might happen with or without one’s consciousness. But this is not what I was referring to in first place. We all need to be compatible and recognized. We are social beings, we want to represent our position or attitude, we want to socialize by our work and creation, we want to separate from others, we might act politically, we just like or even love this or that particular way of sound or style, this or that special vibe from that historical year or maybe just even a distant myth of it.. Why not? But why are so many productions just going halfway, if at all? Is it because some audience is not seeing it anyway? Is it because some homeboys praise it anyway? Is it because the act is looking so cool? These things have been more or less ever the same but nowadays we have an inflation of released music. It became much easier to do a production that sounds quite professional because technical devices do much of the work and give the user the impression of being a proper virtual virtuoso. Furthermore, the necessary equipment became less and less expansive over time. So more and more people became motivated producers and felt like being ready to release and add their names to that heaven of fame or whatever their ambition might be. At the same time it became easier to release the music because the expensive physical production of vinyl records or CDs is no longer a must to many, because we can now purchase tracks as downloads, which are even cheaper to the consumers. Digitalized material can also be illegally shared without a loss of sound quality or functionality. So we find another filter of quality and motivation gone here. Of course, there is nothing wrong about digital technology or any cultural or technical progress. It offers a new realm of possibilities in sound, in technical detail as well as in overall ways of composing and creating music. In most cases however, technology mainly reproduces yesterday’s more exclusive tools for simplified access to many more users. Whether this is improving the ways of a dedicated creative process or not, is still to discuss. When people started to promote this kind of media for production and performance of electronic music, didn’t they think of the related disadvantages and risks? Or are these immanent anyway? We all need to get our foot into some door.. but pushing it too strong or just meeting some target group’s specs can just be .. well: a virtually disconnected (say: digital) form of contact. And that’s the point.  So many use high resolution technology to just reproduce a way of music or art, to just take part without involving at least a slight note of themselves into their work. Ain’t that sad? As we are still talking about the culture we live in I favour the idealistic approach to say: It takes at least one step outside to create music, which stands for itself.

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