yeah i definitely thought about that factor. i guess im mostly just confused about what he said. haha. i dont like to hear when musicians claim they don't think they need to push the boundaries of composition and stuff like that. he just seemed a little bitter, and shot down every attempt of a compliment by the interviewer. but yeah, like you pointed out, it could just be translation issues.

quote:

Originally posted by Adam420 No I definitely realized that as I was reading the interview. And I understand that a lot of Germans are not too happy about what has essentially been the internationalization of their very own scene. I think a lot of these guys are very uh, German, if you know what I mean. EDM has always been very big in Germany. Some have found success by exploiting that, while others haven't. Success, meanwhile, found some, like Mr. Shed here, because the outside world had discovered them. His music is very introspective. It doesn't look to outside influences like the majority of other producers do. But saying that he doesn't care what happens to techno, I dunno that's a bit harsh. If techno wasn't cool then he wouldn't be cool. Just saying.

The thing is though, he was right about a lot of stuff. At the beginning of the second coming of "mnml" the stuff was well produced and pretty good albeit stripped down. This fad created an avalanche of mp3 labels with 0 originality and a gaggle of internet djs that all played the same tracks. ZZZZZZZZZZZZZZZ.

The same thing is happening to all the stuff that has the word nu before it right now. there is nothing really nu about any of it, and as much as i enjoy some of the disco stuff, you will see the guys making it (or for the lack of a better term stealing older tracks and calling them their own)say the same thing about nu disco when they switch to another genre.

good techno is still being made, but 99% of it is absolute shit and watered down tracks with no new ideas produced by people who don't give a shit/lack the talent to make very little sound like a lot aka the biggest skilll for a good techno producer.

Last edited by IL Duce on Sep-17-2010 at 15:30

quote:

Originally posted by IL Duce The thing is though, he was right about a lot of stuff. At the beginning of the second coming of "mnml" the stuff was well produced and pretty good albeit stripped down. This fad created an avalanche of mp3 labels with 0 originality and a gaggle of internet djs that all played the same tracks. ZZZZZZZZZZZZZZZ. The same thing is happening to all the stuff that has the word nu before it right now. there is nothing really nu about any of it, and as much as i enjoy some of the disco stuff, you will see the guys making it (or for the lack of a better term stealing older tracks and calling them their own)say the same thing about nu disco when they switch to another genre. good techno is still being made, but 99% of it is absolute shit and watered down tracks with no new ideas produced by people who don't give a shit/lack the talent to make very little sound like a lot aka the biggest skilll for a good techno producer.

Sadly, I agree 100%, and I'll admit to sometimes being too lazy to dig through enough of it.

On a related note, has anybody else noticed that with each successive fad, we keep getting slower and slower music? It wasn't too long ago that the cool kids were playing near 130, and now, even 120 seems to be a bit of a stretch. I guess we're headed toward a sweeping obsession with chill-out and ambient, where people can lament even more loudly about the disappearance of "dancing."

p.s. Jay, leave Soul Clap aloooooooooooone

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different drugs of choice = different bpms.

i'm not singling out soul clap at all, there are more guys making disco and funky house right now doing nothing more than a 5 minute edit of an older track than soul clap.

quote:

Originally posted by shaw On a related note, has anybody else noticed that with each successive fad, we keep getting slower and slower music? It wasn't too long ago that the cool kids were playing near 130, and now, even 120 seems to be a bit of a stretch. I guess we're headed toward a sweeping obsession with chill-out and ambient, where people can lament even more loudly about the disappearance of "dancing."

I think Jay is partially right, and the demise of good E and the popularity of new drugs, especially ketamine, is responsible. But I also think the colonisation of bloggers and hipsters who simply don't have any interest in dancing is partially responsible. If Pitchfork jumps on a record it will send its popularity through the roof, because there is a ready-made market of people who will buy into blog-hype.

You're right though, there is definitely a lack of credibly energetic dance music around. Apart from niche styles like prog-psy, 130+ is a graveyard.

As for Shed, I don't see the problem. The guy says he really likes techno, he buys techno and he makes techno, so it's not like he doesn't care. He simply thinks most of the stuff being made is shitty, and he alone can't save it. He seems incredibly down-to-earth and pragmatic and just because he isn't name-dropping and gushing about how passionate he is, he apparently has no "appreciation".

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> DI.FM 26th Anniversary Guest Mix [Progressive House]
> Live @ Dance:Love:Hub London, 11.10.2025
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> Dance:Love:Hub Afterparty (The Return) 23.11.24

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INTERVIW

god fucking damnit

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One of these days I wanna do an interview as Shed. Maybe for Halloween.

In America

quote:

Originally posted by IL Duce different drugs of choice = different bpms. i'm not singling out soul clap at all, there are more guys making disco and funky house right now doing nothing more than a 5 minute edit of an older track than soul clap.

I have a hard time believing that that's all there is to it. I'd throw in age, size/type of available venues, as well as a growing (for whatever reason) interest in more extensive and conspicuous sampling (relying on music that, in large part, is much slower). Toss out some other ideas.

And I'm just preempting the inevitable mention, even if they're deserving of the criticism.

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