Originally posted by bas
Oh I think I can handle the one liners like "it sucks". But you guys completely picked this track apart lol, I'm not even sure I like it anymore.
Nah I still like it. Totally had my own little rave this morning in the car. STILL IN LOVE <3
evo8
I think Matt Edwards would have a right old laugh if he read half the in this post :gsmile:
i quite like this track, its got a great old school housey groove but the "dont you know" vocal does get slightly annoying after a while - good stuff tho
idoru
I liked it and I didn't. I'll give it a few more listens over time, but right now I'll place it into that, "Yeah, it's good, but eh," category.
nefardec
quote:
Originally posted by Kismet7
Because people have to eat man.
no one should produce music underground music for a living, unless you can do exactly what you want without having to compromise it too much, or if you can get a grant or something.
you're never going to get ing benefits from X berlin underground record label, and the 'industry' is filled with flaky drug addicts.
if you try to survive by making music, chances are you'll end up doing whatever the hell you can to pay your rent check, and that's not a happy way to live.
best to have a day job (eg omar s works at ford, henrik schwarz is a graphic designer, ame own a record store, etc, etc) a lot of these guys operate in some other area of the music industry, for instance moritz von oswald and mark ernestus own the hard wax record store in berlin, as well as the conjoined dubplates and mastering facility. several engineers who work there are also artists themselves. Jus Ed owns a landscaping and snowplow business. A lot of artists work in recording studies mixing pop music by day and then make their tracks by night. Several others work in record stores.
But that's besides the point. I'm sure matt edwards digs what he's doing. I guess my opinion comes mostly from the fact that I am generally tired of 'clubbing' and all of its associated charades. I still go out but I am pretty selective about the people with whom I party and the atmosphere of the party.
nefardec
let me put it this way:
I like 'tracks' as a deejay, I play them when I need to. I don't claim that each track I hear when I'm out be some artistic tour-de-force, but musicians are still musicians, still creatives who are playing with pure energy, with the power to inspire.
I just don't hear any inspiration in this track, I think it's a lazy, limp-wristed, and cynical reappropriation of soulful house. To be honest I think Radio Slave produces cynically - I can't claim to know his intentions, but just given the name 'radio slave' and this description
quote:
Last, but by no means least etc, etc, etc, is Radio Slave. Perhaps Matt’s most instantly recognisable nom de guerre, thanks in part to his inspirational melding of Kylie’s Can’t Get You Out Of My Head to New Order’s Blue Monday, this is Matt’s DJ moniker and the guise under which he completes his incendiary remixes and re-edits.
I can't help but think he is another postmodern cynic capitalizing on self-destruction.
here is another quote i really like from hesse
quote:
"Then what does it depend on?/On making music, Herr Haller, on making music as well and as much as possible, and with all the intensity of which one is capable. That is the point, Monsieur. Though I carried the complete works of Bach and Haydn in my head and could say the cleverest things about them, not a soul would be the better for it. But when I take hold of my mouthpiece and play a lively shimmy, whether the shimmy be good or bad, it will give people pleasure. It gets into their legs and into their blood. That's the point and that alone. Look at the faces in a dance hall at the moment when the music strikes up after a longish pause, how eyes sparkle, legs twitch and faces begin to laugh. That is why one makes music."
where as, at best, this track will instruct people to continue to trudge around ed out of their minds at 4 am.
what the does the vocal even mean "dont you know" what? the words no longer have meaning, the sound, the source of the words alone and its obvious (ab)use as a sample say only one thing to me: this is decadent, self-indulgent, degenerate pop music for crackheads
idoru
quote:
Originally posted by nefardec
But that's besides the point. I'm sure matt edwards digs what he's doing. I guess my opinion comes mostly from the fact that I am generally tired of 'clubbing' and all of its associated charades. I still go out but I am pretty selective about the people with whom I party and the atmosphere of the party.
I'm possibly moving to NYC at the end of the year, you wanna go see Matt Edwards and roll!? C'mon, it'll be fun!
On a serious note, though, I have to agree with the majority of what you've just said. Not completely on Edwards himself, but the rest I support.
Clovis
I think you're taking the whole thing a bit too seriously.
As for Matt Edwards, he has his own ideas on music, and while I don't agree with all of them I do like many of them, and I can respect the fact that he does what he wants above all else.
nefardec
quote:
Originally posted by Clovis
I think you're taking the whole thing a bit too seriously.
well at least during the 20 minutes i took to write that
it's not like i walk around brooding about matt edwards all day :p
but yeah, when i talk about music i'm usually pretty serious about it
ps if anyone is in nyc you should come check out jus ed on saturday at santos party house. im usually one of the people dancing the most at a party
Yeah lord knows I can take the pretty damn seriously too, you've seen it on here. :p
And I know you like K-Maze too ;)
nefardec
quote:
Originally posted by Clovis
Yeah lord knows I can take the pretty damn seriously too, you've seen it on here. :p
And I know you like K-Maze too ;)
oh yeah k-maze is a good one
another note on radio slave: once i played a college party and some dj whore came up to me and asked me if i could play paul van dyk. i was like, anything you can think of, I probably don't have (honest truth). So I let her see my track catalog and I said, if you can find anything you recognize, I'll drop it right after this track. So she looked and looked and looked, and then finally she's like- I FOUND one - RADIO SLAVE! She had come across K-maze, and it happened to be the perfect moment to drop that track, even harmonically... everyone lived happily after.
also a cool quote on drug-influenced music from Kodwo Eshun's "more brilliant than the sun: adventures in sonic fiction"
quote:
Phuture's enthralling 'Your Only Friend' is acid's sequel to Jams Borwn's '72 'King Heroin', the electronic update of Roland Kirk's '69 'Volunteer Slavery'. After the pusher sells you to the Drug, the Drug sets you to work as a mule, sends you out into the world programmed like a medium at a seance. The drug becomes teh clock which keeps time in its universe of unending servitude. In a Voice pitched down into the Vaderized groan of a Designated Despot: 'This is Cocaine speaking, I can make you do anything for me.'
Acid's 303 delivers you up to the Kingdom of Cockayne, accelerated into a powder paradise of endless cocaine. To dance is to be drawn helplessly into what the track warns against. Acid's sternest injunctions - 'You have been warned, I'll take your life' - incites more dancing, not as a release but as voluntary slavery, dancing your way into a new constriction. You're willingly abducted by Acid into the Despotic regime that never sounded so good before
Enthralled by frequencies, you're modulated by sensations of aggressive evasiveness and attacking elusiveness. You shed your life as easily as a snake shucks its skin. Slip from the morals inculcated into your muscles. The Voice of Doom decrees its death command: 'Take a shot from me/I'll make you fly/Take too much from me/I'll make you die.'
ps I highly recommend this book ^
Kismet7
quote:
Originally posted by nefardec
no one should produce music underground music for a living, unless you can do exactly what you want without having to compromise it too much, or if you can get a grant or something.
you're never going to get ing benefits from X berlin underground record label, and the 'industry' is filled with flaky drug addicts.
if you try to survive by making music, chances are you'll end up doing whatever the hell you can to pay your rent check, and that's not a happy way to live.
best to have a day job (eg omar s works at ford, henrik schwarz is a graphic designer, ame own a record store, etc, etc) a lot of these guys operate in some other area of the music industry, for instance moritz von oswald and mark ernestus own the hard wax record store in berlin, as well as the conjoined dubplates and mastering facility. several engineers who work there are also artists themselves. Jus Ed owns a landscaping and snowplow business. A lot of artists work in recording studies mixing pop music by day and then make their tracks by night. Several others work in record stores.
But that's besides the point. I'm sure matt edwards digs what he's doing. I guess my opinion comes mostly from the fact that I am generally tired of 'clubbing' and all of its associated charades. I still go out but I am pretty selective about the people with whom I party and the atmosphere of the party.
Nefardec, your a good guy, but again I have to say your being idealist when most producers are thinking about their reality. They're thinking about making music and also being able to put food on the table. That underground stuff to me is borderline fairytale in today's society and today's economy. That underground scene that an artist is to be selflessly underground doesn't even exist, so what is there to be underground about? Most parties these days you go to are witnessed by all sorts of people because of the internet and the way parties are thrown. And as far as distribution and accessibility its easy to both distribute and access music today.
That said, your basically saying the same thing i've been saying. The only time an artist can afford to be "underground" or purely artistic is when they have their finances in order, come from old money, or have a full time job. You follow Omar S and hes an example of this, but even he WANTS to eat more and knows he can be eating more, he says its all about names and has gone from putting music out just on vinyl to also trying to get money that he could be getting through digital sales. So even though he has a job and his kids have health care and what not, an artist still wants to eat. That "underground" idea is a fantasy to me. Personally, at the moment music is something fun for me and a means for expression and communication and maybe SOME money someday. I actually went back to school and getting a degree in Finance and plan to be a market analyst or hedge fund manager, cause thats what i'm good at, analyzing things, whether music, society, or markets. So yah i'll be doing the career + music route, because like I said i've studied the music market and know better to not rely on it solely.
That said, there is nothing wrong with artists being purely artists and being able to eat off their work. Why shouldn't someone be able to make music and be able to afford a living if its available? Because they wouldn't be something that doesn't really exist anymore like "underground"? Wouldn't you want an artist to focus on his music and not water down his focus to making great music by having to worry about his job and finances? I rather see an artists create a position for themselves where they can put out music that actually sells and allows them to live a decent life, even though im going the career+music route myself.
I don't know if you listen to Indian Music or Carnatic Music, but some of the best music in the world comes out of India, why? Because they spend countless hours a day practicing their craft, for years on end under an Ustad or what Americans call Guru. Their whole life focus becomes their craft, and the results are amazing. And their listeners are purely there for the music and the art of it, listening closely until they are etranced in the music, and probably have the most rewarding listeners that appreciate the music religiously. So if your looking for people who are dedicated to their music at a religous level, and listeners who are dedicated to the music at a religous level, look no furthur than Indian Music.
Besides the music being brilliant, if you notice, at the 3:30 mark the string breaks on his Sarod, the Tabla player keeps the rhythm, and Ustad Amjad Ali Khan fixes the string rite then, and goes back to the trance state he was building.
Ravi Shankar playing Raag "Darbari" on Sitar alongside Zakir Hussein's father Ustad Alla Rakha on Tabla.
