|
Post by Pilgrim's Shadow on Jul 23, 2017 10:34:50 GMT -5
So we spoke a little bit of this subject in another topic, and i would like to get more interesting points of view.
It is true that all opinions on the matter are somehow true, for it is a matter of world-view.
I agree that DS is social in the aspect of community in the internet, but i still believe the DS is a non-social genre. This is because it is not something you listen togather with other people in your room. I see DS as an "inner-self" experience. Somthing spiritual, even ceremonial sometimes for me.
what do you guys think?
|
|
olofdigre
Knight
digre.bandcamp.com
Posts: 376
|
Post by olofdigre on Jul 23, 2017 12:17:23 GMT -5
When i went to school in the late 90s we where 12 students and we listened to mortiis as background music while in class. It was rather social and me and my friends listened to neptune towers and burzum when talking long evenings while drinking.
But there is the special quality listening through headphones when going for long walks alone (or with baby in children wagon).
You know how you sometimes asks "have your read this book" and gets the answer "no but i have sern the movie"? I like to imagine friends talking "have you read this book?" "No but I have the Dungeon Synth tape".
That what we call Dungeon Synth is, as I see it, like a way of telling stories. Not like music or like audiobooks but an alternative for storytelling. It is not like soundtracks since a soundtrack needs a videotrack. Ds stands by it self. So i would say ds can be social music when played as music but something else when used to tell stories.
|
|
|
Post by inkybat on Jul 23, 2017 16:34:52 GMT -5
Some DS my family loves and I play it while we play games. Stuff like Fief or Lord Lovidicus. Other stuff, like dungeon noise or more ambient stuff like Voormithadeth or Abyssu is more personal to me and I enjoy it more by myself.
|
|
|
Post by nahadoth on Jul 23, 2017 17:38:45 GMT -5
I find that I very rarely listen to them with others intentionally - sometimes I'll have a release on in the background while cleaning or cooking, or sometimes in the car while giving someone a ride. I've shown this music to a few people directly, particularly something like Abandoned Places to fellow musicians with a taste for odd harmonies. Very rarely does anyone consider it offensive, but sometimes people hear it and find it too melancholy, or too bleak.
Some of this of course comes up in the ongoing discussion about DS live - since of course so much of what makes the music special is how personal it is. But I think it would be possible to have something akin to a live ritual, where everyone present would understand that it was not meant to be a social environment, since so much escapism is involved in motivating the music.
|
|
|
Post by andrewwerdna on Jul 23, 2017 23:20:13 GMT -5
For me it's always been nonsocial. That won't stop me from showing cool stuff to friends, but if they don't listen to it on their own they'll never fully understand it. One must listen to dungeon synth alone to get the full experience in my opinion. That's the case with a lot of genres, but there are some genres where you must experience the music live to get the full experience, those I would consider to be social genres (not to say you can't appreciate listening to social genres alone, just like DS could be appreciated in a live setting, but they each have their sort of home territory).
|
|
Tyrannus
Verified Account
Knowledge is Night
Posts: 806
|
Post by Tyrannus on Jul 24, 2017 7:17:55 GMT -5
Haha I guess this all reminds me of one of the first times I met nebulosa at a party in college back in like 2012 I guess. I remember we were just drinking and listening to a ton of black metal and ultimately just put on Burzum's Tomhet and it was a great time. I guess the point of that story is that throughout the years my dungeon synth experience has been sort of experienced in a somewhat social context, in that it's the sort of thing my friends and I like to talk about and listen to. Not that it's "party music" but that's just the sort of people we are. But I guess some of my most intimate DS listening experiences have been solo.
|
|
|
Post by thekeeper on Jul 24, 2017 10:39:05 GMT -5
In terms of the community aspect, I think you could argue either way that DS is both social and non-social. DS is social in the sense that it was brought into the awareness by the means of blogs, social media, and streaming platforms which are all inherently social mediums intended for public consumption, or at least consumed within an allowed circle if things are kept private. DS is still mainly kept publicly alive by social internet-based means, like this forum and the facebook group in particular. I think at this point, DS would still stick around is these platforms fall out, but these mediums do add fuel to the genre's perpetuation alongside the expressive nature of the genre that people come to it for. On the other hand, DS is non-social in that is a highly personal genre that specific to imagination and oftentimes non-reality. There's aloneness to it that we speak of, that we interpret, but in the music itself it is almost unspoken and practically mystical. So I'd say the popularization (relative, just meaning that is was made more aware of) and canonization of DS is social, but the music itself is certainly not.
In terms of shared listening experience, I have a somewhat of a small friend group, most of whom are into fairly strange music and are very open to bizarre music and art forms, but DS hasn't really caught the attention of anyone. Not that they don't like it, it's just "kind of kool, not bad". It often seems like black metal has to be one of your main interests for you to be into dungeon synth, or whatever. My friends enjoy black metal just fine, but it's not one of the main things they listen to, which may be why they're not all that into DS.
|
|
|
Post by capricornus on Jul 28, 2017 13:10:28 GMT -5
I can only speak for myself. I enjoy DS alone because there is nobody around the share it with. Back in the days, when stuff like Wongraven or later Mortiis came out, i did listen together with close friends as well. I like to relax and dwell into the sound and that is one of the most important parts for me. To go down into the dungeon and embark with the synths on some strange and mysterious journey.
|
|
|
Post by Niair de Nasqda on Jul 29, 2017 12:19:12 GMT -5
I only know a couple of people in person who listen to DS, and that's because I've showed the genre to them. It's not popular at all, not even known, at least where I live, so it's really hard for me to see it as a social thing. 90% or more of the people here listens to "latin" music.
|
|
|
Post by jondexter on Sept 25, 2017 7:59:55 GMT -5
If it was non-social it would have no meaning to 'anyone', which it perhaps does not. Personally for me it is based on one's inner experience of introverted subconsciousness, yet maybe it is the subconscious voice of the collective unconscious. It is the 'gathering' of 'hermits' so to speak, even though this is a contradiction in itself.
|
|
|
Post by morihaus on Nov 24, 2017 10:28:35 GMT -5
When i went to school in the late 90s we where 12 students and we listened to mortiis as background music while in class. It was rather social and me and my friends listened to neptune towers and burzum when talking long evenings while drinking. But there is the special quality listening through headphones when going for long walks alone (or with baby in children wagon). You know how you sometimes asks "have your read this book" and gets the answer "no but i have sern the movie"? I like to imagine friends talking "have you read this book?" "No but I have the Dungeon Synth tape". That what we call Dungeon Synth is, as I see it, like a way of telling stories. Not like music or like audiobooks but an alternative for storytelling. It is not like soundtracks since a soundtrack needs a videotrack. Ds stands by it self. So i would say ds can be social music when played as music but something else when used to tell stories. I really, really like what you are saying here. I have observed this myself, everywhere from mythology to literature, it's pretty obvious. I actually write Morihaus as sequels of sorts to my own writings. In a DS context, the stories become more interpretive, and as I said in another thread, leaves to the imagination. It's why it is so hard to tell people what the genre is when they ask. You almost want to use the word "soundtracks" but it never feels right.
|
|
|
Post by beforedust on Feb 6, 2020 8:10:17 GMT -5
This is because it is not something you listen togather with other people in your room. Yeah, when my friends come over they don't have much choice
|
|