They also shared a video from Dragon*Con 2012 which showed the first live performance of "Skin Tight," as well as audience members wielding light sabers.
Showing posts with label Dragon*Con. Show all posts
Showing posts with label Dragon*Con. Show all posts
Tuesday, January 8, 2013
Assorted I:Scintilla stuff
I:Scintilla posted on its Facebook page a link to its JBTV performance that was aired January 2, but taped months ago. They play "Mothership" and "Skin Tight" as well as have a talking segment.
They also shared a video from Dragon*Con 2012 which showed the first live performance of "Skin Tight," as well as audience members wielding light sabers.
They also shared a video from Dragon*Con 2012 which showed the first live performance of "Skin Tight," as well as audience members wielding light sabers.
Monday, January 7, 2013
Is goth becoming more mainstream? If so, is it necessarily bad? (Part II)
Yesterday, we saw the first half of the video from Dragon*Con 2009 in which a number of experts on goth answered a question regarding the mixing of goth and mainstream influences. Here is the second half of that video, and I will finish my commentary.
This is the more interesting portion, in my opinion, because this more directly focuses on the music and the club scene. First, there is a fair bit of talk about how European markets seem to be more appreciative of the innate experience of art while American markets care considerably less. Then, Rogue steps in and explains that pure goth-industrial nights in Tallahassee, FL, always failed, but there was major success when "dark disco" nights were introduced, where goth-industrial music would get mixed in with techno and pop. Finally, DJ Ichabod comes in and caps everything off by saying that the goth-industrial stuff really doesn't sound much different from modern pop.
In regard to the first point, I agree that goth and industrial genres and subgenres tend to have more success in Europe than in the US, but I'm not sure if it's entirely due to societal assumptions about the appreciation of art. I think one part of the equation is how the business of music is seemingly different in the US than it is in Europe. In the US, major music labels have a lot more power and seek to gain mass appeal, pouring vast investment into marketing. In the US, particularly in regard to music, what gets put on the radio is a result of huge cash flow swings. People listen to music in the US because it's shoved in their faces, and listeners are told that they need to listen to this music to be socially relevant. In Europe, there doesn't seem to be nearly that kind of pressure from huge record labels, and people's enjoyment of music in Europe tends to be more organic.
As for Rogue's talk about his experiences in building up a goth night in Tallahassee, I think part of his issue might have been his market. The metropolitan area has a population of less than 400K, and the city isn't surrounded by any known major goth or otherwise alternative subculture concentrations. What he did was a matter of survival in a relatively small market, but what about larger markets?
Take, for instance, goth nights in very large metropolitan areas, such as Boston, New York, or Washington, DC. Logic would state that adding pop, techno, and other non-goth-industrial things to those scene nights would dilute the brand and make people not overly interested. Unlike Tallahassee, where a crowd of 50 people would be considered a boon, in these places, prominent goth nights can easily have 200 on a so-so night. In a large market, people have choices on where to go. In that situation, would it make any sense at all to have a hybrid night, or would that be just a waste of resources?
Finally, in regard to Ichabod's point about goth-industrial sounds being similar to pop sounds, I agree with him. If you think about it, you can make a case that many types of music sound similar due to similar melodies and compositions. Furthermore, musicians intentionally borrow from other genres to add depth and uniqueness to their sound, so they don't become stale and irrelevant. That being said, certain things still sound much more pleasing to my ears than others, and even if those things sound similar to one another, there is only one that will bring a positive emotional experience.
In summary, what purpose does the meshing of goth with mainstream serve? Is it beneficial? Is it detrimental? Do you think we'll see more or less integration? The panelists seem to think this is just a passing fad, but one thing that we need to remember is that everything changes, not just the mainstream. If you look at how much post-punk music has changed and evolved over the years, it only makes sense that new things will pop out of the woodwork over time. I guess we'll just have to wait and see.
This is the more interesting portion, in my opinion, because this more directly focuses on the music and the club scene. First, there is a fair bit of talk about how European markets seem to be more appreciative of the innate experience of art while American markets care considerably less. Then, Rogue steps in and explains that pure goth-industrial nights in Tallahassee, FL, always failed, but there was major success when "dark disco" nights were introduced, where goth-industrial music would get mixed in with techno and pop. Finally, DJ Ichabod comes in and caps everything off by saying that the goth-industrial stuff really doesn't sound much different from modern pop.
In regard to the first point, I agree that goth and industrial genres and subgenres tend to have more success in Europe than in the US, but I'm not sure if it's entirely due to societal assumptions about the appreciation of art. I think one part of the equation is how the business of music is seemingly different in the US than it is in Europe. In the US, major music labels have a lot more power and seek to gain mass appeal, pouring vast investment into marketing. In the US, particularly in regard to music, what gets put on the radio is a result of huge cash flow swings. People listen to music in the US because it's shoved in their faces, and listeners are told that they need to listen to this music to be socially relevant. In Europe, there doesn't seem to be nearly that kind of pressure from huge record labels, and people's enjoyment of music in Europe tends to be more organic.
As for Rogue's talk about his experiences in building up a goth night in Tallahassee, I think part of his issue might have been his market. The metropolitan area has a population of less than 400K, and the city isn't surrounded by any known major goth or otherwise alternative subculture concentrations. What he did was a matter of survival in a relatively small market, but what about larger markets?
Take, for instance, goth nights in very large metropolitan areas, such as Boston, New York, or Washington, DC. Logic would state that adding pop, techno, and other non-goth-industrial things to those scene nights would dilute the brand and make people not overly interested. Unlike Tallahassee, where a crowd of 50 people would be considered a boon, in these places, prominent goth nights can easily have 200 on a so-so night. In a large market, people have choices on where to go. In that situation, would it make any sense at all to have a hybrid night, or would that be just a waste of resources?
Finally, in regard to Ichabod's point about goth-industrial sounds being similar to pop sounds, I agree with him. If you think about it, you can make a case that many types of music sound similar due to similar melodies and compositions. Furthermore, musicians intentionally borrow from other genres to add depth and uniqueness to their sound, so they don't become stale and irrelevant. That being said, certain things still sound much more pleasing to my ears than others, and even if those things sound similar to one another, there is only one that will bring a positive emotional experience.
In summary, what purpose does the meshing of goth with mainstream serve? Is it beneficial? Is it detrimental? Do you think we'll see more or less integration? The panelists seem to think this is just a passing fad, but one thing that we need to remember is that everything changes, not just the mainstream. If you look at how much post-punk music has changed and evolved over the years, it only makes sense that new things will pop out of the woodwork over time. I guess we'll just have to wait and see.
Sunday, January 6, 2013
Is goth becoming more mainstream? If so, is it necessarily bad? (Part I)
The background for what I have to say is this excerpt from a panel from Dragon*Con 2009 in which Holly Hasty, Jessica Lackey, and Rogue from The Crüxshadows, DJ Ichabod, Michelle Belanger, and DJ Spider participated. The questions presented are about how goth culture elements are meandering their way into the mainstream.
The first part is mostly about Twilight and the ilk becoming mainstream hits and making elements that were originally part of the niche goth subculture into things that were accessible to everyone. I felt the first video rambled a bit, so I won't focus too much on it. But in short, the point seems to be that by having gothic elements become part of the the mainstream, it makes goth more acceptable and goth things won't be as likely to be singled out as bad, unacceptable, or deviant because they're goth. Although I agree with that sentiment from a logical standpoint, I feel we need to be careful about the general premise of what "goth" is. Can "goth" be broken down to a set of elements, or is it more complicated than that?
I remember the South Park episode in which the brooding goth kids went completely insane when everyone else in the school started getting into Twilight and wearing goth fashion, as prescribed by Hot Topic. At the end of the show, the goth kids burned down the Hot Topic and everything went back to its previous status quo. Obviously, South Park isn't going to give us a deep insider's understanding of the goth subculture, but I do think that they give an excellent portrayal of what people on the outside think goths are. Of course, Matt and Trey portrayed the goth kids as a number of the stereotypes that much of the mainstream does for goths, such as making them prone to substance abuse. I think the key idea that is at the center of that episode though is the set of interactions based on inclusion and exclusion.
Based on the perceptions of the writers, the goths not only feel like they have been scorned by the mainstream society, but they also feel territorial about their place within it. The goth kids feel like their boundaries have been breached and seek to assimilate with the prior status quo as a means of rebellion. They end up feeling completely directionless and decide to take matters into their own hands to accelerate the end of the wave of mainstream goth.
Although I do not suggest that South Park is a bastion of enlightenment, I do think they bring up a good talking point that goes back to the talk of the panel. Is the concept of goth a boundary that self-proclaimed goths establish? Is there an unacceptable price to be paid by acceptance into the mainstream? Much of the gothic subculture revolves around feelings of self-expression, but one could argue that self-expression that aligns itself to the status quo really doesn't express anything at all. Or if something is expressed, it's not novel or interesting.
If goth is considered to be "deviant" by the mainstream, then when gothic elements become wrapped up into the mainstream, an impasse is created. It leads to a slew of conflicting messages about the attitudes and identities of the subculture. I think a significant amount of the backlash that sometimes gets created by mainstream goth is because people who self-identify within the subculture begin to feel confused about their identity. Many goths care so much about their identity as "goth", and when something threatens the definitions of what they think they are, these people panic. In short, backlash against mainstream goth is a reaction of fear.
Do goths have anything to fear by mainstream usage of gothic elements? Do you think there is a threat to identity? I'd like to hear your thoughts on this.
The first part is mostly about Twilight and the ilk becoming mainstream hits and making elements that were originally part of the niche goth subculture into things that were accessible to everyone. I felt the first video rambled a bit, so I won't focus too much on it. But in short, the point seems to be that by having gothic elements become part of the the mainstream, it makes goth more acceptable and goth things won't be as likely to be singled out as bad, unacceptable, or deviant because they're goth. Although I agree with that sentiment from a logical standpoint, I feel we need to be careful about the general premise of what "goth" is. Can "goth" be broken down to a set of elements, or is it more complicated than that?
I remember the South Park episode in which the brooding goth kids went completely insane when everyone else in the school started getting into Twilight and wearing goth fashion, as prescribed by Hot Topic. At the end of the show, the goth kids burned down the Hot Topic and everything went back to its previous status quo. Obviously, South Park isn't going to give us a deep insider's understanding of the goth subculture, but I do think that they give an excellent portrayal of what people on the outside think goths are. Of course, Matt and Trey portrayed the goth kids as a number of the stereotypes that much of the mainstream does for goths, such as making them prone to substance abuse. I think the key idea that is at the center of that episode though is the set of interactions based on inclusion and exclusion.
Based on the perceptions of the writers, the goths not only feel like they have been scorned by the mainstream society, but they also feel territorial about their place within it. The goth kids feel like their boundaries have been breached and seek to assimilate with the prior status quo as a means of rebellion. They end up feeling completely directionless and decide to take matters into their own hands to accelerate the end of the wave of mainstream goth.
Although I do not suggest that South Park is a bastion of enlightenment, I do think they bring up a good talking point that goes back to the talk of the panel. Is the concept of goth a boundary that self-proclaimed goths establish? Is there an unacceptable price to be paid by acceptance into the mainstream? Much of the gothic subculture revolves around feelings of self-expression, but one could argue that self-expression that aligns itself to the status quo really doesn't express anything at all. Or if something is expressed, it's not novel or interesting.
If goth is considered to be "deviant" by the mainstream, then when gothic elements become wrapped up into the mainstream, an impasse is created. It leads to a slew of conflicting messages about the attitudes and identities of the subculture. I think a significant amount of the backlash that sometimes gets created by mainstream goth is because people who self-identify within the subculture begin to feel confused about their identity. Many goths care so much about their identity as "goth", and when something threatens the definitions of what they think they are, these people panic. In short, backlash against mainstream goth is a reaction of fear.
Do goths have anything to fear by mainstream usage of gothic elements? Do you think there is a threat to identity? I'd like to hear your thoughts on this.
Sunday, December 23, 2012
My opinions on I:Scintilla's "Skin Tight"
So, Skin Tight...
I:Scintilla officially put out their newest single on 12-12-12, along with uploading the music video for the song on YouTube. You could have gotten the song months earlier though if you bought it from Sounds from the Matrix 013, and a number of people were exposed to the song by having seen I:Scintilla perform at Dragon*Con 2012. People were interested in the new Skin Tight single not only for the original version though, but for the remixes from The Luna Sequence and Psy'Aviah.
I have no reservations about saying how much I love this single. I already owned the Sounds from the Matrix version of the song, so I didn't need an exact copy. I bought the remixes a la carte, and I must say that anyone who got the single did very well for their money spent.
First, if you didn't already have the original version of the song, you get it here. The original version has that deep, kind of sultry, yet somewhat threatening feel. It has a hint of background scratchiness and vocal screeching to add texture, and you get a feeling that the band is playing different points around you, almost like it's subtly trying to tell a story.
The remix by The Luna Sequence brings a different feeling, one of much more powerful urgency. While the original version gives off a feeling of a desperate defense or escape, The Luna Sequence's remix makes you feel like you're in a decisive battle for all the marbles. There is a lot of distinct fast-paced electronic clinking and clanging in this version, and the guitar sounds slam down in just the right ways to make that feeling of grandeur.
Last, but not least, Psy'Aviah's mix gives a completely different feeling from the other two versions. This mix feels cold and urban, almost like the song is being performed in a seedy, dark alley somewhere in the downtown of a cruel, uncaring city. The song maintains a more subdued and slightly depressing feel throughout. If you've ever listened to Psy'Aviah's own music, this mix gives off a similar vibe to "Virtual Gods".
I can't pick anything I really dislike about this single. If you're an I:Scintilla fan, you definitely don't want to miss out on this.
I:Scintilla officially put out their newest single on 12-12-12, along with uploading the music video for the song on YouTube. You could have gotten the song months earlier though if you bought it from Sounds from the Matrix 013, and a number of people were exposed to the song by having seen I:Scintilla perform at Dragon*Con 2012. People were interested in the new Skin Tight single not only for the original version though, but for the remixes from The Luna Sequence and Psy'Aviah.
I have no reservations about saying how much I love this single. I already owned the Sounds from the Matrix version of the song, so I didn't need an exact copy. I bought the remixes a la carte, and I must say that anyone who got the single did very well for their money spent.
First, if you didn't already have the original version of the song, you get it here. The original version has that deep, kind of sultry, yet somewhat threatening feel. It has a hint of background scratchiness and vocal screeching to add texture, and you get a feeling that the band is playing different points around you, almost like it's subtly trying to tell a story.
The remix by The Luna Sequence brings a different feeling, one of much more powerful urgency. While the original version gives off a feeling of a desperate defense or escape, The Luna Sequence's remix makes you feel like you're in a decisive battle for all the marbles. There is a lot of distinct fast-paced electronic clinking and clanging in this version, and the guitar sounds slam down in just the right ways to make that feeling of grandeur.
Last, but not least, Psy'Aviah's mix gives a completely different feeling from the other two versions. This mix feels cold and urban, almost like the song is being performed in a seedy, dark alley somewhere in the downtown of a cruel, uncaring city. The song maintains a more subdued and slightly depressing feel throughout. If you've ever listened to Psy'Aviah's own music, this mix gives off a similar vibe to "Virtual Gods".
I can't pick anything I really dislike about this single. If you're an I:Scintilla fan, you definitely don't want to miss out on this.
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