It is very interesting to point that out actually, first things come to
mind are the netlabels that I was introduced to through the list...
I usually go to Enough Records almost always as a first stop, then
deffintely pertin-nce for me, where I'd be looking for that random track or
that, I don't usually hear what comes out unless its on my soundcloud
stream... oops.. some list members have great streams as well..
On 26 September 2014 15:38, Clint Anderson <clinta@gmail.com> wrote:
quoted 118 lines Sham has a good point in that when you go from artist A, to his mate who> Sham has a good point in that when you go from artist A, to his mate who
> did a remix, artist B, to his neighbor who he did a split with, artist C,
> yes, you're probably going to find three artists you like, HOWEVER, you're
> going to find three artists who probably share a lot of equipment,
> techniques, and style, not because they are bad or uncreative, but just
> because of convenience, circumstance, and personalities.
> You do have to make that leap at some point...
> As for art without compromise, the first thing that comes to mind when you
> say that is net labels, which exist still in a huge profusion, giving away
> huge amounts of great music -- yet I myself am guilty of ignoring a lot of
> their output for commercial labels, and why is that? I've tried to analyze
> my own motives, and all I can really come up with is that there is a sense,
> mostly artificial, that if someone is putting money behind something, it
> must somehow be better, or have passed some grade of quality. I mean we
> are all sitting here talking about WARP, why is that? We all know there
> are literally a hundred net labels we could right now go download
> comparable quality of music from, have way more options, and not even PAY
> anything for most of it, or pay what we want.
> Obviously, a lot of us grew up with The Black Dog, Aphex, Autechre, Boards
> of Canada, etc, at a time when internet music, bandwidth and storage space
> really, was limited, and people who had thrown all their money and time
> into building studios had a huge advantage as far as the quality of music
> they could create, and they needed a return on their investment to eat and
> live. So we're always going to buy music from our old favorites from Warp
> or whoever is selling it, but I feel like there is a real block as far as
> artists gaining fame on net labels and then moving into a commercial space
> where they are maybe actually making a living. Yes it happens, in fact, in
> IDM it happens maybe more than in any other genre, because of the
> internet-centric nature of the genre, but we, I think, need to look to the
> new labels, the net labels, if we want to see new innovative music without
> compromise, we have to take money out of the equation.
> Because although I agree Warp should be fearless and uncompromising, that
> has sadly closed the doors on a lot of brick and mortar labels that just
> plain needed money to keep the doors open, pay the bills, etc.
> Sorry this email got too long and I may have completely lost my point
> halfway through.
>
>
> Clint Anderson
> Systems Engineer
>
> On Thu, Sep 25, 2014 at 8:42 PM, Artie Qewpie <artie@tymnet.net> wrote:
>
>> You're getting trapped in my wording... pushing at the edges can also
>> mean things like "let's see what what.cd has on freeleech because those
>> chaps tend to have good taste." Meanwhile, suggest-o-matics like Spotify
>> actually paint you into a corner in the long run. Look up the term "filter
>> bubble." And, hey, it's impossible not to hear stuff on the radio, on TV,
>> etc unless you deliberately isolate yourself!
>>
>>
>> On 9/25/2014 8:46 PM, Sham Beam wrote:
>>
>>> The graph theory approach is good but it's possible to get stuck in dead
>>> ends without the occasional non-linear jump from outside influences.
>>>
>>>
>>>
>>> On 9/24/2014 2:27 AM, Mehmet Ismail wrote:
>>>
>>>> I like the approach. Understanding definitely adds a nice dimension.
>>>>
>>>> Example for me being Moiré's debut album being released on Werkdiscs.
>>>> When you know that Werkdiscs = Actress aka Darren Cunningham then it
>>>> makes a lot of sense.
>>>>
>>>> Nice that this example was put in my head by Clint's mention of
>>>> Actress. Awesome indeed.
>>>>
>>>> Mem
>>>>
>>>> On 23 Sep 2014, at 15:09, Artie Qewpie <artie@tymnet.net> wrote:
>>>>>
>>>>> I go with the "graph theory" approach myself. Like, I read that LFO
>>>>> helped get Autechre signed, so perhaps I check LFO out. Then I'm
>>>>> looking at the warp discography and there's something with a clever
>>>>> name next to whatever I got last, so I check that out as well... just
>>>>> sort of gradually push at the edges. I like doing things this way
>>>>> because it helps me form a more complete picture. Nothing happens in
>>>>> a vacuum... so when you start getting stuff based on who influenced
>>>>> who, who is mates with who, you get understanding as well as new music.
>>>>>
>>>>> --
>>>>> --arturius qewpie
>>>>> that which is, is wat
>>>>>
>>>>> On 9/23/2014 10:00 AM, Clint Anderson wrote:
>>>>>> i know this is useless advice but my best place for discovering
>>>>>> stuff is
>>>>>> pretty much universally when friends/associates of mine just start
>>>>>> flogging
>>>>>> the shit on their facebook/twitter/everytime i see them -- basically
>>>>>> how i
>>>>>> heard about Actress, which i still ignored for awhile until people
>>>>>> kept
>>>>>> bothering me about it, and finally listened to and was like 'oh shit
>>>>>> this
>>>>>> is awesome'
>>>>>>
>>>>>>
>>>>>> Clint Anderson
>>>>>> Systems Engineer
>>>>>>
>>>>>> On Tue, Sep 23, 2014 at 3:45 AM, Dan S <danstowell+idm@gmail.com>
>>>>>>> wrote:
>>>>>>>
>>>>>>> This Is My Jam
>>>>>>>
>>>>>>
>>>>>
>>>
>>>
>> --
>> --arturius qewpie
>> that which is, is wat
>>
>
>