IDM Mailing Archive

Discovering new music has never been easier than today. I used to go to recordstores every week to listen to a pile of new records and cd's. Since most recordstores have disappeard in the area that I live, that is not an option anymore. But nowadays I just startup my computer and I can listen to almost any radiostation on the world. Hear new music on websites like Spotify or visit the website of almost all the major & minor labels. There are lots of online musicstores and listen to music on sites like bandcamp.com, soudcloud.com or youtube.com. And I can track down and buy almost all albums ever published on Discogs.com. Don't talk or read about music. Just listen to music and decide for yourself what you like... The new Aphex is on Spotify... Met vriendelijke groet, Wim Vogel On Sat, Sep 27, 2014 at 1:44 AM, Jared Dunne <22tape@gmail.com> wrote:

quoted 228 lines If the farmer takes quality food away from the sheep, and starts feeding

> If the farmer takes quality food away from the sheep, and starts feeding > them shit, and continues to feed them shit, eventually the sheep find the > shit bearable. They'll actually begin to like the shit. Crave it even... > because that's all they're getting... so they fool themselves into loving > it. Might as well survive happy, I guess... even if that happiness is > really shit. Meanwhile, the farmer giggles all the way to the bank, > knowing that he fooled the sheep into loving the shit, and now he doesn't > have to invest in real, quality feed. > > Wait. What? I've had a bit to smoke. So ba-a-a-a-a-ck off me! > On Sep 26, 2014 4:09 PM, "Laurent Knauth" <laurent.knauth@gmail.com> > wrote: > >> Now i see that i'm not the only one to find difficult to come across some >> good novelties. >> It also seems -- i'm new to this list -- like some (or many) of us are not >> only listeners, but also aspiring (or actual) musicians. >> As for me, i almost have zero time for music-seeking since i decided, 3 >> years ago, to get into music theory. >> From then, you'll unlikely find me prescribing any music, especially >> since like i said before, i'd hardly name anything (apart from Alexandra >> Stan's <<*Mister Saxobeat*>>) that pleased my ears during the past 10 >> years in the <<IDM>> genre -- but i remain convinced that i missed some good >> stuff. Thinking again, there was/there is Benge and Subjex. And, of >> course, The Tuss. >> Regarding Clint's comment about that <<*if someone is putting money >> behind something, it must somehow be better, or have passed some grade of >> quality*>>, yes indeed, i'm one of those who think that art directors >> used to exist for a reason. >> Of course, techno/IDM enter the game with a lot of fresh air, but also >> 99% of waste. >> Many people think that the Hollywood movies are evil or suck because they >> generate high profits whilst Hollywood doesn't aim to produce <<art>>, but >> only some products that people would pay for. To do so, they need expensive >> financing, which allows them to afford solid scenarios, dialogs, music, >> sfx, whatever. On the opposite, here in France, we have the <<french >> cinema>>, also know as the <<cultural exception>>. You bet it's an exception : >> because these are movies made by some parisian <<aristocrat>> daddys' boys >> and girls wanting to <<produce art>> but unable to write a proper line of a >> scenario, and because nobody would ever want to pay to watch this, they >> live from subsidies in the name of the so called <<cultural exception>> whose >> even the titles or trailers alone are, <<ahem ahem>>, embarrassing (just to >> set the tone, here's one of them : <<*I hate other people's children*>> -- >> sounds promising doesn't it) ! >> A few years ago, i remember reading a funny <<Sounding off>> Sound on Sound >> article ending like : <<*if you're composing, mixing and mastering your >> own music, it shouldn't come as a surprise if you're the only one actually >> liking it*>>. >> >> PS : hell yeah, i'm desperately fond of <<*Mister-Saxo-Mister-Saxobeat*>>. >> >> -- >> " >> *Automatic, pushbutton, remote controlSynthetic, genetics command your >> soul.*" >> >> The Last Poets, *Mean machine* >> >> On Fri, Sep 26, 2014 at 5:55 PM, Basma O <basma.o@gmail.com> wrote: >> >>> :) >>> >>> On 26 September 2014 17:19, Clint Anderson <clinta@gmail.com> wrote: >>> >>>> http://enoughrec.bandcamp.com/album/duality >>>> ;) >>>> >>>> speaking of >>>> >>>> i would love to release something on pertin-nce, maybe ill try to send >>>> them some stuff again sometime :) >>>> >>>> >>>> Clint Anderson >>>> Systems Engineer >>>> >>>> On Fri, Sep 26, 2014 at 10:15 AM, Basma O <basma.o@gmail.com> wrote: >>>> >>>>> 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: >>>>> >>>>>> 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 >>>>>>> >>>>>> >>>>>> >>>>> >>>> >>> >> >> >> >>