childrentalking
Well-known member
re: Booka Shade/MANDY -- that Critical Beats list in the year end issue is 100% Philip Sherburne, nothing to do w/ them 'trying to look hip'
dnb and The Wire
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ChineseArithmetic
It is what it is
In amongst the other choices it just looked like a token effort to acknowledge 'club friendly' stuff.
(New thread just started for recommendations of other music magazines)
Tweak Head
Well-known member
alo said:
That's my beef with it ... they big stuff up that turns out to be nothing special. Pretty much everything I've bought after a glowing write-up in the Wire has turned out to be crap (for example they think Keiji Haino is a god...).
Tweak Head said:
Ah, there's no debating the sainthood of the mighty Keiji Haino. Listen to "Vertigo" off the Fushitsusha disc "Withdrawe, This Sable Disclosure Ere Devot'd" and tell me that the man responsible shouldn't be feted for eternity.
Admittedly he does have a bit of a product glut issue at times, but even his misfired sketches are more interesting than most artists' fully realized works.
dubplatestyle
Well-known member
well matt i guess you'll have to kill one of the other columns to take control of the pack. (i can think of two columns that need to get gone and quick and they are called "dub" and "electronica".) they're more scared of you than you are of them.
Tweak Head
Well-known member
Octopus? said:
Thought I might bring the Keiji fans into the light ... I tried to find the CD I bought to get the name of it but couldn't. It had him plus a jazz drummer and bassist all paying at the same time but not seeming to be connected in any way. It was rubbish. Also some other stuff I heard I hated. But I'll try the stuff you mentioned, if I can find it.
Back to Wire's dodgy recommendations: I also bought Pulse Demon by Merzbow which was also rubbish. I may give it another chance though. And "Camofleur" by Gastr del Sol. Limp.
But somehow I like reading it occasionally. I like to imagine the records they describe. And when they do something on someone interesting, they do it well: e.g. Alice Coltrane, LCD Soundsystem.
Tweak Head said:
sounds like it could be the either the one with joey baron and greg cohen or the laswell/ali one. seriously, i can't think of anyone who's discography is more of a minefield to the not-already-an-obsessed-fan than keiji haino. i'd recomend any of the early 90s fushitsusha stuff as a good starting point (i.e. PSF 3/4, PSF 15/16 or Pathetique (aka PSF 50)) or I Saw It, That Which Before I Could Only Sense. as for his solo stuff try Next Let's Try Changing The Shape. and i'd say avoid pretty much anything else until you've decided if you're a fan or not. generally the reason why people like him is because of fushitsusha though.
Tweak Head
Well-known member
big satan said:
Thanks big satan. I'll give those a try.
BTW, I tried listening to Pulse Demon again by Merzbow and remembered why I had hated it so much. Onto eBay it goes ...
UFO over easy
online mahjong
Hah, I guess this'll teach you to link to your blog rather than cutting and pasting the entry in question, eh Statto?
I honestly think the Wire are shockingly close minded at the moment. Ignoring emails from the boss man of the first genuinely exciting movement in drum and bass in years, and then proceeding to positively review Ray Keith's new album - one of the most depressing moments in the whole history of the scene.
Hahahahaha... 19 year old art student posers?
I honestly think the Wire are shockingly close minded at the moment. Ignoring emails from the boss man of the first genuinely exciting movement in drum and bass in years, and then proceeding to positively review Ray Keith's new album - one of the most depressing moments in the whole history of the scene.
Blackdown said:
Hahahahaha... 19 year old art student posers?
Slothrop
Tight but Polite
Sorry about the thread resurrection, but the Burnt Friedmann Invisible Jukebox in this month's issue got me thinking...
Does anyone else get the feeling that when it's a dance / electronica musician being given the Jukebox treatment, both the choice of jukeboxee and of records to play them have a hidden agenda to demonstrate that
a) it's okay that we're interviewing this this person who makes dance music instead of serious music because they can talk at length about Pauline Olivieros and Faust and
b) look! All this avant-garde stuff IS relevant, even though hardly anyone's heard of it. These people make techno and are down with the kids and they listen to it!
It reminds me a bit of all that awful jazz / drum and bass crossover that seemed to be aimed at a) legitimising drum and bass as 'real' music (which it didn't need anyway) and
b) legitimising jazz as relevant to the kids, (which it didn't need and didn't get.)
Of course, it's still interesting to read about that side of someone's interests - particularly the Freidmann one, which backfires a bit when he doesn't like half of the avant-gardey stuff he's played - but it does always feel a bit iffy.
Does anyone else get the feeling that when it's a dance / electronica musician being given the Jukebox treatment, both the choice of jukeboxee and of records to play them have a hidden agenda to demonstrate that
a) it's okay that we're interviewing this this person who makes dance music instead of serious music because they can talk at length about Pauline Olivieros and Faust and
b) look! All this avant-garde stuff IS relevant, even though hardly anyone's heard of it. These people make techno and are down with the kids and they listen to it!
It reminds me a bit of all that awful jazz / drum and bass crossover that seemed to be aimed at a) legitimising drum and bass as 'real' music (which it didn't need anyway) and
b) legitimising jazz as relevant to the kids, (which it didn't need and didn't get.)
Of course, it's still interesting to read about that side of someone's interests - particularly the Freidmann one, which backfires a bit when he doesn't like half of the avant-gardey stuff he's played - but it does always feel a bit iffy.
D
droid
Guest
Friedmann's hardly a 'dance' artist is he though? Dub/Jazz/Electronica... hes obviously 'fringeworthy' enough to make the grade...
the thing is, no magazine has to review anyone's music. you send stuff out *in the hope* of making the cut, not to cast-iron guarantee coverage.
ask yourself one question and answer it honestly: why should any magazine write about you at the expense of someone else? these are the decisions every reviewer and editor has to make every day.
i get sent plenty of middling to good music that i might in an ideal world like to give exposure to, but the reality is that i can't and have to prioritise the things i genuinlely think are great and the things that can inspire some interesting writing.
something being good and something being good to write about is very often not the same thing, so even if you do make it into print you can't be sure that a reviewer will like what you do or say anything positive about it anyway. so, to the dude who started this thread i hear that you run a small label of sorts with a bit of a backstory and that you release what you consider to be genre-bending underground music.
well, i say good luck to you and mean it wholeheartedly, but you have to consider the possibilty that other people might not share your obvious conviction. music is like anything else: you have to keep plugging away at it and not take rejection to heart. pissing and whining is a bit of a waste of time when you could be making a record so damned good people have to change their minds and give you props instead.
i wish you all the best and am sure that if you keep going long enough somebody will take notice, but no one really owes you anything.
re the burnt friedman question, he's totally wire territory - a bit avant, white, german and not very popular!
and are techno producers "down with the kids" anyway? the only people i know who pay any attention to techno are at fast approaching middle age.
ask yourself one question and answer it honestly: why should any magazine write about you at the expense of someone else? these are the decisions every reviewer and editor has to make every day.
i get sent plenty of middling to good music that i might in an ideal world like to give exposure to, but the reality is that i can't and have to prioritise the things i genuinlely think are great and the things that can inspire some interesting writing.
something being good and something being good to write about is very often not the same thing, so even if you do make it into print you can't be sure that a reviewer will like what you do or say anything positive about it anyway. so, to the dude who started this thread i hear that you run a small label of sorts with a bit of a backstory and that you release what you consider to be genre-bending underground music.
well, i say good luck to you and mean it wholeheartedly, but you have to consider the possibilty that other people might not share your obvious conviction. music is like anything else: you have to keep plugging away at it and not take rejection to heart. pissing and whining is a bit of a waste of time when you could be making a record so damned good people have to change their minds and give you props instead.
i wish you all the best and am sure that if you keep going long enough somebody will take notice, but no one really owes you anything.
re the burnt friedman question, he's totally wire territory - a bit avant, white, german and not very popular!
and are techno producers "down with the kids" anyway? the only people i know who pay any attention to techno are at fast approaching middle age.
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