 2063 Billboard Top 100..., what are your characters listening to? |
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 Nov 15 2003, 11:40 PM
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#26
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Incertum est quo loco te mors expectet;  Group: Dumpshocked Posts: 6,548 Joined: 24-October 03 From: DeeCee, U.S. Member No.: 5,760  |
In 50 years, most of the music you hear now I suspect will still be played. You'll probably hear less of what we consider oldies, but the Beatles are classic, and classical music will never die out. Our new music will probably still be played, but I'd guess you'll hear more of our rock than anything (industrial doesn't generally appeal to the over sixty crowd, even if they used to listen to it when they were young). I suspect that country won't change either.
In regards to what WILL change... I doubt you'll have many new instruments like what you're thinking of. There'll be plenty more of the electronic effects, however I doubt the guitar will really go out of style. Industrial will find some new, disharmonous way of playing music that annoys old people, rock will change in tempos and keys, ska will continue to mix whats new with its own reggae heritage. I imagine that if you were to hear the music, you probably wouldn't like it as much as you like our music, but you wouldn't find it either unrecognizable as music, nor awful. |
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Nov 16 2003, 11:22 AM
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#27
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Moving Target Group: Members Posts: 228 Joined: 26-February 02 From: Melbourne Member No.: 652 |
With my luck it would be a bloody ABBA revival :) |
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Nov 16 2003, 06:49 PM
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#28
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Manus Celer Dei Group: Dumpshocked Posts: 17,013 Joined: 30-December 02 From: Boston Member No.: 3,802 |
Rock may or may not be a relevant form, but it'll probably still be considered one.
~J |
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Nov 17 2003, 12:00 AM
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#29
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Deus Absconditus Group: Dumpshocked Posts: 2,742 Joined: 1-September 03 From: Downtown Seattle, UCAS Member No.: 5,566 |
Well, I don't know about the Sixth World at large, but Industrial tends to be prominent in my games because A) I'm a big rivethead, and B) a lot of it tends to be good background music for games. I don't say this to cheapen your point, I just feel it neccessary to throw out there that it's why *I* use it, and therefore shouldn't be taken as gospel. I've done a lot of thinking about music trends in the Sixth World lately, and I've come up with a few things. It's next to impossible to kill a musical style once it exists, especially in such a subcultural, information based culture. Ergo, I find it easy to believe that all the classic stuff we know and love (of all kinds) is alive and well in Shadowrun - just among very small, specialized subcultures. Like the neo-flapper types you see occasionally today. Or the james-dean looking folks in Harajuku. That being said, allow me to examine what *I* use for individual musical styles and then musical trends in general: Rock: Rock keeps mutating just as it does now, with way too many styles to really count. However, musicians in my Shadowrun games *tend* to follow two main bents: minimalist, fuzzed out electrotrash with two, maybe three members (see: Lo/Rez from Idoru and The Faint) and the whole multiple guitars, drummers, bassists, etc thing - very jam band gone wrong, grown up in the barrens (implied how Shield Wall and Concrete Dreams sorta are). Industrial: Following the growing gap between what industrial WAS and what it's becoming (Re: EBM), things just kept drifting apart. We're left in 2060 with class A) distortion, feedback, sampling, etc that's harmonically engineered but otherwise generally dissonant (See: Gridlock, Tarmvred, Alien Faktor for current-day examples), and B) angry dance music which comes in a variety of shapes and sizes, but is generally marked by a darker and more 'high speed' bent than general club music (See: VNV Nation, X Marks the Pedwalk, Funker Vogt, et al). Techno: I haven't thought about techno other than it's peripheral genres, so I'm not saying anything. The Others and General Music Trends: One of the things I figure I can bank on with shadowrun that no musical genre escapes is radical nationalization; a lot of musical styles are likely created overnight by someone with some kind of 'ethnic' music fusing it with something existing. For example: turkish electrotrash, yes? Sort of like wierd persian arrangement, but with the electrotrash sensibility. See Amon Tobin's "Proper Hoodage" for a reference to that kind of stuff. I've also found it's useful to describe what makes a particular bit unique, when GMing. For example, there was this all-decker carribean league Dub band people were dealing with at one point, and it was described as sounding like they were playing dub but only on glass instruments, underwater inside a reverberation bubble. Kinda like Children of the Bong gone strange and matrixy. Just my two yen. |
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Nov 18 2003, 10:38 PM
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#30
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Moving Target Group: Members Posts: 745 Joined: 26-July 03 From: Montréal, QC, Canada Member No.: 5,029 |
No offense taken and furthermore I'd tend to agree that industrial music, with its long, repetitive instrumental breaks is well-suited to being background music to a gaming session (regardless of the game's genre). My group uses a lot of techno-(insert suffix here) for the same reason. Heck, a couple of weeks ago the Run Lola Run soundtrack was played (repeatedly) during a session of our Fantasy HERO campaign. Some might find this kind of highly processed--even antiseptic--electronica unsuitable for a fantasy game, but we felt it perfectly captured the mood of our frenzied escape from a ravenous pack of hellhounds. Sunday_Gamer and Nova can back me up on this ;)
<snip>
Excellent point and well put; I don't see any reason for the contemporary confluence of genres, styles and instrumentations to stop or even slow down. However, "killing" a style is relative: many have argued that the mainstream co-opting of subcultural indices is tantamount to "killing" any kind of authenticity the original form possessed. This brings me back to part of my original question: what about pop? And where does hiphop fit in? Given its current domination of the pop-cultural landscape(*), why is it totally ignored in Shadowrun? (This is a rhetorical question, of course--the literary genre of cyberpunk was born conjoined to its stronger sibling: techno/industrial/"electronic" music. Plus, there's the whole assortment of racial & sexual priorities coded into the white guy's hobby of gaming...) Anyway, is "pop music" in 2060 a slice & dice grab-bag of cultural, ethnic and stylistic influences with little rhyme and no reason? Not that that'd be a bad thing, mind you; I'm just curious as to what people think.
Nice. (*) "Pop is hiphop." -- Justin Timberlake, Michael Jackson's heir-apparent, in interview. |
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Nov 19 2003, 04:16 AM
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#31
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Moving Target Group: Members Posts: 639 Joined: 22-April 02 Member No.: 2,638 |
I was toying around with an idea for a SOTA:2064 article about recent trends in music. In particular, the idea of music that could only be appreciated by cybernetically-enhanced hearing. The name for this new genre was Trans, a play on words meant to represent both it's Trance-Electronica roots and the trans-human nature of cyberware. There are 2 separate styles of Trans; Sub-Dub (or SD) and Pico.
Sub-Dub is like Drum-and-Bass, only the rhythm tracks are all in the sub-sonic range. A non-cybered listener would feel the music, but only actually hear the occasional cymbal or high-top. Most un-enhanced 'listeners' find the vibrations at a SD performance uncomfortable to experience, especially the hardcore acts such as Chestburster and Breathless Nightmare. Pico (also known as Drone to the un-enhanced) can be identified by its distinctive high-pitched whine. To the cybered ear, however, the whine is actually an intricate rhythm track, often consisting of 1/256th-, 1/512th-, and even 1/1024th-beat notes. Far too fast to dance to, the music is typically enjoyed by artsy crowds and music elitists while seated and enjoying the hyper-stimulant de jour. There have been recent (unsubstantiated) reports of un-cybered observers encountering epileptic fits during performances by ohbabycanyoudigmyvibenow and beatbeatbeat (Pico artists appear to have an unexplainable hatred of capital letters and spaces in band names). Given that both artists appear on the same label, this may be little more than a publicity gimic by an unimaginative PR rep. A new sub-movement of Pico has recently appeared - Pico-Pop (affectionately referred to by its detractors as Pico-Poseur or, more colorfully, Pico-Piss). Pico-Pop attempts to mix Drone music with more mainstream (read: audible to the naked ear) tracks. This product is mainly aimed at younger, uncybered consumers. Pico diehards find Pico-Poseur music 'of poor quality' and 'highly offensive to sensitive ears'. There have even been rumors of 'pure' Picoists commiting drive-by attacks (called Smash-and-Trashes by the local press) on Pico-Pop nightclubs. Sample artists of this genre are Trolls in Love and free-style diva Synnamoane. |
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Nov 19 2003, 04:52 AM
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#32
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Manus Celer Dei Group: Dumpshocked Posts: 17,013 Joined: 30-December 02 From: Boston Member No.: 3,802 |
I don't remember the book, but there was one cyberpunkish story I once read where an AI would use very high or very low frequencies to either make people extremely nauseous (low) or kill them (high) over the phone.
I want all the audio implants I can get, but I am NOT going to a Sub-Dub or Pico concert. ~J |
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Nov 19 2003, 05:03 AM
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#33
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Moving Target Group: Members Posts: 348 Joined: 20-June 03 Member No.: 4,782 |
Remind me not to buy that phone that doesn't block harmful frequencies. Guess the FCC got abolished. :grinbig: |
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Nov 19 2003, 05:04 AM
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#34
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Immoral Elf Group: Members Posts: 15,247 Joined: 29-March 02 From: Grimy Pete's Bar & Laundromat Member No.: 2,486 |
I like it, Spooky. :)
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Nov 19 2003, 05:32 PM
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#35
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Moving Target Group: Members Posts: 745 Joined: 26-July 03 From: Montréal, QC, Canada Member No.: 5,029 |
<snip>
<snip>
Ditto, I think this is really cool and creative. Spookymonster, what about thaumaturgical tunes? If there exists music for those with technologically-enhanced hearing, I wonder if physical adepts (or Awakened in general) have begun generating their own music, audible only to them. "Playing the astral waves..." The press kits practically write themselves. :) |
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Nov 19 2003, 05:58 PM
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#36
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Moving Target Group: Members Posts: 639 Joined: 22-April 02 Member No.: 2,638 |
Yeah, I was trying to come up with a counterpart to Trans for the magically inclined, but I only came up with one idea, and I haven't fleshed it out too much yet. It isn't so much a new style of music, but rather a new way of presenting it. Imagine a performance at the Globe Theatre featuring a spirit claiming to be Shakespeare. Or a nightly performance of Tupac's ghost at the MGM in Las Vegas. Because spirit manifestations can't be recorded by electronic media, bootlegging isn't a concern. Expenses are low (how much does a spirit need, really?), front-row seating comes at a premium, and managers don't have to worry about their star performers accidentally O.D.ing and crashing the gravy train.
These spirits (be they nature spirits or otherwise) are typically bound to a single location, thus guaranteeing the venue's owner that their star attraction won't walk out on them for a better salary. A shaman is typically kept on hand to summon up the spirit(s) and command them to perform, so there's no need to worry about primadonna performers. However, there have been stories of spirits hiring runners for extractions, as well as the more mundane 'contract renegotiations'. Since no one can actually prove that their spirit isn't the real spirit of Tupac, Shakespeare, Elvis, etc., a secondary industry of copycat performances spring up, each with their own version of Biggie Smalls, Jerry Garcia, and Jim Morrison. Granted, the quality of these shows can vary greatly (especially in the more rural parts), but there are exceptions to the rules, such as the ghost of Hank Williams, Sr. in Mount Olive, Alabama. Sometimes the competition between these acts can get pretty nasty... |
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Nov 19 2003, 06:21 PM
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#37
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Runner Group: Members Posts: 3,066 Joined: 5-February 03 Member No.: 4,017 |
I can't remember where it was, but I read a discussion of high end clubs for mages. Astral parties. If you can project, you can pay for a nice, warded room to leave your solid self as you wander a building whose entertainment is designed to provide a collage of emotional backdrops. Those who cannot (or don't want to) project can get a similar experience and become part of the backdrop as they get into the events.
The shows are planned beforehand to include what the owners suspect will be an entertaining blend of emotional overload, and some nice tunes. |
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Nov 20 2003, 04:51 AM
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#38
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Beetle Eater Group: Dumpshocked Posts: 4,797 Joined: 3-June 02 From: Oblivion City Member No.: 2,826 |
State of the Art:2063, Culture Shock, page 109, Coffin Clubbing. I think Spookymonster's idea is a continuation of this idea really. Almost a "pop" performance version, visible to non Awakened. Sounds like a lawsuit from the DIMR waiting to happen though. Here's my picks for the Oblivion music scene: 1. One Bullet by Infest. The Mid-Western trio know how to hit a sour spot and keep twisting. This dark album of post apocalyptic music will take you from extremes of excitement, horror, desperation, and death. The overriding sense of hopelessness lasts for hours after the pounding single, Breaking Through the Door has ended. The interactive album art, by Kagetenshi makes the 20 :nuyen: price tag seem insignificant. 2. Die Breeders Die by Unicide. This self depreciating band of admitted drug addicts uses ironic lyrics and black humor to illustrate our hypocrisies while keeping a freakishly fast beat. "Better Than Life (Death Is)" is a mainstay on Oblivion radio stations. The band's refusal to sign for BMG has hurt their ability to sell flesh records, but their 'Trix host is still running scans. 3. Born to Clog the Wheel by DNR (Do Not Resuscitate). A first attempt, this demo single popped up around Oblivion clubs on the 'Trix with huge fanfare. Nothing else has surfaced though. The loop is intricate but manages to worm into the ear. 4. 'Trix Burner by Counterpoint. Well the girls who hate everything have turned their unblinking eye upon the Matrix. No subject is taboo to these voluptuous vixens. One of the few mixed race bands, this foursome tours relentlessly. Their single "Jackout" will make you long for real flesh with hard hitting, sexy lyrics. 5. geek me by overrad. A Trans Oblivion band, overrad has made a name with thirty second ballads and thirty minute loops that seem simultaneously excruciatingly long and exceptionally short. "flatliner" strikes a balance between the Trans and Pop possibilities, but those with meat ears still won't appreciate much beyond the chorus - thankfully, that's all there is. |
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Oct 12 2004, 02:49 AM
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#39
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Target Group: Members Posts: 29 Joined: 15-August 04 From: Columbia, PA Member No.: 6,562 |
This thread is exceptionally ancient, isn't it? But here's a few from my games (well, when I still ran F2F games)...
One of my favorites was The Hoopy Froods, which some friends and I were actually going to use as the name of our band, which never got formed. The Froods are the latest entrant in the old jam music genre, which started with the Grateful Dead almost a century ago. The lead singer, Galen Twotusks (ork), is obsessed with the Hitchhiker's Guide to the Galaxy. Albums include Vogon Poetry (2056), A Fish in the Ear! (2058), Sentient Blue (2062) and 12 from Amazonia (2063). Others who've played clubs throughout the Seattle sprawl are: DEATH STAR (kind of an Awakened version of thrash-industrial a la Atari Teenage Riot) and Sub-neural (similar to Front Line Assembly). |
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Oct 12 2004, 03:19 AM
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#40
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Moving Target Group: Members Posts: 326 Joined: 26-February 02 From: Vigo (Spanish Kingdom) Member No.: 1,446 |
Just have one to add to such great list: Axes to Battle: Nightfall in the Sixth World (April 2063, Mitsuhama Records); a quick, ear-destroying and menacing show of what trogs can make out of heavy-rock. Reverberations of classics like Concrete Dreams or Blind Guardian fill the whole album, forming a dark tribute to those that came before them. Skuzzy and the Gonzos: Ain't Feeling Sorry For It! (December 2054, Aztechnology Audio); the classical biggest hit in their story, this album confirmed Skuzzy and the rest as the best troll thrash band in the Sixth World. Quick, tough lyrics for hard guitars, which bring alive the life in the streets. As a general note, there does seem to be a lot of Thrash, Heavy Rock and similar movements in SR. Still, their lyrics seem to have more to do with which would be classical "protest" rap: gangs, street problems,... In fact, it ain't strange that many of such bands have close ties to the shadows (there's the Rocker archetype after all). |
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Oct 12 2004, 05:35 AM
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#41
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Target Group: Members Posts: 13 Joined: 6-June 04 Member No.: 6,384 |
My math is a little rusty but doesn't that make two songs you added to the list? Just for fun, I'll add my fictional SR band to the thread. Our group did some bodyguard work for a minor troll thrash metal band called the Four Trolls of the Apocolypse. They played such memorable classics as Frag, Drek, Fragging Drek, Frag that Drek, and Frag Your Drek Packed Hoop-hole. They were running with the idea that controversy sells. |
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Oct 13 2004, 03:59 AM
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#42
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Moving Target Group: Members Posts: 118 Joined: 20-June 04 Member No.: 6,423 |
What's surprising is no one's mentioned at all this website, Ishkur's Guide to Electronic Music, charting the evolution of electronic music by genre and illustrates each genre with samples. It will give you an idea how much music in general has evolved for the past 20-30 years, based off cultural importation, technical advances, and fusions of various other types of branches of music genres, and what to extrapolate and give people some idea of what strange fusions will pop up in 206x.
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Lo-Fi Version | Time is now: 22nd November 2025 - 06:44 AM |
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