| hax-a-million |
http://news.beatport.com/blog/2012/...ing-cntrl-tour/
long article so i'll just paste a few quotes that stood out to me... highly suggest reading the whole interview though
| quote: | | At the end of the day, Ibiza is again like Plastikman, like Minus, like any of my other projects. If you believe in the project, you invest your time, your energy, and your money into it so that you can fulfill the idea and the dream that you have in your head. And I think many of the people that I feel are at the top of their game and really delivering incredible experiences are always investing more money back into it, because these things, they’re not money-making machines that everybody thinks, especially our night. It’s not us showing up and plugging in two turntables or a computer and playing. There’s a load of things going on behind the scenes to create that experience for people. |
| quote: | It seemed like there was a lot of those kinds of risks, which is what—I mean, obviously it’s what always sets you apart musically anyway—but that’s something that I think people really focused or would focus on. I definitely did, too, and I thought, “Wow! This is really cool that this is happening.”
You know, even some people in the beginning, they thought we were crazy doing the pre-parties at the sake bar and having Dubfire, Maya Jane Coles, and myself in a small room for 250 or 300 people. It was about changing some of the conceptions of what Ibiza is or is becoming. I think it’s a strange situation because it’s been incredible in the last 10 years, but it is changing with the rise of VIP culture and another influx of a more commercial music, these huge clubs now which are a little bit closer to Miami or Vegas style than the traditional Ibiza style.
There’s a place for all this, but it is a time where I think the underground gang of people need to tie themselves together and offer quality shows. That’s why we’re big supporters in what Cocoon are doing, supporters of—well, pretty much everyone—but why we also aligned ourselves and did a special night with Sven, we did a special night with Luciano, and I think you’ll see more of that next year. |
| quote: | It almost seems like—I’m just thinking about all those points of reference, and it feels like you’re the Neil Young of electronic music for Canada or something [laughs].
I don’t know [laughs]. But I think Caribou and Deadmau5, and even some other people, these people have been developing out of my radar. How did they find my music? And it’s interesting that that inspired them. I think it’s just showed me that electronic music is so wide that with all these new people getting into it—young kids, old kids—there are so many stories to be told. And if we don’t tell our story, if we don’t give people our perspective, and I mean like—I don’t know if we want to call it “underground,” but this kind of techno/house perspective—then who will? If no one does, then that influence won’t be on the blueprint of the music of tomorrow. |
| quote: | When you talk to younger producers coming up and stuff, what do you find are the things that they’re most lacking in terms of experience and knowledge?
I think they kind of expect what we’re just talking about. I think everybody is in such a rush. Music-making is relatively easy these days. You download a program and you’ve got Ableton or something else running and the time lapse between the first idea and the end result is so small. So I think kids are in a rush where everybody wants to get on the main stage, but there’s a certain beauty and purity to making sure you’re putting in your 10,000 hours to really become an individual.
You’ll actually see the logo of CNTRL is a fingerprint which is a combination of a fingerprint and a circuit board. And the idea behind that is that our fingers kind of connect—are our connection point to technology that allows us to transfer our creative ideas through this technology and come out in a beautiful way in the end, whether that’s music, electronic music, or whether that’s technology-based painting or whatever.
But the other important idea behind that logo is not that it’s only our connection point—it’s that we can only go to a greater level. We can only go beyond other people and become a great artist if we become—if we find ourselves individually through that technology, that idea that we all have, we can all be uniquely identified by a fingerprint is very important—that we should be able to be uniquely identified by the creative output that we make with technology.
That to me seems like a nice way of summing up what I see as being the major issue with young producers—not being able to define themselves in…
It’s all about originality. It’s originality, putting the time and the dedication and working hard, and finding your own fingerprint or your own blueprint. If you don’t do that, there’s no way—there’s no quick way to do that. You may make a hit song with your first or second Ableton session but that doesn’t mean that’s going to take you five or 10 or 20 years in the future. It’s finding your own individual sound. |
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