Octogen
2fiveonine

Essential History of Electronic Music

XIV. Non-musicians of the Postmodern Era

There was a time of happy life when Karlheinz Stockhausen, Pierre Boulez, and Pierre Schaeffer endeavored to make music out of every existing tremor, in the vibrant hive of that ancestral "Groupe de Recherche de Musique Concrète" where the newborn majesty Electronic Music was baptized. There was a time when the profession of electronic sound researcher was a difficult and troubled craft, a daunting task where the categorical imperative was to challenge the common aesthetic all intent on deriving enjoyment from the short song in chamber dress. There was a time and that time is no more, now that the new technological generation has opened the doors to genre fusion between software and sound in the new scenario of music for non-musicians.

"Don’t buy contemporary paintings, make them!"

In closing this verbose treatise of this epitome, there is nothing left but to bid farewell by paraphrasing the great lesson of Salvador Dalí: in the era of do-it-yourself art, where power is delegated to the act of creation and not to realization, we can only tell you to do like Marco Bernardi, a brave Italian who has recently made a name for himself in cold Glasgow with his techno-ambient production encapsulated in the magmatic "2fiveonine" released in 2007. Be like him and become musicians without a band, software experts of third millennium electronic communication.

Be like him and create electronic music at home.

We are at the end and right at the end we can affirm it: power has shifted from the hands of the masters of Musique Concrète to the common users, from the listened to the listeners, from musicians to non-musicians. In short, "Don't buy electronic music records, make them!"

So go and create music, maybe just a moment after giving a chance to this latest work of a compatriot. Go and create. Go and create. Go and create.

Why the hell are you still here reading only you know.


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