Re: (313) mysticism in electronic music (and where has it gone)
Yo - homeboys - do you mind making a new thread called I AM GOING TO RANT ABOUT MP3'z AND NOT TALK ABOUT MYSTICISM IN ELECTRONIC MUSIC BOYEE and stop jacking a well intentioned thread. On Tue, Mar 17, 2009 at 11:30 PM, JT Stewart etmach...@gmail.com wrote: Louis said everything I was going to say (and better) in my response to Tristan. The only thing that I would add is that dealing with selling your stuff digitally is a different process than pressing up vinyl and it's much less personal and fulfilling as a label owner/artist. The collaborative effort is pretty much out the window. Not to say that there aren't some great folks working at digital download sites. It's simply not as much fun. And I'm not sure what you were saying about administrative costs T. Depending on whether you do your own mastering or not, there are none. But managing digital content and dealing with sites takes time. And regarding that, refer back to my last paragraph. I find it quite a pain in the ass. If the money were better I might change my tune. But it's not good enough for me to at this point and considering how entrenched iPods and the digital market is at this point, I wonder how much more things could improve. And a last important point is that digital has the tendency to invalidate the notion of an EP or LP, ie narrative, ie a more complex listening experience. That sucks. It really is not a nice feeling that music consumers can and usually do ignore whatever you (the artist, the label) were trying to communicate. It's great some digital buyers pick up whole releases. And I also understand it's nice to just buy the one or two tracks that you deem worthwhile and skip the ones you think aren't. But almost nothing about digital is actually better for art itself; it's all access, convenience, individual imperative. And in fact it makes the art more homogenized, not in terms of content but just about everything else, and disposable. So yeah. I don't really like it and I can sure understand why guys like KDJ haven't jumped into it yet. I'm actually working on a digital relaunch of the dL catalog like, right now. And I'm working on a few new vinyl releases. Bye. JT On Tue, Mar 17, 2009 at 10:47 PM, louis haiman fwdthou...@hotmail.com wrote: From someone that has no inclination to get into the vinyl game, yet I have TONS of respect for those in their unwavering support of vinyl... Having your work on vinyl is incredibly special. Ask a painter. Ask a stage actor. Ask any craftsperson. You'll find many common sentiments that answer the vinyl question. It's a purely emotional thing. Again, I don't do vinyl, would love to, but... All I can say is, think about how incredibly awesome it is when you stand in front of an original, awesome work of art. A human being labored over that canvas, slab of stone, etc. I think vinyl provides that same kind of connectedness. As for alternative/ dominant formats like MP3s, even CDS, (formats that I deal in)...it can be a little mindless and you need to be careful where your music ends up. It takes NOTHING to post MP3 files to a server, website, social network. Again, it's purely an emotional thing. Music is a craft and vinyl honors it best. Many artists would feel comfortable in saying that their art is not for everyone, not to alienate anyone, but out of self awareness. PEACE. OUT. Louis Date: Tue, 17 Mar 2009 19:34:26 + From: phonop...@googlemail.com To: etmach...@gmail.com CC: ken.odel...@dowjones.com; gwrenc...@sbcglobal.net; 313@hyperreal.org Subject: Re: (313) mysticism in electronic music (and where has it gone) On 17/03/2009 14:08, JT Stewart wrote: If it's recorded then there is a medium, and vinyl is hardly an out-of-reach medium. So there is an available audience. But to humor your question, YES. Artists do not do what they do for the sake of the audience. Most of them anyway. Alienating the audience is not a concern. If the artists stops making their art in a way that is fulfilling for them...what happens? Don't you think that's pretty important? Absolutely it is, but I'm struggling to understand what's unfulfilling about providing music in an additional format - especially if there's less risk than there is through the other mediums already out there. Is it that the package itself is 100% essential? Is it a desire to enforce audiophilia by suppressing compressed formats? Is it that the administrative overhead of distributing mp3s is so high? Re: this last point JT, I'm very surprised by this - can you elaborate at all? Or is it some combination of all of this? I'm not trying to say any of these reasons are invalid I just don't understand why adding a format would somehow ruin the whole endeavour for somone unless the core impulse is to force everyone else to share their values about music formats. And if alienating an audience is not a concern then why mass produce something at all?
RE: (313) mysticism in electronic music (and where has it gone)
Yeah sorry about that. I was following Martin ... Then it all got out of hand ;-) ... -Original Message- From: Michael Kuszynski [mailto:kuszyn...@gmail.com] Sent: Wednesday, March 18, 2009 10:10 AM To: JT Stewart Cc: louis haiman; phonop...@phonopsia.co.uk; Odeluga, Ken; gwrenc...@sbcglobal.net; The List Subject: Re: (313) mysticism in electronic music (and where has it gone) Yo - homeboys - do you mind making a new thread called I AM GOING TO RANT ABOUT MP3'z AND NOT TALK ABOUT MYSTICISM IN ELECTRONIC MUSIC BOYEE and stop jacking a well intentioned thread. On Tue, Mar 17, 2009 at 11:30 PM, JT Stewart etmach...@gmail.com wrote: Louis said everything I was going to say (and better) in my response to Tristan. The only thing that I would add is that dealing with selling your stuff digitally is a different process than pressing up vinyl and it's much less personal and fulfilling as a label owner/artist. The collaborative effort is pretty much out the window. Not to say that there aren't some great folks working at digital download sites. It's simply not as much fun. And I'm not sure what you were saying about administrative costs T. Depending on whether you do your own mastering or not, there are none. But managing digital content and dealing with sites takes time. And regarding that, refer back to my last paragraph. I find it quite a pain in the ass. If the money were better I might change my tune. But it's not good enough for me to at this point and considering how entrenched iPods and the digital market is at this point, I wonder how much more things could improve. And a last important point is that digital has the tendency to invalidate the notion of an EP or LP, ie narrative, ie a more complex listening experience. That sucks. It really is not a nice feeling that music consumers can and usually do ignore whatever you (the artist, the label) were trying to communicate. It's great some digital buyers pick up whole releases. And I also understand it's nice to just buy the one or two tracks that you deem worthwhile and skip the ones you think aren't. But almost nothing about digital is actually better for art itself; it's all access, convenience, individual imperative. And in fact it makes the art more homogenized, not in terms of content but just about everything else, and disposable. So yeah. I don't really like it and I can sure understand why guys like KDJ haven't jumped into it yet. I'm actually working on a digital relaunch of the dL catalog like, right now. And I'm working on a few new vinyl releases. Bye. JT On Tue, Mar 17, 2009 at 10:47 PM, louis haiman fwdthou...@hotmail.com wrote: From someone that has no inclination to get into the vinyl game, yet I have TONS of respect for those in their unwavering support of vinyl... Having your work on vinyl is incredibly special. Ask a painter. Ask a stage actor. Ask any craftsperson. You'll find many common sentiments that answer the vinyl question. It's a purely emotional thing. Again, I don't do vinyl, would love to, but... All I can say is, think about how incredibly awesome it is when you stand in front of an original, awesome work of art. A human being labored over that canvas, slab of stone, etc. I think vinyl provides that same kind of connectedness. As for alternative/ dominant formats like MP3s, even CDS, (formats that I deal in)...it can be a little mindless and you need to be careful where your music ends up. It takes NOTHING to post MP3 files to a server, website, social network. Again, it's purely an emotional thing. Music is a craft and vinyl honors it best. Many artists would feel comfortable in saying that their art is not for everyone, not to alienate anyone, but out of self awareness. PEACE. OUT. Louis Date: Tue, 17 Mar 2009 19:34:26 + From: phonop...@googlemail.com To: etmach...@gmail.com CC: ken.odel...@dowjones.com; gwrenc...@sbcglobal.net; 313@hyperreal.org Subject: Re: (313) mysticism in electronic music (and where has it gone) On 17/03/2009 14:08, JT Stewart wrote: If it's recorded then there is a medium, and vinyl is hardly an out-of-reach medium. So there is an available audience. But to humor your question, YES. Artists do not do what they do for the sake of the audience. Most of them anyway. Alienating the audience is not a concern. If the artists stops making their art in a way that is fulfilling for them...what happens? Don't you think that's pretty important? Absolutely it is, but I'm struggling to understand what's unfulfilling about providing music in an additional format - especially if there's less risk than there is through the other mediums already out there. Is it that the package itself is 100% essential? Is it a desire to enforce audiophilia by suppressing compressed formats? Is it that the administrative overhead of distributing mp3s is so high? Re: this last
Re: (313) mysticism in electronic music (and where has it gone)
About the only thing that gets a discussion going around here is a format argument. No-one wants to talk music anymore. Back to your original topic Michael. I've noticed a few things popping up recently with a hint at mysticism. Notably Kyle Hall's output. I always like to hear something deeper lyric wise in a track. There's another angle too when considering Terrence Parker's approach (less mystic, more religious). Sometimes he's subtle and others he'll scratch read your bible over his mix. Always in the most entertaining way possible though so he gets away with it, and even makes his point well. robin... On 18 Mar 2009, at 10:09, Michael Kuszynski wrote: Yo - homeboys - do you mind making a new thread called I AM GOING TO RANT ABOUT MP3'z AND NOT TALK ABOUT MYSTICISM IN ELECTRONIC MUSIC BOYEE and stop jacking a well intentioned thread.
Re: (313) DEMF Pre-Lineup
On Wed, Mar 18, 2009 at 09:41, John Sokolowski jrsokolow...@hotmail.com wrote: • Benny Benassi What?! -- matt kane's brain techno radio at: http://hydrogenproject.com http://wzbc.org capoeira in boston http://capoeirageraisboston.com aim - mkbatwerk ; y! - mkb218 ; gtalk - mkb.dirtyorg
(313) DEMF Pre-Lineup
http://www.detroitnews.com/apps/pbcs.dll/article?AID=/20090318/ENT04/903180308 Acts announced for the fest so far: • Adultnapper • Ellen Allien • Afrika Bambaataa • Bad Boy Bill • Bassnectar • Benny Benassi • Adam Beyer • Steve Bug • Marco Carola • Carl Cox • Carl Craig • Dennis Ferrer • Flying Lotus • Buzz Goree • Chloe Harris • Damian Lazarus • Derrick May • Francois K • Guy Gerber • Heidi • Kero • Kevin Saunderson • Loco Dice vs. Luciano • Los Hermanos • Luke Hess • Mike Huckaby • Onur Ozer • Osunlade • RJD2 • Seoul vs. Linder 2X4 • Tiefschwarz • Tiga • Rick Wade • Wighnomy Bros. • Z-Trip _ Windows Live™: Life without walls. http://windowslive.com/explore?ocid=TXT_TAGLM_WL_allup_1a_explore_032009
Re: (313) DEMF Pre-Lineup
Let the hating begin? There are some Detroit names I'm glad to see but it seems pretty front-loaded with Europeans. Not necesarily a bad thing -- witness the year the Dutchies all came. But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. In a perfect world, Francois Kevorkian would play next to the river first thing Sunday and make it the ghost of Body and Soul.
Re: (313) DEMF Pre-Lineup
I actually don't mind this line up. It's got the usual Detroit suspects I enjoy plus peeps like Flying Lotus and Osulande. MEK - Original Message - From: kent williams [chaircrus...@gmail.com] Sent: 03/18/2009 09:03 AM EST To: John Sokolowski jrsokolow...@hotmail.com Cc: 313@hyperreal.org Subject: Re: (313) DEMF Pre-Lineup Let the hating begin? There are some Detroit names I'm glad to see but it seems pretty front-loaded with Europeans. Not necesarily a bad thing -- witness the year the Dutchies all came. But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. In a perfect world, Francois Kevorkian would play next to the river first thing Sunday and make it the ghost of Body and Soul. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail.
Re: (313) DEMF Pre-Lineup
But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc). At least there are some Detroit people on there. I was prepared for less than that. Surprised to not see the likes of Theo, Omar S, Patrice Scott, Keith Worthy, Sascha Dive, Seth Troxler... Early days yet, I'm guessing more will be added. robin...
Re: (313) DEMF Pre-Lineup
I thought Scuba was an alias for King Britt? On Wed, Mar 18, 2009 at 7:19 AM, robin ro...@fivetones.org wrote: But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc).
Re: (313) DEMF Pre-Lineup
The Berlin Scuba: http://www.residentadvisor.net/forum-read.aspx?id=59922 robin... On 18 Mar 2009, at 16:19, PB wrote: I thought Scuba was an alias for King Britt? On Wed, Mar 18, 2009 at 7:19 AM, robin ro...@fivetones.org wrote: But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc).
RE: (313) DEMF Pre-Lineup
It's a different Scuba. Im assuming this is the dubstep Scuba outa Berlin, but there's no reason why it shouldn't be King Britt. Rav. -Original Message- From: PB [mailto:textur...@gmail.com] Sent: 18 March 2009 16:20 To: robin Cc: 313 313 Subject: Re: (313) DEMF Pre-Lineup I thought Scuba was an alias for King Britt? On Wed, Mar 18, 2009 at 7:19 AM, robin ro...@fivetones.org wrote: But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc). To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm
Re: (313) DEMF Pre-Lineup
except that neither are from detroit. ;) On Wed, Mar 18, 2009 at 12:24 PM, Mann, Ravinder r.m...@leedsmet.ac.uk wrote: It's a different Scuba. Im assuming this is the dubstep Scuba outa Berlin, but there's no reason why it shouldn't be King Britt. Rav. -Original Message- From: PB [mailto:textur...@gmail.com] Sent: 18 March 2009 16:20 To: robin Cc: 313 313 Subject: Re: (313) DEMF Pre-Lineup I thought Scuba was an alias for King Britt? On Wed, Mar 18, 2009 at 7:19 AM, robin ro...@fivetones.org wrote: But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc). To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm -- peace, frank dj mix archive: http://www.deejaycountzero.com
RE: (313) DEMF Pre-Lineup
True, he does cite Detroit as an influence in a couple of interviews Ive seen, does that count : ) -Original Message- From: Frank Glazer [mailto:cpe1704...@gmail.com] Sent: 18 March 2009 16:30 To: Mann, Ravinder Cc: PB; robin; 313 313 Subject: Re: (313) DEMF Pre-Lineup except that neither are from detroit. ;) On Wed, Mar 18, 2009 at 12:24 PM, Mann, Ravinder r.m...@leedsmet.ac.uk wrote: It's a different Scuba. Im assuming this is the dubstep Scuba outa Berlin, but there's no reason why it shouldn't be King Britt. Rav. -Original Message- From: PB [mailto:textur...@gmail.com] Sent: 18 March 2009 16:20 To: robin Cc: 313 313 Subject: Re: (313) DEMF Pre-Lineup I thought Scuba was an alias for King Britt? On Wed, Mar 18, 2009 at 7:19 AM, robin ro...@fivetones.org wrote: But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc). To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm -- peace, frank dj mix archive: http://www.deejaycountzero.com To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm
(313) official 313 list do's and don'ts of DEMF line-ups
DO: Include Detroit DJs and Artists. Genre not important as long as contemporary with some electronic elements. e.g. Slum Village, but not a Detroit Polka band. Include International artists and DJs whose music is either Detroit influenced, or is interesting and enjoyable in it's own right and not too far from the core focus on electronic music. E.g. Tortoise and Autechre were good DEMF bookings. Include the best proponents of new dance music genres. E.g. Burial would be a good booking. Give him a Luchador mask to wear if he's still feeling bashful. DON'T: Book Trance DJs. Trance music -- regardless of nation or city of origin -- is the opposite of Techno, and the opposite of good music, for that matter. Book a DJ/Producer who don't actually make the music they release under their names. Book any Big-room, Ibiza-DJing, Coked-out, Primadonna Bullsh1t DJs. Now it's tough to balance financial prudence with artistic integrity, and arguably Paxahau has mostly done OK. But the only rightful place for Benny Benassi at DEMF would be in a dunk tank.
Re: (313) DEMF Pre-Lineup
ist dis what zey kal playahatin´ ja? *** email: erasemu...@mac.com .mac: erasemusic msn: erasemu...@msn.com aim: erasemusic yahoo: erasemu...@yahoo.com googletalk: erasemusic icq: 344917989 www.myspace.com/djerase *** On 18 mar 2009, at 14.43, Matt Kane's Brain wrote: On Wed, Mar 18, 2009 at 09:41, John Sokolowski jrsokolow...@hotmail.com wrote: • Benny Benassi What?! -- matt kane's brain techno radio at: http://hydrogenproject.com http://wzbc.org capoeira in boston http://capoeirageraisboston.com aim - mkbatwerk ; y! - mkb218 ; gtalk - mkb.dirtyorg
Re: (313) official 313 list do's and don'ts of DEMF line-ups
Benny should be parking cars and working the coat check. Mek - Original Message - From: kent williams [chaircrus...@gmail.com] Sent: 03/18/2009 12:26 PM EST To: list 313 313@hyperreal.org Subject: (313) official 313 list do's and don'ts of DEMF line-ups DO: Include Detroit DJs and Artists. Genre not important as long as contemporary with some electronic elements. e.g. Slum Village, but not a Detroit Polka band. Include International artists and DJs whose music is either Detroit influenced, or is interesting and enjoyable in it's own right and not too far from the core focus on electronic music. E.g. Tortoise and Autechre were good DEMF bookings. Include the best proponents of new dance music genres. E.g. Burial would be a good booking. Give him a Luchador mask to wear if he's still feeling bashful. DON'T: Book Trance DJs. Trance music -- regardless of nation or city of origin -- is the opposite of Techno, and the opposite of good music, for that matter. Book a DJ/Producer who don't actually make the music they release under their names. Book any Big-room, Ibiza-DJing, Coked-out, Primadonna Bullsh1t DJs. Now it's tough to balance financial prudence with artistic integrity, and arguably Paxahau has mostly done OK. But the only rightful place for Benny Benassi at DEMF would be in a dunk tank. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail.
Re: (313) official 313 list do's and don'ts of DEMF line-ups
You know, make himself useful. - Original Message - From: Michael.Elliot-Knight Sent: 03/18/2009 12:41 PM EST To: kent williams chaircrus...@gmail.com; list 313 313@hyperreal.org Subject: Re: (313) official 313 list do's and don'ts of DEMF line-ups Benny should be parking cars and working the coat check. Mek - Original Message - From: kent williams [chaircrus...@gmail.com] Sent: 03/18/2009 12:26 PM EST To: list 313 313@hyperreal.org Subject: (313) official 313 list do's and don'ts of DEMF line-ups DO: Include Detroit DJs and Artists. Genre not important as long as contemporary with some electronic elements. e.g. Slum Village, but not a Detroit Polka band. Include International artists and DJs whose music is either Detroit influenced, or is interesting and enjoyable in it's own right and not too far from the core focus on electronic music. E.g. Tortoise and Autechre were good DEMF bookings. Include the best proponents of new dance music genres. E.g. Burial would be a good booking. Give him a Luchador mask to wear if he's still feeling bashful. DON'T: Book Trance DJs. Trance music -- regardless of nation or city of origin -- is the opposite of Techno, and the opposite of good music, for that matter. Book a DJ/Producer who don't actually make the music they release under their names. Book any Big-room, Ibiza-DJing, Coked-out, Primadonna Bullsh1t DJs. Now it's tough to balance financial prudence with artistic integrity, and arguably Paxahau has mostly done OK. But the only rightful place for Benny Benassi at DEMF would be in a dunk tank. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail.
Re: (313) official 313 list do's and don'ts of DEMF line-ups
maybe they booked him expecting him to bring the cast from his 'satisfaction' video michael.elliot-kni...@fallon.com wrote: You know, make himself useful. - Original Message - From: Michael.Elliot-Knight Sent: 03/18/2009 12:41 PM EST To: kent williams chaircrus...@gmail.com; list 313 313@hyperreal.org Subject: Re: (313) official 313 list do's and don'ts of DEMF line-ups Benny should be parking cars and working the coat check. Mek - Original Message - From: kent williams [chaircrus...@gmail.com] Sent: 03/18/2009 12:26 PM EST To: list 313 313@hyperreal.org Subject: (313) official 313 list do's and don'ts of DEMF line-ups DO: Include Detroit DJs and Artists. Genre not important as long as contemporary with some electronic elements. e.g. Slum Village, but not a Detroit Polka band. Include International artists and DJs whose music is either Detroit influenced, or is interesting and enjoyable in it's own right and not too far from the core focus on electronic music. E.g. Tortoise and Autechre were good DEMF bookings. Include the best proponents of new dance music genres. E.g. Burial would be a good booking. Give him a Luchador mask to wear if he's still feeling bashful. DON'T: Book Trance DJs. Trance music -- regardless of nation or city of origin -- is the opposite of Techno, and the opposite of good music, for that matter. Book a DJ/Producer who don't actually make the music they release under their names. Book any Big-room, Ibiza-DJing, Coked-out, Primadonna Bullsh1t DJs. Now it's tough to balance financial prudence with artistic integrity, and arguably Paxahau has mostly done OK. But the only rightful place for Benny Benassi at DEMF would be in a dunk tank. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail. -- Playing - 21st March - Disco Nectar - Cardiff - 27th March - UFO w/ The Unabombers - 28th March - Bristol Fundraiser - 4th April - Under_Score w/ Murmur / Bovill - 22nd May - Meadowlands Festival Placid on the t'interweb - http://www.acid-house.net Vinyl for Sale - http://www.discogs.com/sell/list?seller=placid Placid's Gigs and Gigography - http://www.new.facebook.com/group.php?gid=41658902688 Live on Future-music.co.uk every other Thursday - 8pm - 10pm
Re: (313) official 313 list do's and don'ts of DEMF line-ups
from the videoclip that was on European MTV (i am sorry, i was held hostage and they made me watch) i know that he is especially good in handling a broom. make cleaning up after the festival? 2009/3/18 Placid pla...@acid-house.net: maybe they booked him expecting him to bring the cast from his 'satisfaction' video michael.elliot-kni...@fallon.com wrote: You know, make himself useful. - Original Message - From: Michael.Elliot-Knight Sent: 03/18/2009 12:41 PM EST To: kent williams chaircrus...@gmail.com; list 313 313@hyperreal.org Subject: Re: (313) official 313 list do's and don'ts of DEMF line-ups Benny should be parking cars and working the coat check. Mek - Original Message - From: kent williams [chaircrus...@gmail.com] Sent: 03/18/2009 12:26 PM EST To: list 313 313@hyperreal.org Subject: (313) official 313 list do's and don'ts of DEMF line-ups DO: Include Detroit DJs and Artists. Genre not important as long as contemporary with some electronic elements. e.g. Slum Village, but not a Detroit Polka band. Include International artists and DJs whose music is either Detroit influenced, or is interesting and enjoyable in it's own right and not too far from the core focus on electronic music. E.g. Tortoise and Autechre were good DEMF bookings. Include the best proponents of new dance music genres. E.g. Burial would be a good booking. Give him a Luchador mask to wear if he's still feeling bashful. DON'T: Book Trance DJs. Trance music -- regardless of nation or city of origin -- is the opposite of Techno, and the opposite of good music, for that matter. Book a DJ/Producer who don't actually make the music they release under their names. Book any Big-room, Ibiza-DJing, Coked-out, Primadonna Bullsh1t DJs. Now it's tough to balance financial prudence with artistic integrity, and arguably Paxahau has mostly done OK. But the only rightful place for Benny Benassi at DEMF would be in a dunk tank. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail. Disclaimer The information in this email and any attachments may contain proprietary and confidential information that is intended for the addressee(s) only. If you are not the intended recipient, you are hereby notified that any disclosure, copying, distribution, retention or use of the contents of this information is prohibited. When addressed to our clients or vendors, any information contained in this e-mail or any attachments is subject to the terms and conditions in any governing contract. If you have received this e-mail in error, please immediately contact the sender and delete the e-mail. -- Playing - 21st March - Disco Nectar - Cardiff - 27th March - UFO w/ The Unabombers - 28th March - Bristol Fundraiser - 4th April - Under_Score w/ Murmur / Bovill - 22nd May - Meadowlands Festival Placid on the t'interweb - http://www.acid-house.net Vinyl for Sale - http://www.discogs.com/sell/list?seller=placid Placid's Gigs and Gigography - http://www.new.facebook.com/group.php?gid=41658902688 Live on Future-music.co.uk every other Thursday - 8pm - 10pm
Re: (313) mysticism in electronic music (and where has it gone)
On Mon, 16 Mar 2009, Martin Dust wrote: The days of digging crates for vinyl with nsc etchings are passed. I wouldn't be so sure about that, I can see labels/distributors doing small runs and still keeping the quality release up. I know a lot of people think vinyl is a pain in the jack adams but I still love the process dearly. There was this one guy keeping a record shop in Oulu a few years back. We called him Diskerin Veikko (Diskeri being the store name and the latter his firstname). Quite eccentric fellow in more ways than one. Once he opened up and told me that the thing he liked about vinyls was: ... after work I'd spread some nice vinyl covers all over my living room, put a good record on the turntable, and just listen and enjoy the artwork. That's one of the things I like about vinyl packaging, good artwork. Better yet if it tells a story related to the music stored within as well. Jussi Lehtonen Metaprogram yourself.
Re: (313) official 313 list do's and don'ts of DEMF line-ups
DO: give the WB's a 5-hour closing slot on the hart plaza stage ;)
(313) Record packaging [was: Re: (313) mysticism in electronic music (and where has it gone)]
On Tue, 17 Mar 2009, Tristan Watkins wrote: Is it that the package itself is 100% essential? In my opinion the physical package sometimes delivers additional value. But similar kind of thing can be accomplished with the digital releases as well. One option is to create easter eggs in the files - or to the web page distributing them (some people might mistake them as viruses, but I think it's nowadays called viral marketing... :) UR's Codebreaker contained a kind of easter egg, but I haven't heard or seen anything of the kind since. Any thoughts? Jussi Lehtonen Metaprogram yourself.
Re: (313) Record packaging [was: Re: (313) mysticism in electronic music (and where has it gone)]
A physical thing I think you are forced to have a relationship with. When I owned one, I found myself browsing my collection on my iPod almost more than doing actual listening. I don't do that with my vinyl records because they present physical limitations that 1's and 0's do not. I usually listen more than browsing. Others like the art and just physical ownership too and I don't disagree with that either. On top of all that, 1's and 0's are fundamentally different than a record groove, and digital sounds different. MHO... On Wed, Mar 18, 2009 at 1:46 PM, Jussi Lehtonen jleht...@mail.student.oulu.fi wrote: On Tue, 17 Mar 2009, Tristan Watkins wrote: Is it that the package itself is 100% essential? In my opinion the physical package sometimes delivers additional value. But similar kind of thing can be accomplished with the digital releases as well. One option is to create easter eggs in the files - or to the web page distributing them (some people might mistake them as viruses, but I think it's nowadays called viral marketing... :) UR's Codebreaker contained a kind of easter egg, but I haven't heard or seen anything of the kind since. Any thoughts? Jussi Lehtonen Metaprogram yourself.
Re: (313) Record packaging [was: (313) mysticism in electronic music (and where has it gone)]
On 18/03/2009 03:30, JT Stewart wrote: Louis said everything I was going to say (and better) in my response to Tristan. Yeah, I do understand those reasons as an artist, but the more we're talking about this the more I'm wondering if these aren't purely the concerns of the artist rather than the label - meaning: artist-run labels are the ones that would be less likely to distribute digitally. Put another way, I reckon this discussion is really about the relationship between the label and the consumer rather than the artist and the listener, if you see what I mean? In cases where the artist is the label, this gets much murkier. Perhaps a bit simplistically, or maybe just wrongly, I've always thought that it was the label's job to provide me with the output of the artists that they represent - thus my confusion about some of them not wanting to sell stuff to me. The only thing that I would add is that dealing with selling your stuff digitally is a different process than pressing up vinyl and it's much less personal and fulfilling as a label owner/artist. The collaborative effort is pretty much out the window. Not to say that there aren't some great folks working at digital download sites. It's simply not as much fun. Right. Well there's one confusion resolved, as I had assumed none of this label stuff was particularly fun! ;) And I'm not sure what you were saying about administrative costs T. Depending on whether you do your own mastering or not, there are none. But managing digital content and dealing with sites takes time. And regarding that, refer back to my last paragraph. I find it quite a pain in the ass. If the money were better I might change my tune. But it's not good enough for me to at this point and considering how entrenched iPods and the digital market is at this point, I wonder how much more things could improve. I think this bit may have been a miscommunication. I thought you said something about digital distribution being expensive towards the beginning of this discussion - I must have misunderstood that. Nothing to see here. Tumbleweed, etc. And a last important point is that digital has the tendency to invalidate the notion of an EP or LP, ie narrative, ie a more complex listening experience. That sucks. It really is not a nice feeling that music consumers can and usually do ignore whatever you (the artist, the label) were trying to communicate. It's great some digital buyers pick up whole releases. And I also understand it's nice to just buy the one or two tracks that you deem worthwhile and skip the ones you think aren't. I hear you. I remember reading similar in an interview with one of the guys from Autechre a while back as well. Personally, I feel like I've heard lots of narratives that really disappoint though, and cost an awful lot more due to accommodating more tracks. As a listener these days, I'm more interested in a couple of tracks that stand out, because more often than not, the tracks that complete the narrative don't stand up. I'm not sure this is really about convenience either. It's about enjoying as much good music as my budget will allow, and I definitely feel like I'm getting more of what I want for less this way. That said, I love it when an album or an EP creates that narrative and I always buy it all if I feel like that's something that I'll get out of it. I guess the key thing is that ultimately I don't care about whether or not the artist has a nice feeling about my purchasing or listening experience. That's a bit ruthless perhaps, but you could also argue that holding someone ransom to purchasing an entire release for one or two quality tracks is ruthless as well. Commerce is ruthless I suppose. But almost nothing about digital is actually better for art itself; it's all access, convenience, individual imperative. And in fact it makes the art more homogenized, not in terms of content but just about everything else, and disposable. So yeah. I don't really like it and I can sure understand why guys like KDJ haven't jumped into it yet. Hmm... I can't say that I agree about this. If the pleasure of listening is obscured by the burden of encoding vinyl to a digital format that is more suitable to a lifetime spent commuting, then digital can be better for art. It means that more of the listener's time is spent actually listening. I know Thor has just said he spends more time browsing, but this isn't my experience of it at all. If I only listened to vinyl on turntables I wouldn't listen to much music at all. In fact, I probably see more of the cover art while listening digitally than I would with wax. I'm actually working on a digital relaunch of the dL catalog like, right now. And I'm working on a few new vinyl releases. Well that's good news! T
Re: (313) mysticism in electronic music (and where has it gone)
On 18/03/2009 03:30, JT Stewart wrote: Louis said everything I was going to say (and better) in my response to Tristan. Yeah, I do understand those reasons as an artist, but the more we're talking about this the more I'm wondering if these aren't purely the concerns of the artist rather than the label - meaning: artist-run labels are the ones that would be less likely to distribute digitally. Put another way, I reckon this discussion is really about the relationship between the label and the consumer rather than the artist and the listener, if you see what I mean? In cases where the artist is the label, this gets much murkier. Perhaps a bit simplistically, or maybe just wrongly, I've always thought that it was the label's job to provide me with the output of the artists that they represent - thus my confusion about some of them not wanting to sell stuff to me. The only thing that I would add is that dealing with selling your stuff digitally is a different process than pressing up vinyl and it's much less personal and fulfilling as a label owner/artist. The collaborative effort is pretty much out the window. Not to say that there aren't some great folks working at digital download sites. It's simply not as much fun. Right. Well there's one confusion resolved, as I had assumed none of this label stuff was particularly fun! ;) And I'm not sure what you were saying about administrative costs T. Depending on whether you do your own mastering or not, there are none. But managing digital content and dealing with sites takes time. And regarding that, refer back to my last paragraph. I find it quite a pain in the ass. If the money were better I might change my tune. But it's not good enough for me to at this point and considering how entrenched iPods and the digital market is at this point, I wonder how much more things could improve. I think this bit may have been a miscommunication. I thought you said something about digital distribution being expensive towards the beginning of this discussion - I must have misunderstood that. Nothing to see here. Tumbleweed, etc. And a last important point is that digital has the tendency to invalidate the notion of an EP or LP, ie narrative, ie a more complex listening experience. That sucks. It really is not a nice feeling that music consumers can and usually do ignore whatever you (the artist, the label) were trying to communicate. It's great some digital buyers pick up whole releases. And I also understand it's nice to just buy the one or two tracks that you deem worthwhile and skip the ones you think aren't. I hear you. I remember reading similar in an interview with one of the guys from Autechre a while back as well. Personally, I feel like I've heard lots of narratives that really disappoint though, and cost an awful lot more due to accommodating more tracks. As a listener these days, I'm more interested in a couple of tracks that stand out, because more often than not, the tracks that complete the narrative don't stand up. I'm not sure this is really about convenience either. It's about enjoying as much good music as my budget will allow, and I definitely feel like I'm getting more of what I want for less this way. That said, I love it when an album or an EP creates that narrative and I always buy it all if I feel like that's something that I'll get out of it. I guess the key thing is that ultimately I don't care about whether or not the artist has a nice feeling about my purchasing or listening experience. That's a bit ruthless perhaps, but you could also argue that holding someone ransom to purchasing an entire release for one or two quality tracks is ruthless as well. Commerce is ruthless I suppose. But almost nothing about digital is actually better for art itself; it's all access, convenience, individual imperative. And in fact it makes the art more homogenized, not in terms of content but just about everything else, and disposable. So yeah. I don't really like it and I can sure understand why guys like KDJ haven't jumped into it yet. Hmm... I can't say that I agree about this. If the pleasure of listening is obscured by the burden of encoding vinyl to a digital format that is more suitable to a lifetime spent commuting, then digital can be better for art. It means that more of the listener's time is spent actually listening. I know Thor has just said he spends more time browsing, but this isn't my experience of it at all. If I only listened to vinyl on turntables I wouldn't listen to much music at all. In fact, I probably see more of the cover art while listening digitally than I would with wax. I'm actually working on a digital relaunch of the dL catalog like, right now. And I'm working on a few new vinyl releases. Well that's good news! T
(313) Format, Mystics, Artists, Business, Ron Murphy
Reminds me of something Ron Murphy told me -- like a lot of things, something he probably said to a lot of other people as well. You have to decide whether you're going to be an artist or a businessman. You have to be a businessman to make any money at music. It's fallacious to assume that if you lose money you're an artist, but I can dream, can't I? On Wed, Mar 18, 2009 at 3:20 PM, Tristan Watkins phonop...@googlemail.com wrote: Yeah, I do understand those reasons as an artist, but the more we're talking about this the more I'm wondering if these aren't purely the concerns of the artist rather than the label - meaning: artist-run labels are the ones that would be less likely to distribute digitally.
(313) UR doco on Current TV.
Not sure if this has been posted previously, but just came across a recent doco aired on Current TV about UR, some great quotes in there from Mike. http://www.undergroundresistance.com/main/content/view/72/1 Peace, Patrick.
Re: (313) Format, Mystics, Artists, Business, Ron Murphy
kent williams wrote: Reminds me of something Ron Murphy told me -- like a lot of things, something he probably said to a lot of other people as well. You have to decide whether you're going to be an artist or a businessman. You have to be a businessman to make any money at music. It's fallacious to assume that if you lose money you're an artist, but I can dream, can't I? Alan Moore Said: To me, all creativity is magic, he says. Ideas start out in the empty void of your head – and they end up as a material thing, like a book you can hold in your hand. That is the magical process. It's an alchemical thing. Yes, we do get the gold out of it but that's not the most important thing. It's the work itself. That's the reward. That's better than money. M
Re: (313) mysticism, artists DEMF pre-lineup
DO: convince psychic warriors ov gaia to get back together and book for a live PA
Re: (313) Format, Mystics, Artists, Business, Ron Murphy
On Wed, 18 Mar 2009, Martin Dust wrote: kent williams wrote: Reminds me of something Ron Murphy told me -- like a lot of things, something he probably said to a lot of other people as well. You have to decide whether you're going to be an artist or a businessman. You have to be a businessman to make any money at music. It's fallacious to assume that if you lose money you're an artist, but I can dream, can't I? Alan Moore Said: To me, all creativity is magic, he says. Ideas start out in the empty void of your head , and they end up as a material thing, like a book you can hold in your hand. That is the magical process. It's an alchemical thing. Yes, we do get the gold out of it but that's not the most important thing. It's the work itself. That's the reward. That's better than money. Indeed. :) - J
Re: (313) DEMF Pre-Lineup
www.movement.it -- From: John Sokolowski jrsokolow...@hotmail.com Sent: Wednesday, March 18, 2009 9:41 AM To: 313@hyperreal.org Subject: (313) DEMF Pre-Lineup http://www.detroitnews.com/apps/pbcs.dll/article?AID=/20090318/ENT04/903180308 Acts announced for the fest so far: • Adultnapper • Ellen Allien • Afrika Bambaataa • Bad Boy Bill • Bassnectar • Benny Benassi • Adam Beyer • Steve Bug • Marco Carola • Carl Cox • Carl Craig • Dennis Ferrer • Flying Lotus • Buzz Goree • Chloe Harris • Damian Lazarus • Derrick May • Francois K • Guy Gerber • Heidi • Kero • Kevin Saunderson • Loco Dice vs. Luciano • Los Hermanos • Luke Hess • Mike Huckaby • Onur Ozer • Osunlade • RJD2 • Seoul vs. Linder 2X4 • Tiefschwarz • Tiga • Rick Wade • Wighnomy Bros. • Z-Trip _ Windows Live™: Life without walls. http://windowslive.com/explore?ocid=TXT_TAGLM_WL_allup_1a_explore_032009=
Re: (313) DEMF Pre-Lineup
except that this festival isn't about detroit artists, and 10 years in, if you don't get that by now, you're in denial -- From: Frank Glazer cpe1704...@gmail.com Sent: Wednesday, March 18, 2009 12:29 PM To: Mann, Ravinder r.m...@leedsmet.ac.uk Cc: PB textur...@gmail.com; robin ro...@fivetones.org; 313 313 313@hyperreal.org Subject: Re: (313) DEMF Pre-Lineup except that neither are from detroit. ;) On Wed, Mar 18, 2009 at 12:24 PM, Mann, Ravinder r.m...@leedsmet.ac.uk wrote: It's a different Scuba. Im assuming this is the dubstep Scuba outa Berlin, but there's no reason why it shouldn't be King Britt. Rav. -Original Message- From: PB [mailto:textur...@gmail.com] Sent: 18 March 2009 16:20 To: robin Cc: 313 313 Subject: Re: (313) DEMF Pre-Lineup I thought Scuba was an alias for King Britt? On Wed, Mar 18, 2009 at 7:19 AM, robin ro...@fivetones.org wrote: But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. There's a bunch of Berlin DJs/acts they could have got too (Dettman, Shed, Scuba etc etc). To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) DEMF Pre-Lineup
Still early days, as some have said, so presumably more to be added from the 313.DO list. Good to see Osunlade back on there. And CC, and Buzz, Rick Wade, Huck, Seoul Linder. Still would like to see Weatherall, the only 'name' DJ I haven't seen who is of interest. fh
(313) UR video
http://nutriot.com/videos/underground-resistance/
Re: (313) UR video
oops posted already On Wed, Mar 18, 2009 at 10:56 PM, jss jims...@gmail.com wrote: http://nutriot.com/videos/underground-resistance/
Re: (313) mysticism, artists DEMF pre-lineup
and drum club while you're at it. speaking of which, why hasn't andy weatherall played the d yet??? On Wed, Mar 18, 2009 at 5:21 PM, jdmo...@frontiernet.net wrote: DO: convince psychic warriors ov gaia to get back together and book for a live PA -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) DEMF Pre-Lineup
Even for big commercial promoters Benny is hardly a big draw now. He had one hit with Satisfaction, won a Grammy for a lame PE remix... IF you wanted to go commercial now some of the fidget housers are a bigger draw... That's what commercial types book here now. Promoters here in Oz are also starting to book acts for an older crowd, like The Human League who perform the whole of Dare. THAT is cool as they do have young fans. That would fit in better than BB. It baffles me why the people behind the Detroit festival are so determined to turn it into a generic festival like it could be anywhere in the world. That's not hating, as I do go to generic festivals and enjoy bits of them, but would international travellers go all that way to visit a festival like they get here, complete with full interrogation by foreign hating customs? Nope. Cyclone Wehner Urban/Dance Music Journalist cyclonelou...@optusnet.com.au Help our little friends in the bush at http://www.rspcavic.org/ campaigns_news/news_bushfires.htm and www.wildlifevictoria.org.au On 19/03/2009, at 1:03 AM, kent williams wrote: Let the hating begin? There are some Detroit names I'm glad to see but it seems pretty front-loaded with Europeans. Not necesarily a bad thing -- witness the year the Dutchies all came. But considering they're probably going to be paying bushel baskets of hundred dollar bills to Benny Benassi and Carl Cox, they could have booked some Detroit guys who would be big draws, and don't play in Detroit much. In a perfect world, Francois Kevorkian would play next to the river first thing Sunday and make it the ghost of Body and Soul.
Re: (313) official 313 list do's and don'ts of DEMF line-ups
This is good, heh. But to be fair to Benny, he's not trance, he's definitely part of the early 2000s' electro-house brigade, but was superseded by Sinden/Switch and co. For someone interesting, and crossover, Santo(i)gold would be as good as any. At least she is coming from an interesting position as a Black artist who refuses to be marketed as 'urban' and is breaking down some boundaries. Cyclone Wehner Urban/Dance Music Journalist cyclonelou...@optusnet.com.au Help our little friends in the bush at http://www.rspcavic.org/ campaigns_news/news_bushfires.htm and www.wildlifevictoria.org.au On 19/03/2009, at 4:26 AM, kent williams wrote: DO: Include Detroit DJs and Artists. Genre not important as long as contemporary with some electronic elements. e.g. Slum Village, but not a Detroit Polka band. Include International artists and DJs whose music is either Detroit influenced, or is interesting and enjoyable in it's own right and not too far from the core focus on electronic music. E.g. Tortoise and Autechre were good DEMF bookings. Include the best proponents of new dance music genres. E.g. Burial would be a good booking. Give him a Luchador mask to wear if he's still feeling bashful. DON'T: Book Trance DJs. Trance music -- regardless of nation or city of origin -- is the opposite of Techno, and the opposite of good music, for that matter. Book a DJ/Producer who don't actually make the music they release under their names. Book any Big-room, Ibiza-DJing, Coked-out, Primadonna Bullsh1t DJs. Now it's tough to balance financial prudence with artistic integrity, and arguably Paxahau has mostly done OK. But the only rightful place for Benny Benassi at DEMF would be in a dunk tank.
(313) A-Trak/The Martian
Forthcoming Fabric mix by A-Trak has a track from the Martian on it. Andrew -- Andrew Duke In The Mix weekly mixshow (est. 1987), excl. DJ mixes, PAs, interviews: http://cognitionaudioworks.com/AndrewDukeInTheMix.html sound design and music content provider: http://cognitionaudioworks.com/sounddesignandmusic.html sound design, music, production, DJ courses: http://andrew-duke.com/course.html http://myspace.com/andrewduke http://www.facebook.com/profile.php?id=1614666166 http://www.discogs.com/artist/Andrew+Duke http://www.residentadvisor.net/dj-page.aspx?id=5947 Andrew Duke Cognition Audioworks 57 Hastings Drive Dartmouth NS Canada B2Y 2C7
