i read this Aphex Twin interview (http://thequietus.com/articles/04483-simon-reynolds-interview-with-aphex-twin-melody-maker-1993-warp) where he mentions that
This happens to me all the time, often to such a degree that it ruins the joy of listening to music. Does it happen to you aswell? or am i alone with James on this one?

it's just the anhedonia setting in from all the drugs you're doing.

I do find i have the problem of deconstructing tracks when i am listening really intently to music i understand the production of, but ai can disassociate with it when the stuff is bangin and the dancefloor is cranking...

This is unpleasant to some people? Personally I think it's just part of the fun of listening to music myself...

the more i learn about music, i cant help but try and over-analyze music. in fact, when im at the club, if i'm REALLLLY feelin the music, im likely breaking it down and trying to figure out something i can do when i get back into the studio... i dont know.. its really frustrating, but fun, at the same time...

in a way it feels lik maybe it takes away the magic of the music, but at the same time, if people keep coming up with new ideas, there's always something new to explore and be floored by...

i remember back in like... the late 90s/very early 2000s, when i first heard alot of Fatboy Slim, and had little to no concept of what he was doing (outside of it being "electronic music") i was so blown away by evrything he did. all the little tricks and sparkles of his mixes, i remember thinking, "how the hell is he doing that effect with that vocal and blurring it into the melody? This sounds like magic to me!" ... nowadays, it wouldnt sound like magic to me, but i still crank Fatboy Slim up occasionally, cuz its fun...

i find that when i listen to jazz music for awhile, when i go back into the studio to make music, my ideas tend to get more complex. a lot of jazz still feels kinda magic to me, cuz i know technically what they're doing, more or less, but im no jazz musician, so there's still an overall wonder to the whole sound of it. i love the experimental stuff though, and the bop stuff like charlie parker and miles davis...

venetian snares>>>now THAT stuff sounds like a mystery to me sometimes. You ever hear him?

This is quickly becoming a rant. sorry / you're welcome. lol.

My thing is, I want to make music thats crazy and vivid and experimental sometimes... but i also want to make music that's still somewhat (theoretically) accessible to a large group of people if they heard it playing in front of them or in the background.. so i kinda try and go the middle route. the sacred middle path, between crazy and lazy. but, i like to make a lot of music, so right now im getting ready to release an album that is accesible, a lot of it danceable, and if you really listen to the whole thing, it gets kinda wild... but for the REAL wild shit, i'm doing a free EP right now called BUTT CITY, its a concept album, really really cutty, like the b-side of abbey road or the b-side of paul's boutique, a concept album loaded with original beats and melodies all flooded together to create an album about the buttiful Butt City, kinda like a P-Funk style jokey funk album. But its fundamentally weird because, for one thing, im 10 minutes into the album, and im already on track #14..

if the album doesnt do very well, i dont care, my main album is the one ive been working on for months, the accessible wonky funk glitch album.. but this Butt City one is just for fun. So that's how i go about the whole "should i make it accessible and popular and all that?" or "should i go all super experimental and figure out my own new style?" ... fuck it, do both. or just experiment. find your own sacred middle path...

if you're making some music and you're over-analyzing it, then you could always go and trip out i guess, or listen to some music you never really listened to much of before. Or fuck around and play a King Krimson album in reverse/slowed way down. FUck with your head a bit, and listen to a bunch of non-music music for awhile. Then go into the studio after that whole process and see what starts to come out into your music. I bet it will be different than if you hadn't slowed and reversed that King Krimson. You know?

Or idk. if that doesn't work, i dunno, try something else. this is my 2 cents. or two dollars. i kinda typed too much..

ok well, that's my long stream of consciousness bullshit rant. there ya go. enjoy.