Chris Inperspective Wrote:Naptha, in all my time since starting Technicality or running Inperspective have NEVER heard anyone saying to me that what was on Inperspective or what Paradox does for example WASN'T D&B. I really don't know who said that to you. They need a slap for sure but I doubt that any new school kid would describe what we do as anything else. They might not like it, but I'm confident that they still see it as the same music, even if as a version of something they are into which they can't follow.
You haven't been spending enough time on the likes of DOA then, Chris!
Did you not hear Contec talking here recently about how he played Photek's 'The Water Margin' to some nu-skool kids and they said "yeah, it's OK, but it's not really 'drum n bass', is it?"?!?!?! This is the normal reaction now to anything that doesn't follow the industry standard. Seriously - even I get that from some of the younger heads in our own cru on a pretty regular basis! You're surrounded at Technicality by kindred spirits, but I'm a little further out there in 'the drum n bass scene' (even if I am one of a few little islands) and I'm telling you - the connection is becoming more tenuous with each passing day!
Remeember the cries of: "Happy Hardcore/Jungle - it's all the SAME music!!" Were you concinced back then?! I know I wasn't.....
offshore Wrote:Also, one last point.
One last bit of food for thought:
This was a post made by someone in regards to the most recent Offshore record- Deep Blue 'Soho Code'
>Wicked track
>Picked it up on vinyl last week. Nice change from a lot thats out there.
>I listened to the tune and thought. Yeah its ok. But didn't buy it. Ray Keith >was like you sure mate. Let me put it on the big system. Sounded rather >nice so I bought it.
>He even said he would play a tune like that out. Any one seen ray keith >>when he plays stuff like that and not just amen trashers?
Thoughts? It pretty much blew my mind!
Let's hope Ray keeps his word and wasn't just trying to sell records, eh?
Even if he was just trying to sell records that is better than him NOT trying to sell them IMO.
Naphta Wrote:Did you not hear Contec talking here recently about how he played Photek's 'The Water Margin' to some nu-skool kids and they said "yeah, it's OK, but it's not really 'drum n bass', is it?"?!?!?! This is the normal reaction now to anything that doesn't follow the industry standard. Seriously - even I get that from some of the younger heads in our own cru on a pretty regular basis! You're surrounded at Technicality by kindred spirits, but I'm a little further out there in 'the drum n bass scene' (even if I am one of a few little islands) and I'm telling you - the connection is becoming more tenuous with each passing day!
Remeember the cries of: "Happy Hardcore/Jungle - it's all the SAME music!!" Were you concinced back then?! I know I wasn't.....
Yeah I hear you once again man! but...... (phew!) that sort of reaction ONLY DRIVES ME ON MORE!!!!! I am not going to be told by these people what MY fucking music is, especailly kids that I KNOW don't know any better. It's just about re-education to me, it's that simple........I'm sure you're gonna come back at me 
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ray keith is really really safe.../.
he picked up on our own Melted down on streetbeats which was quite a surprise.
he also played the best set i have heard at Beat Jam last week...
why this post originally repeated itself a million times is beyond me!!
Chris Inperspective Wrote: damn straight you won't see me playing Joker!!!
I hear you Natpha, I really do. I'm not asking for permission to be involved in the music I love (which is Drum & Bass!!). I'm still not sure what you mean by getting a "return" from the scene. No none has the god-given right to gain good record sales, get loads of DJ plays or magazine interviews and/or features just becasue they are old school or trying something different. It's an individual label head/marketing officer's job to get those things, I'm sorry but I don't think I'm goning to be budged from that.
The small attention we've gained in the last 6 months or so has been becasue of our hard work NOW!!! No one gives a fuck that Equinox was on Brain Records or that Senses is a resident at Manga, but they DO care to hear new music WITHIN this scene call D&B/Jungle/Whatever! Thats why I started Technicality, to offer the alternative to the Swere/Movement/Prog Sessions etc and for THAT reason we have got a LITTLE (I stress LITTLE) publicity......We've tried something different and people have come to US. I NEVER forced my sound onto anyone.
You asked for Reservations, I'm giving them. I trust this will not put me at odds with anybody
you are one sensible mutherfucker!!!! lol.
this idea of radicalism is driving me nuts. chris-you've illustrated a great point about GLR-their view and relevance amongst buyers. you've had moderate success technicality and inperspective, so i still don't get this idea where some feel it's can't be done while still using the system at hand. it would seem that as artsits who have something valuable to say being at the forefront would be more important that doing your own thing to the exclusion to everyone else.
we've already proven that content and success (on a relative scale) can go hand in hand. i think to really revolutionize the way the music is going is to continue down this established path and keep at this. we are already championing the records we like & we've got our criteria for doing this which is established in this thread. we're doing it. and there are so many ideas busting out here, we're willing and working at the change. i believe willy wonka said, "we are the music makers, and we are the dreams of our dreams". and then 808 state sampled it and i said, "hey, that's from willy wonka!"
naphta-at one point you can be pissed off that some 14 year doesn't understand a photek cut, but if you've been listening to bad company there's no reference to it-no dis just a fact. and likely he or she's not been educated. and it does suck because water margin's a brilliant tune. doa is broad, a wide spctrum of individuals who don't just go for the music. some love it, but most just go to blag. i go in there and i feel like i'm in a room with 70 kids with ADD. but, amongst those voices are people like you and me who do care about this. there's a guy who repeatedly posts about this polar remix of a pieter k tune-i'll be damned if anyone else answers him. i see posts about offshore all the time-THAT'S GREAT FUCKING NEWS!!!!!
Stacks Wrote:Yeah. excellent thread people, but I'm more interested in the concept of combining forces for advertising/album (maybe even 12s) etc. than any of the theorising. This joining-forces lark sounds like a bloody good idea to me but requires action and work from the labels involved. Promotion of a 'new sound' is essential IMO. I'd love to help in any way I could - like Beckett, I'd love to help set up a website that would focus 'the movement' (cringe) or promote whatever ideas you/we come up with.
Stacks
Stacks, movement is a much more appropriate word than that crap word "SCENE". that makes me cringe. 
this thread is becoming a monster of it's own. great. still only on page 7 with 6 more to go (a few days ago it was only 4 deep). so before I pipe my 2cents in let me catch up.
Chris Inperspective Wrote:That reminds me!! I'm working on a new online distrubtion/shop in conjuntion with Urban Futures. I'll let the right people know closer to completion.....
It will concentrate on the more Progressive/Atomospheric Labels & Artists, the orders will go directly to each label involved and they then deal with the processing of the order themselves. This will change in time and I'll be looking to get a little warehouse space near me and expand the operation. (Which will include a US agent). Obviously SB, INP, OS, BB will all be asked to be involved as well as any other alternative labels I can think of......
http://www.inperspectiverecords.com/shop.asp is a demo link so you can see what it would look like, the page can be altered to fit in with you own website. It would be good to have a online shop where the new releases section wouldn't be swamped with shite!!!......I'll have more details soon.
Just so you know that I'm doing my bit for the greater cause!!!
This could be a really good idea. I basically use Redeye most of the time for my mailorder needs, but I find with each passing month I am relagated to stockpilling orders for 3-5 weeks in order to get a fill worth getting shipped. I have also resorted to getting stuff directly from Brett (Offshore) and Rohan (Bassbin). I remember a time when I could get a fill in just one week. sadly, those days are gone.
seanie mack Wrote:this idea of radicalism is driving me nuts. chris-you've illustrated a great point about GLR-their view and relevance amongst buyers. you've had moderate success technicality and inperspective, so i still don't get this idea where some feel it's can't be done while still using the system at hand. it would seem that as artsits who have something valuable to say being at the forefront would be more important that doing your own thing to the exclusion to everyone else.
I and Chris and a few other people have mentioned GLR as a reference point. GLR represents two things to me, one to emulate and one not: they have carved out a niche for themselves that allows them to sell plenty of CDs and book extensive, worldwide tours that draw sizeable amounts of people; here in LA, considerably more than Andy C or Grooverider or Dillinja or whomever. Assuming those facts are universal, they speak for themselves, regardless of what you or I think of GLR personally. What not to emulate: that they've artistically and culturally painted themselves into a corner, to the extent that they seem to exist in a hermetically sealed environment. I mentioned dnb being self-referential. GLR is perhaps even more guilty of that than say BC or Ram or all that lot.
Okay. As for radicalism, I've been thinking about all the tremendously thoughtful stuff posted here and am realizing that regardless of how I feel, I am kind of necessarily out on the extreme end of this, even if it's not obvious. Why? I've got a substantial collection of nominally dnb tunes sitting on DAT in a drawer that have never been released and probably won't be. It's not for not having sent them around. No drum and bass label will take them, simply because they just stray too far from anyone's idea of what a DJ might play, and here is where I get stuck, and where say Polar and I very much agree, even if our sounds are very different: we would welcome the space in this scene to release and play music that isn't dancefloor oriented at all. I want that space. I want the space for liberal dancefloor music (i.e., what most of us are talking about here), and even conservative (i.e., mainstream, dominant, etc) dancefloor music, but I also adamantly want the space for REALLY liberal dancefloor music, so liberal that the very idea of the dancefloor drops out of the equation. Yes, I can already hear the objections from, well, just about everyone: "but then it's not drum and bass anymore! If it doesn't have even some shred of a tenuous connection to the dancefloor then it's not dnb!!" Yeah, maybe, but it's also done at 173bpm and uses very cutup breakbeats and has big, fat slow basslines.
For those of you who have CDs of some of my stuff, you can check the following to see what I mean; these are tunes I've done that I'll defend to the that no one is signing:
One of Them
Crossroads
Four Hands
Phenomena
Maze
Set the record straight
Those are only a few, and those are just the ones that are in the 170bmp range. There are many more that aren't.
Thankfully, Offshore has taken two that I was sure would be consigned to the dustbin of history; one in particular, "Rapport," which has always been something special to me. "One of Them" is--in my opinion--one of my best drum and bass (liberally speaking) tracks ever, yet no one will touch it because it's structurally unorthodox, changes too much, sounds too 'raw' or live, has some really fucked up edits in the middle, isn't conducive to DJing, has major mood swings, is long, is dirty, is in short everything a drum and bass label these days ISN'T interested in, and yet, it IS drum and bass, and it elicits strong, passionate responses from people in clubs and at home where the ethos isn't focused on trad dnb. So my question stands: where's the home for this stuff? Where's the home for Dev's stuff on a REALLY demented day? For those who think the Paradox stuff is unmixable or too far out, I can imagine it going a whole lot further out. BUT NO ONE WILL RELEASE THIS STUFF.
So, in making our space for all of what we're talking about, I want to know how there will be space for the really fucked up stuff, which I and other people outside of drum and bass are interested in? If trying to defend that space alongside the not so extreme stuff makes me something of a radical, then fine. I personally am not frustrated because I can't find outlets for things like what's on my album, I'm mostly (but not only) frustrated because of the things I CAN'T find outlets for, which a lot of people here have never heard. I wonder how I'd be viewed if all my stuff had been released. For one thing, probably not as 'mellow' as everyone likes to say these days.
My conclusion seems to be that the true home for these things is not in drum and bass at all, and I think that's where the point of contention exists between me and those who take a more moderate position claiming that we can do this WITHIN the existing framework.
I'm not arguing for trashing the whole structure. Not at all, but I'm also keenly interested in looking beyond that. If you've been paying attention to my work as a whole, you'll know that I'm already headed in that direction. I don't think we can get there--outside--unless we actively engage the outside. That means looking beyond Knowledge and ATM and all the existing DnB structures even as we ALSO capitalize on the work that's already been done. This isn't an either/or scenario, it's both. Hell, if nothing else, let those who are more moderate work on the 'inside' and leave the fringes to us extremists (god...can't believe I just called myself an extremist), and as long as it's ALL done under the loose banner we're talking about here, the moderates will help keep the extremists involved closer to the center, and the extremists will help the moderates keep external avenues open, and we'll all be happy campers and join hands and sing khumbayah and the sun will be eternally rising and I'll shut up now...
seanie mack Wrote:there's a guy who repeatedly posts about this polar remix of a pieter k tune-i'll be damned if anyone else answers him.
Huh?
eh blue...still recovering from ray's set then, ey?
If we just keep at it with the same kind of heart that most of us have put in these posts I fail to see how anything could go wrong. OK, so commercially things might need to shape up to get an accountbalance pleasing your bankmanager, but at the end of the day we (or you) should be doing this because we love doing it...I know I try to and I know sometimes shit does my head in, but luckily I have a circle of friends with the same musical taste I do, so I know I am not some freak accident and again...throwing a night like we did a couple of weeks back has my hopes up for the future...
Hang in there and let's just vibe off eachother and keep pushing this shit until it becomes a tidal wave the size of a tsunami until it can't be shoved aside or ignored anymore!!
pieter Wrote:This isn't an either/or scenario, it's both.
this is true from most angles
Pieter,
I LOVE, 'Set the Record Straight'.
I think the Polar Rmx they are referring to is the 'It Could have Been You' Rmx.
I used it on that Moonshine budget mix that came out April 22nd.
pieter Wrote:I want the space for liberal dancefloor music (i.e., what most of us are talking about here), and even conservative (i.e., mainstream, dominant, etc) dancefloor music, but I also adamantly want the space for REALLY liberal dancefloor music, so liberal that the very idea of the dancefloor drops out of the equation.
Yesyesyes! No fucking restraining rules, that's the whole point, at least how I see it. I'd love to hear the tracks you are talking about.
Blue Wrote:why dont we also form our own Dj/Live agency?
this too seems like a really good idea. it appears like there are
enough of us that can represent various segments of the world.
dice Wrote:hang in there and let's just vibe off eachother and keep pushing this shit until it becomes a tidal wave the size of a tsunami until it can't be shoved aside or ignored anymore!!
mate, that's exactly what i think i've been trying to say from the start!!!! 
its all about reclaiming territory from the abstract electronica album scene, making contact with promoters clubs and lables who might not normally promote book or release "genre" drum and bass... pieter you mentioned your frustration at your more "out there"tunes not seeing the light of day have you approached the likes of warp or people like them? abstract electronica labels? it would seem ironic that a generation of experimentalists who hijacked the form of drum and bass for their own dubious ends should be either unable to detect or respect innovation.
as for the arguments about the success or not of the whole good looking paradigm of seperation from the drum and bass scene, i think its important to realise that what happened to one label when it found itself the [to all intents and purposes] sole inhabitant of a musical subgenre is not neccesarily indicative of what might happen to several seperate and distinctive labels all cooperating and yet maintaining internal differences....
i can not for one minute imagine that two labels as different to all intents and purposes as, to name a random pair, looney tunes and inperspective, will suffer the consequences of isolation and gradual scene irrelevance that befell GLO... all the various factions represented on this thread seem to be too diverse and complimentary to allow such a fate to be likely...
i have for a long time dreamt of one day getting as wide a variety of producers djs junglists distributors blokes who work in cutting houses graphic artists and mc to each write as good and coherent an essay on one aspect of drum and bass, their personal relationship to it, what it means to them etc. and maybe bundleing the whole thing together and trying to find a publisher, otherwise self publishing and perhaps flogging it through record stores, it seems that based on the thoughtful and articulate writing i have read on this thread and several others like it in recent times the time may have come to invite submissions for the book and to stop dreaming and start doing for a change... perhaps seeing the diversity and variety of musical opinion within the whole spectrum of drum and bass might inspire some future musician to dig a litle deeper; and who knows, maybe it will be nice to be able to one day hand our grandkids a book with the intellectual blueprint of drum and bass written down, both as a how to and a historical document....
anybody interested and willing to write a bit/essay/chapter should not hesitate but contact me at the following email address
[email protected]
finally, as the man like don rosco aka gamebwoy has already eloquently pointed out, dont lets keep this at the level of some cunts talking on the internet on a forum... there is clearly a mandate for change and a wilingness to put the graft in to taking this to the streets... and breaks and bass, no-step, next-step, nu-jungle or whatever seems to be a deserving and inspiring misstress barely a day after she has had phylological life breathed into her.....bring it on!
pieter Wrote:I don't think we can get there--outside--unless we actively engage the outside. That means looking beyond Knowledge and ATM and all the existing DnB structures even as we ALSO capitalize on the work that's already been done. This isn't an either/or scenario, it's both. Hell, if nothing else, let those who are more moderate work on the 'inside' and leave the fringes to us extremists (god...can't believe I just called myself an extremist), and as long as it's ALL done under the loose banner we're talking about here, the moderates will help keep the extremists involved closer to the center, and the extremists will help the moderates keep external avenues open, and we'll all be happy campers and join hands and sing khumbayah and the sun will be eternally rising and I'll shut up now...
Ideally, yes. Ideally, there would be room for an open-ended approach to the development of the music - and not just tolerance but active engagement - otherwise we may well just end up with even more splinters as each little clique looks to impose their definition of what 'real' drum n bass is all about and the 'movement' fractures apart.
Indeed, I must say that I can already see fractures in the join-lines between us all here... thus....... this 'loose banner' would have to be loose indeed, and how far away would it be seen from or recognised - and crucially, would it be too loose to be useful as a unifying force? I mean (and let me reference Brett Offshore's point about perhaps thriving on being a 'fringe' artist, and not minding being 'outside' the scene), your far-out stuff is ALREADY on the fringes of this drum n bass scene - what would be looking for by association to something that still retains one foot in the scene..?
Pieter, I think you might have out-idealised even me in the idealism stakes here! Dancefloors for 'non-danceable' music? Would be great alright, but I think you'd need to be providing free LSD at the door in order to overcome our musical/cultural barriers concerning how to respond to such arrangements of sound and to engage the audience on a physical level... if your music was not designed to engage them physically, what would the context of the 'live' performance be about? Having a visual aspect...?
Don't get me wrong - I was saying to someone only last night how great it would be to have full-on ambient raves (!) - beatless freakouts where people could dance to music with NO beats, but there you go - we're back in Ken Kesey territory again, and the necessity for a major increase in acid consumption in the next generation!!!
D'you know what I mean? At the end of the day, can you have it both ways - have your cake AND eat it? And BTW I don't just mention drugs for fun here - I firmly believe that THE most creative and exciting period in drum n bass IMO (93-95) was positively rocket-fuelled by drugs - which blew enough people's brains out so that the populist and the experimental could be fused in an exciting mess and spewed back at them on the dancefloor.
Once the scene began to return to traditional 'musical' values, it started to become a case of either/or and we saw the two camps start to separate - and now we have people like Paradox / your freakier self at one end and Hospital / Marky at the other.
For me, the most exciting stuff (which Total Science referenced briefly in their hardcore revival stage but then got lost in cliche) is the likes of early Omni Trio / Foul Play / Hyper-on-E cos not only can you dance your ass off to it, but it also forever begs the question: what the fuck is it? Pop? Experimental? Somewhere in between the two...?
Sure, I love my classic Photek etc., or my minimal jump-up etc., but (and sorry to get all Simon Reynolds on yer ass again), I think the real creative sparks fly when the constraints of the 'dancefloor' rub up against the urge to 'experiment'. Once you definitively part from one imagined environment to the exclusion of the imagined other, then I think you're probably limiting yourself to some degree. And.......... maybe I'm starting to answer that question for you..? No? Is this the reason why you'd still favour retaining this link to d+b / alt. d+b / whatever u want to call it?
Or is it simply because it means you would have another angle into people's heads?
pieter-here's the thread i was referring to.
http://www.dogsonacid.com/showthread.php...9&cache=12
quoth pieter:
"My conclusion seems to be that the true home for these things is not in drum and bass at all, and I think that's where the point of contention exists between me and those who take a more moderate position claiming that we can do this WITHIN the existing framework."
i agree with you-there absolutely has to be room for more expressive realms and i am completely in support of that. the current framework isn't doing it now. even moreso, producers and musicians have to be able to make "music" first and foremost, whatever title you want to file it under, even what it is still called drum & bass. i hear what you're saying and how frustruating it is not to get these tunes heard-i'd be pretty pissed off.
here's the rub for me-the labels in the new school of thought here who do put out the music have to be willing to go out on a limb and support people who really are making breakbeat experiments outside of drum & bass circles. THIS HAS TO BE NURTURED & DEVELOPED. if that means cds, the a side of a 12, then so be it-and it has to be consistent. speaking strictly as a dj, i like bringing home a 12 which has a listening side and a dancefloor side-i'll play the dancefloor side and listen the the head side (not necessarily mutually exclusive but sometimes it is). but ultimately, you know the business a whole helluva lot better than i do, and you know what you've had to deal with so there's no way i can know what it's like to be in your shoes. from my perspective, i think it's utterly criminal for someone who is as talented as you or polar or anyone else (for that matter) not to have an outlet or a means.
artist albums-this needs to be undertaken. i really like suv & d product from full cycle-now full cycle has taken the initiative and released the albums on cd because they know it is more like going to be for the listener. as it should be-some dancefloor beats but concept stretching beats as well. i know they are well established, tight knit & have to coffers for it. for some smaller labels it's a big budgetary risk to do this. regardless, the new school of thought around this has to be willing to market this to many different sources, even outside of D & B. what about outlets like CMJ? those guys seem pretty open minded (their sampler cds cover the spectrum of sounds).
to me, warp records is a good example of coexisting within two areas. there's a "warp sound"-it's excepted in "dance" culture but is appreciated outside of that scene as well. partisan & cert 18 moreso were on the same page too-it just seems to me like these places have existed-what went wrong in this mutlifacted musical approach and what went right? what can we learn from these sources? maybe you can't have it both ways and that's what's to be learned. personally, i'd like to think you can have it both ways.
i think this is should be like unionizing-affiliation without separation from the bigger system, but creating a support system to continually nurture those who don't have an outlet. we really have a great network of likeminded people here. speaking for myself, it's hard to get anyone to listen to me musically or otherwise. seriously, i am really thankful for this board and for boards like urban-futures who do take risks on posting my mixes and other people's beats and mixes as well.
tyranny Wrote:abstract electronica labels? it would seem ironic that a generation of experimentalists who hijacked the form of drum and bass for their own dubious ends should be either unable to detect or respect innovation.
Goddamn right!
Quote:as for the arguments about the success or not of the whole good looking i can not for one minute imagine that two labels as different to all intents and purposes as, to name a random pair, looney tunes and inperspective, will suffer the consequences of isolation and gradual scene irrelevance that befell GLO... all the various factions represented on this thread seem to be too diverse and complimentary to allow such a fate to be likely...
I wouldn't be so confident about that! Talk is one thing, but action is another. For instance, to kinda reverse the argument, lots of people talked about how Reinforced was the Godfather and the first This and the greatest That, but the truth is that by 1995, fuck-all drum n bass DJs were actually supporting the label and representing it any more - it wasn't until Alpha Omega's 'Back 2 Da Future' 12" in 2000 or thereabouts that you had the likes of Grooverider (who hailed it as 'the best R record in years' -whathefaaack?!?!?!?!?) actually playing Reinforced music out again...
Hence, although I personally will happily (and indeed deliberately) mix a Joker tune into a Paradox tune (you should give it a go Chris - you'll love it!!!), I don't reckon there's too many others like-minded from the 'leftfield' of drum n bass... of course, if I'm wrong, y'all - do let me know......
Quote: maybe it will be nice to be able to one day hand our grandkids a book with the intellectual blueprint of drum and bass written down, both as a how to and a historical document....
anybody interested and willing to write a bit/essay/chapter should not hesitate but contact me
You KNOW I'm up for that baby!!!!
seanie mack Wrote:here's the rub for me-the labels in the new school of thought here who do put out the music have to be willing to go out on a limb and support people who really are making breakbeat experiments outside of drum & bass circles. THIS HAS TO BE NURTURED & DEVELOPED.
To give an example of why that can't happen within the present confines of the drum n bass scene - distributors who previously paid for pressing x amount of 12"s are now seeking to get pre-orders from specialist d+b shops BEFORE they press. This puts great pressure on the shops to virtually guarantee sales of x record, and what records can they actually do that for? Hmm? The sound of the moment as dictated by Grooev/Fabs etc. or established Big Guns like Dillinja bla bla bla...
So, unless you can fund your tunes getting onto vinyl from start to finish, you're forced to get in line with what sells right now. And even if yoo CAN fund pressing etc., most d+b distributors won't touch any label that so much as strays one inch left from centre these days - that's simply the way it is!
Quote:if that means cds, the a side of a 12, then so be it-and it has to be consistent. speaking strictly as a dj, i like bringing home a 12 which has a listening side and a dancefloor side-i'll play the dancefloor side and listen the the head side (not necessarily mutually exclusive but sometimes it is).
maybe you can't have it both ways and that's what's to be learned. personally, i'd like to think you can have it both ways.
So would I. But as the d+b industry shrinks further, complaining ever-more every month of decreased sales, that seems unlikely, as businessmen do not gamble on selling specialist products with a limited market in times of risk and crisis...
quoth naphta:
Pieter, I think you might have out-idealised even me in the idealism stakes here! Dancefloors for 'non-danceable' music? Would be great alright, but I think you'd need to be providing free LSD at the door in order to overcome our musical/cultural barriers concerning how to respond to such arrangements of sound and to engage the audience on a physical level... if your music was not designed to engage them physically, what would the context of the 'live' performance be about? Having a visual aspect...?
errrr... you guys nothing idealistic or far out about platforms for non danceable music.... if autechre can play live and ppl and can pay into a club to stand around listening to richard d james mixing sandpaper [as he has on at least on occasion] then there are going to be people who will pay money to hear pieter k being a bit "difficult" dont forget that the avant garde crowds pride themselves on their dedication to seeking out these sounds and witnessing them and if you could promote yourself in their media you would get a polite interested audience who may not dance or even relate to you as a junglist but would take your music at face value...
Naphta Wrote:This puts great pressure on the shops to virtually guarantee sales of x record, and what records can they actually do that for?
if and when an artist who's made a name for themselves 'outside of the leftfield' releases on a smaller label, does it make for a marked difference in the distributor's receptiveness to that record, or in the sales of that record?
Naphta Wrote:So, unless you can fund your tunes getting onto vinyl from start to finish, you're forced to get in line with what sells right now. And even if yoo CAN fund pressing etc., most d+b distributors won't touch any label that so much as strays one inch left from centre these days - that's simply the way it is!
We've got a P&D deal with our disribution company mate  as have Offshore, Warm Comm, Cov-OPS and others.
Quote:Hence, although I personally will happily (and indeed deliberately) mix a Joker tune into a Paradox tune (you should give it a go Chris - you'll love it!!!), I don't reckon there's too many others like-minded from the 'leftfield' of drum n bass... of course, if I'm wrong, y'all - do let me know......
Right and wrong, for nearly 3 months I included this one Bjork Rmx in nearly every set I played. Was it a DnB Rmx you ask...NO! It was about 85-88 bpm however and mixed perfectly at half time.
Is this bold or lame? To include IDM/Electronica tracks into a "DnB" set?
In nearly every set that I played it, I had more ppl come up to me and ask me solely about that track!
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