MANIFESTO for ELECTROMA: Just now, with regrettable delay, I've seen the debate. To cut a long story short: the Electroma collective is born in response to the needs of members
@[macaco],
@odradek (get back in the group, we need a mind like yours),
@limercury, @nes. Not that any of them is more right than the others who would be irretrievably wrong, but in this case
@Dislocation and
@Battlegods (who rightly reminds us of Nitzer Ebb in the group, for example) have a little less reason for adhering less to the original idea. Explain: Ultravox, Depeche Mode, Nine Inch Nails, Pet Shop Boys, very industrial-proto-industrial-industr ial random etc etc etc definitely have elements of electronics, but indeed they are more inserts of electronics oriented towards a still Rock/Song (verse-chorus-verse-chorus) form rather than a stretched and freely creative form of electronica. If everything is electronic, nothing is electronic. We would place listening of this type in that vast sea of generic listening, and not in the dedicated group's selections. Electroma is not specifically looking for musicians of that type, but rather composers and producers, preferably those who are active today. The most relevant intention would be to propose 80% pure (synthetic) electronica, dedicating 20% also to those artists who in the past have paved the way for many current projects (Jarre, Popol Vuh, Eno, Kraftwerk - also included in DOT playlists - and so on). Electroma seeks an "editorial line" that gives space especially to synthesized music, few guitars, few voices, preferably robotic, very digital and little analog (and here the ground is slippery and needs to be approached discreetly by everyone, because there is also excellent analog/digital today, think of AIR). Electroma is not concerned with what instruments and equipment bring these proposals to life, but hopes that more space is given to computers, synthesizers, tape loops, sequencers etc etc, because music produced with just a laptop, in principle, has no less dignity than a band or an orchestra, as long as it is interesting. Why? Because it is by no means certain that the machine conditions the final result of a composition; the same David Gilmour (a person who mainly operated in the 60s/70s, but already visionary - On The Run is in every way electronic, for example) when accused with his band of hiding behind walls of machinery, would say something like: <<the machine does not condition our ideas, a machine cannot think, a machine needs a human to tell it what to do>> (because the human designed it). There are, of course, exceptions, like instruments and artists operating within the realm of generative music; think of the modular reactable for example, used by Bjork and many Ibiza-style DJs/producers. In that case, that’s fine too. In conclusion, it is certainly more focused to start from productions of the '90s, evo to
