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:
quoted 72 lines You're getting trapped in my wording... pushing at the edges can also mean> 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
>