Giving Life Back To Music?
Could I be quiet about the Daft Punk hype? No I couldn’t.
They make some great points: “Technology has made music accessible, but when everyone can make magic, it’s like there’s no more magic”.
And some of the songs on “Random Access Memories” are indeed magical.
However, have we crossed over to the complete opposite side where we are now considering what is essentially a funk album as the saviour of Dance Music?
1605 Ways To Deal With Christian Cambas
You can check it here: http://www.beatport.com/release/1605-ways-to-deal-with-christian-cambas/818733
Carl Cox, UMEK and me!
OK, time for me to get emotional. Carl Cox was the first DJ I ever opened up for. That party also marked my first proper gig as a professional DJ, so it was a pretty lucky break, if you ask me :)
Over the years, I played with Carl once or twice again, I can’t really remember. And of course, I have done quite a few things with lord Umek who is the nicest guy in the business. So this past weekend, more than 10 years after the first time I shared the stage with Carl Cox, we played in my hometown of Athens, with a lineup that summed up a lot about what we know about Techno and Tech House these days: Carl Cox, Umek, and Ramon Tapia. And it was a fucking blast. It was fun.
From Start To Finish
Today I listened to a whole album. It wasn’t a planned “aural experience”, I just had my iPod with me while walking around, and on my way back home I realized that I had listened to the whole thing.
It’s been a while since I’ve done that, and it’s been a while since artists of any genre made an album that you can actually sit through and enjoy. (This one wasn’t some classic album from yesteryear, it was very recent and nothing groundbreaking, genre-wise.)
In our short-attention-span, singles-driven market, does a full album even matter?
Sabotage Records Is Back!
After almost a year, I have decided to relaunch my Sabotage label. The reason I had paused it all this time was that I wasn’t really feeling the whole direction that the sound was evolving towards.
On one hand, I wanted Sabotage to reflect the style that I play, but on the other hand, I didn’t want to release tracks that sounded exactly the same. Also, quality was a great issue and I did not want to put anything out that would not satisfy my loyal Saboteurs 100%.
Behind the scenes of my “Traffic Dreams” music video
Directly to the fans!
For those of you who buy tracks, would you prefer to buy them from the usual places (Beatport, iTunes, etc.) or would you like to have the option to buy directly from the artist himself through his website/Facebook/whatever page?
As always, let me. know :)
The cash cow is falling on my head and I want mommy.
Certain high profile DJs are “taking a stand for EDM” as if they’re talking about Punk Rock or some activist movement. In reality, a mere fraction of the people involved in the EDM scene today were around 20 years ago, “paying their dues”, as they claim. Plus, 20 years ago no one was paying dues because they had no idea what to do. People are even trying to portray the U.S. as having proto-rave culture.
So now the big boys are crying over the media drug outrage caused by their TicketMaster-fuelled success? Don’t bite the hand that feeds you, man.
Alias Or Not?
Here is today’s pondering:
When an artist decides to branch out into another genre for something such as a side-project, is it better to use an alias or to use his already established name?
On one hand, an artist might want to show that he is able to work in various styles, and keep his name to prove it. On the other hand, however, some of his die-hard fans (which every artist has) might become upset or feel betrayed by the fact that their favorite artist now does something totally different.
Any thoughts on this?
I’ve been listening to a lot of music lately. Not just my usual burn-out sessions with Metal, but electronic stuff as well - surprisingly enough.
There is nothing more refreshing than hearing a track pumped out by some young kid which literally serves as a slap to the face of producers who think they are hot shit. For example: Effortlessly whipping up a beat that would make most bling-flashing hip hop producers green with envy, before going head-on into a dubstep frenzy. Or some Techno kid slowing things down just enough to get the Deep House heads crying back to Berlin.
Bring it on!