Techno Tuesday #1


How can a guy like me even like techno? Its all the same structure over and over again and they all remix each others stuff. Sounds boring indeed, but what synthesizer and digital audio workstations have done for music can be shown at its finest in the great electronic tracks.

What you can with with electronic music that you can’t do with anything else is control every single individual frequency and engineer whatever sound you want with virtual instruments and synthesizers. This leads to some very intense tension and release and drops that you can see coming from a mile away – and still blow your mind.

The thing I like about this track is the sample that the song was designed around (2:41). Here he lets the sample play unfiltered and un-quantized so you can hear the original beauty in her voice. All he does is add in a pad to make the chord progression more obvious to the listener. He then creates his own theme, using that same chord progression from the female vocal line(3:39). This is what makes a remix good. Instead of stealing the idea and using the same melodic line, he uses the chords as inspiration than makes his own melody. This part also showcases the incredibly dense harmonics that can go into electronic music. The rhythm repeats notes, but the harmonizing notes move around on different octaves, but always filling the entire chord. It holds to all the normal rules of electronica in terms of form and rhythm, but its these subtlety that make a difference to me.

warning, this one REALLY takes its time. You won’t miss much if you skip to 2:50. Its just intro stuff for mixing purposes.

The first time I heard it, I did not see it coming. In fact I almost entirely forgot I was listening to a trance song for a while. This chord progression is VI VII I, one of the best (worst) chord progressions for ANY kind of music. The reason this progression is so “epic” sounding is because of the leading tone. The leading tone is what makes a song sound like its going somewhere, its the seventh note in the scale, and when you form a chord on the leading tone it is diminished. This makes it sound dissonant, it is not a resolved chord and our ear knows it. It makes your brain really anticipate the Tonic, or the root of the scale. I’ve heard it a hundred times, and this time was well worth it. The use of the orchestral samples just add to it, on top of the already potent ability to create tension and release. It’s one of those drops that’s worth it the whole time.



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