There are musically-talentless hacks in many genres.

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nope.

find me one example of a shitty cover band that has been hyped to fuck that outsells the actual band. EDM is the only genre were people like aoki can exist. Even Paris hilton sang on her albums. The producer for Milli Vanilli was the one that got paid. It truly is unique to EDM.

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quote:

Originally posted by Looney4Clooney nope. find me one example of a shitty cover band that has been hyped to fuck that outsells the actual band. EDM is the only genre were people like aoki can exist. Even Paris hilton sang on her albums. The producer for Milli Vanilli was the one that got paid. It truly is unique to EDM.

Aren't orchestras technically just cover bands?

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nope.

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old stuff from days gone by (2001-2004)
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quote:

Originally posted by Looney4Clooney A smart dj would have their own app you can download at the show before which would not only list latest shows but also broadcast the tracks played and were to buy them.

I think Desyn Masiello did this a few times.

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I'm actually surprised that it took this long to happen. It was a logical step. Beatport is in the business of selling music. Producers are in the business of selling music. This will sell more music.

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When I bring my girlfriend to parties she'll occasionally bust out her phone to try to get a track id with shazam if I don't know it and it really appeals to her. Maybe 2 or 3 times over the course of the party, maybe less or maybe a bit more depending on how much she's enjoying the tunes. I think it's great, to be honest - for many of the reasons previously noted in this thread...It doesn't always work, but occasionally it does.

We were at this Suol label party 2 weeks back or so and she used Shazam to id Tomas Barfod - Till We Die. She's since bought the album on vinyl to play at my place and on cd for in her car haha. It's a great tool. I don't think there's any denying that.

@L4C

You're clearly detesting today's business model of the industry, and you brought up some valid, if not hopeful much, points.
But let's take it by steps.

Firstly, the way that a lot of EDM products are presented, and I mean techno in particular, but also a good amount of house/tech house/deep house etc., are not consumer friendly, at all.



If you'd ask me, (and I would bet by a long shot if you'd ask many others), I'd never buy this record on It's own, unless I'm a DJ or I fancy record collecting. It's an unedited, DJ friendly version, completely empty on it's own, It only suits the DJ's set.
And that is true for the piles of records being released today.

Second of all, The majority, the big majority actually, of the DJ's that are somewhat popular, from Tini and Martyn, to Soth Trexler and Talabot, are all producing, either making single ep's and records, or albums, they use their name and stage to present their productions.
I don't really remember the last time I consistently heard about DJ's that are out there in the open, and they are just Jockeying, and are as selfish as you say.
In order to make dance music, and be able to sell it, you have to be conceptual, make an album, sell something that is listenable for the consumer, or have the stage to present it on, you won't be able to sell in numbers the format I talked about above.

Thridly, DJ's are not what you describe them as, again, they are talking about, and presenting, the next production they think is great, i.e. Seth troxler presenting Ben Pearce, Heidi fussing about George Fitzgerald, etc.
Today you have websites like RA to constantly promote new releases and fuss about what's good and hipster friendly, and you have the labels that, It's their very job to do so.
If you want to look at a relatively successful formula, look at Armin and Armada, his Radio show is a platform for promoting artists and his own label, but again, It's much easier for something as friendly (relatively) as trance music.

Note: Though once you actually put your cards on the table, like in A state of trance, you basically offer your music for free, which decreases record sales. But increases gig revenue, for Armin, and for the other producers.

To conclude, I don't see a way in which dance music can be sold in numbers, Skrillex too, doesn't sell records in numbers, he's gigging, and If you ask me, except for the odd consumer, Shazam isn't going to help in sales by THAT much, but It's going to help.

Oh and a small edit, I would just strongly suggest to artists that are talented and want to break through, I personally love the format of live shows, I think it's great, I think what Nicolas Jaar does is great, and what Guy Gerber does, It's a different experience, hugely self promoting, and very entertaining, I think It's the perfect form of presenting today's electronic music without doing it on wax or internet.

TLR in the end..

quote:

Originally posted by Alero50 If you'd ask me, (and I would bet by a long shot if you'd ask many others), I'd never buy this record on It's own, unless I'm a DJ or I fancy record collecting. It's an unedited, DJ friendly version, completely empty on it's own, It only suits the DJ's set. And that is true for the piles of records being released today.

Apart from a few very talented techno artists and psy/ambient I usually find most EDM far more enjoyable to listen to in sets. Sets are also free. It's simply a matter of the way the music is made. It's not much fun to listen to techno albums with filler or 3 track EPs. That's simply the way the music comes out.

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"Apart from a few very talented techno artists and psy/ambient I usually find most EDM far more enjoyable to listen to in sets. Sets are also free"
that further proves my point doesn't it.

As for techno albums, listen to Barker and Baumecker's album.
And assuming your subjective taste is a standard setter, then we would just need them to further improve their album concept, wouldn't we.

P.S. That post is not limited to techno.

Also Voices from the lake comes to mind, although It's cotton candied to death

One of the main reasons for not listening to sets is the lack of playlists, for me personally. It's beyond frustrating to try and find a track for 6 fucking years (Ricardo Villalobos much?). I think this can be helpful in many ways.

Except for a few ones which are posted by regulars here from time to time, I never listen to sets.

quote:

Originally posted by Alero50 @L4C You're clearly detesting today's business model of the industry, and you brought up some valid, if not hopeful much, points. But let's take it by steps. ..

not at all. I just notice certain things that are unique to dance. And since this was about record sales, i explained briefly the issue and why sales are so low compared to any other genre when it is arguably the most popular genre on the planet right now.

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"This is why Superman works alone." GC
old stuff from days gone by (2001-2004)
Mad For Brad's gay little contest