Too many music exists thesedays..

 There is so much music in the world.

There are too many musicians.


Recently, I felt that while listening to Brian Eno again, is there anyone who makes better music than Brian Eno?That's what I thought.


I think Brian Eno is the only Ambient musician we need. (Rodelius is ambiguous to call him as Ambient Musician..)


Even Brian Eno is not just the founder of the Ambient genre, but he has a strong glamrock style with rock music influences, a new age style with melodic songwriting, and an extremely textured, static Ambient style.


But many Ambient musicians who have appeared since Brian Inno have rehashed his broad spectrum of music with just one "static texture."


Will there be an Ambient musician who has gone beyond Brian Ino's Re-Texture?That's what I think



There is no criticism in the Korean genre music scene. There are many people who create/perform/listen to my music, my mix, but I don't think there's anyone who just listens and writes. (It seems that it is the weak and righteous discourse that fills the absence of internal criticism of music.) It's amazing to see why musicians love and are righteous these days.)



There are many creators, but there are no reviewers. Of course, this phenomenon is not limited to Korea. All over the world, reviewers aren't treated as artists, they're less honorable than artists, and they're less expensive. I think that maybe a much more important person than an overflowing musician is a reviewer who only listens.People don't seem to do it well because it doesn't pay for the time and effort they spend. I think the area where passion pay is more than creation is a reviewer



Anyway, in the Korean scene, it seems that a certain person who can communicate in English smoothly communicates with foreign musicians, makes inroads into foreign countries, and leads the bottom (most people don't even know that scene exists...).


I make tracks, performances, and just mixes.Not writing.


Of course, there is no criticism, and all the Korean artists that exist are talking about "modern Korea" musicians.(Even the critics who write the article, the musicians who are the object of the article are all friends -> non-criticism, praise is possible)


Of course, it's not good to get hit too much by foreign and Western pong, but is gukpong good? Why does the article only deal with "Korean" musicians from "the contemporaries"? Everyone seems to be too patriotic.


Is there a guarantee that contemporary music is better than past music?


Is contemporaneity so important? Is music of this era so good?


Is it so important to have the same "Korean" music?


As a former Hikikomori blogger, this is something that I cannot understand because I am not engaged in offline activities at all.


(If you don't do offline activities, your identity is useless. What's the point of being invisible? Identity overindulgence and identity discourse are also applicable only to offline people.)



But Korea is not the only country that has no criticism on genre music


Foreign countries also don't criticize the label manager (American living in the U.S.) and Internet friend (American living in Berlin) who gave me my album.


I don't write reviews in simple forms, let alone criticism.


Just go around SoundCloud, pick some of your favorite (unreleased) music, collect it, and release other people's albums...That's all about music.

(The only music-related article that Label Jang writes is an introduction to the album of the "Self-released" album.)


Of course, genre music doesn't have to be accompanied by criticism (because music doesn't have language)


For me, a text addict, who likes to read and write, it's a shame. After all, I read reviews of tiny mixtape or pitchfork.


Later, I will use a translator and write a review on overseas Critique.