Butcher Brown- No Way Around It
Death Threat Cassette- Use Your Delusion
Benny Bleu- Five Miles from Town
SPILLINGS - Terminal Agitation
Gábor Szabó - Some Velvet Morning
I haven't counted all the songs we've rated, but it's probably a couple hundred since we started the rating system (out of thousands we screened for inclusion in the playlist by listening to 10 or 20 seconds of them) and these are the only ones that rate above a 5.
Why so few? Am I getting pickier as I listen to more music?
The past several days I listened to songs on my own instead of with my brother. We want to see how different our ratings are when we rate them separately instead of coming to a consensus.
So far the major differences in our music preferences seem to be: I like techno, industrial, ambient, and music with droning as a major component more than my brother does, whereas my brother likes r&b a lot more than I do and is more favorable toward songs that emulate 1960s and 1970s sounds.
On principle, we are openminded in terms of genre (which the above list indicates very well). But how can you judge how "good" a song is separately from personal preferences about genre?
On top of that, how can you judge how "good" a song is separately from how many similar songs you've been exposed to, the mood you're in, and the activity you're doing as you listen?
On this kind of scale, (screening thousands of songs, listening to hundreds) judgments about a song's "goodness" start to revolve a lot around whether it's putting together unique elements in a distinct, artistically-driven way, rather than the technical excellence of the execution.
Or is it? We don't come across technical excellence very often. (these are chosen from random samples of human musical expression after all...at least random samples of what exists on Bandcamp.) But I'm very surprised to learn from this exercise how much music is extremely similar to other music.
I feel certain that this has a lot to do with the social environment of music, where artists create and collaborate, and fans listen, in environments (festivals, shows, etc) dedicated to particular genres or subgenres.
Environments for music to grow seem vital for the development and cultivation of a genre, but they also seem to be very stifling and limiting as they promote tight clustering of music with shared elements and characteristics. Genres and subgenres evolve and cross pollinate within those tight clusters, but there is minimal outcrossing, and when outcrossing occurs it happens along certain social and political strata.
Music, as an art form, is virtually infinite in possibility: every distinct cultural group on Earth, no matter what distinguishes them, seems to have its own form of music, and those forms can be freely hybridized with all other forms of music, usually creating something even cooler than its parents.
Music genres are so closely connected to social interconnection of people, it makes sense why music genres exist, but listening to Too Much Music makes you desperate for more people to get silly with it. Just doing something weird is enough for you to think the song is good. After so much guitar, synthesizer, and drum machines, you become a cut above the rest just by having the guts to throw in a church organ.
A good song displays excellence in mastering all the intricacies of distortion and vibration possible using the strings of an electric guitar. A great song has a saxophone. An excellent song has a nailgun.