These days I find myself wanting to lean in past bluesdad cringe to understand the omnipresent rock song structure, at least acknowledge it when it enters my unconscious in order to move beyond.
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the reason why those damn blues riffs still exist is because they are revealing, the amen break reveals nothing
actually someone needs to make an whole album of nothing but blues riffs over amen breaks, 19 tracks minimum
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Youâre just not taking enough drugs mate.
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correctomundoooo 
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Just stick to one chord and youâre good 
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FTFY
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good read. Sort of made me think of that omnipresent vintage synth sound fetish also, but I guess the form those sounds and tools are employed in is not as static as the whole blues thing.
I disagree with the author that most influences in that space were predominately whiteâŚquite the opposite actually. Consider BB King, Robert Johnson, Jimi Hendrix etcâŚ
I do think that blues in essence is a form and world of its own like flamenco or samba are forms & worlds of their own (traditions). If youâre in it, a single riff can take years to master and youâll appreciate one million different interpretations of it for the subtle attempts at innovating / expressing within that set form. In that sense, I think blues is very cool.
But yeah I donât think the version of blues that sells out the Royal Albert Hall is quite as cool. And itâs always refreshing to discover that an instrument is capable of being played and can sound in a way I couldnât have conceived of prior to experiencing it.
I for one find some of the playing of eg Manuel Gardner Fernandes (and Tim Henson) mind bending.
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agreed, suprisingly thoughtful piece for a guitar mag.
I donât doubt that the same nostalgic/fetishistic thing has happened already in dance music. The 303 and 808 are the Fender Stratocaster-through-a-Marshall for a slightly different cohort.
Much as has happened with the classic rockers who endlessly re-work 1971, we have a subset of people perpetually reworking the tropes of 1989 with infinitely tiny variations, while the larger streams of music continue to evolve (at a seemingly slowing pace). Thereâs nothing really wrong with it, I guess, so long as theyâre not obnoxiously insisting theyâre on the only true path.
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Yeah, my takeaway on the criticism was around primarily white âstarsâ of guitar who received their fame mining/miming the past, not on roots (King, Johnson) and pioneers (Hendrix) driving further.
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I may do thisâŚ
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Produced by 
not sure what Timâs talking about . . .
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So jaunty with his backward hat.
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Iâm curious what you mean by ârevealingâ, can you explain?
Bends as I understand them are a nod to microtonality and a shift away from European convention- African Roots - Black Music Scholar
I see those riffs as something akin to the ancestor of the baby scratch, the walking bassline, etc⌠they reveal whether the player can get down or not
Tiger style
What techniques do you not really use that everyone else seems to?
Songmode
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i think, â1 is not a problem â but â2 definitely is.
maybe people donât realize that generated sequences can be edited?
As much as I dislike whatever silly name his music is called, I do hope kids playing guitar music would abandon the past and try to make something new, instead of making boring retro fetishist rock (see: Greta Van Fleet & basically every new rock band).
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Autechre?!
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