How is that much different to Sherburne's article?blockup wrote:...just a tongue-in-cheek observation that me and my compadre's started to notice throught the year...
Sherburne's manifesto
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omnipresence
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Absolutely spot on. You can read into it as deeply and as philosophically as you like, but the fact is, the scene works in cycles and this will ALWAYS happen.patrick bateman wrote:psherburne wrote:but blockup, you've got a similar manifesto on combat 88 right here:
http://combat-88.blogspot.com/2008/06/i-play-house.html
So this is the year all the sht cnt boring minimal by numbers DJ's in London jumped ship and started playing 'House' music, but as most of them have no groundings in the youth drug dance craze of the late 80's they are getting it so so so so so so so so so so so wrong...As with the later years of the minimal plod-a-thon they created, they are starting to do the same with a scene thats excisted happily for the last 20 years. So here's a handy guide for would be wankers who want to know how to royaly fck up our night out .
Play what everybody else is playing and make sure each record sort of sounds the same (You know like you did with minimal)
Only play brand new trax, unless its a classic re-release that came into Phonica that week (or Hector played it.) or got re-released by Defected.
Play loads of rubbish anthems at the end...I'll give you Nightcrawlers Push the Feeling On & Delacy Hideaway or for free.
Play every Johnny D track
fck off any funky sht its not moody enough.
Deep House is the key.
There's a certain truth to your points Philip, but you should also be aware, and I'm quite sure you actually are, that the music business is in waves like it's always been.
detroit - chicago - looping mono techno - super minimal cologne style - and then 'minimal' in it's current form for actually quite a long period.... 5-6 years have it lasted, which I find quite long, and it's still here... but as you say, current super hype is 'deep/house'....
but I don't see it as something new that this is happening, it has always been like this and always will.
if it's bad or good? I don't know. Can be both in my opinion.
and as you write, you and I and many else can see who's just jumping the wagon and who's not.
just 2 cents
I don't really believe in manifesto's..
In minimal there are more frustrated dj's + producers than in any other genre I've experienced to date. What ever happened to "do your thing, and do it well!". These "rules" stated in the various manifesto are only there to be broken IMO. Producers should feel free to produce whatever they want and DJ's should have that freedom too because the ultimately the dancefloor will decide who gets to stay and who goes. The only reason simple ableton tracks get released is because some actually make people dance.. which is what its all about. I really dont care how long a producer has spend making the track, this is not important.. as long as it sounds good and people can dance to it.
Why should someone study the history of techno in order to start producing? We are living in the now. What does an 18 year old producer have to do with dance music in the late 80's? He's making music for his generation, so i'm not surprised the older techno hounds are mad as hell.
There is no way anyone can stop the current Italian minimal hype, or the baltic voices over a stripped down house-beat. Maybe we are all sick of it but as long as the dancefloor demands it we will keep hearing this music.
If people want more originality, stop booking and releasing records from people who copycat!
Some say the minimal jar is empty, well maybe it is.. Its had a good 7 years and maybe now people are ready for the next thing. If that next thing is to play your old tracks then so be it.
In minimal there are more frustrated dj's + producers than in any other genre I've experienced to date. What ever happened to "do your thing, and do it well!". These "rules" stated in the various manifesto are only there to be broken IMO. Producers should feel free to produce whatever they want and DJ's should have that freedom too because the ultimately the dancefloor will decide who gets to stay and who goes. The only reason simple ableton tracks get released is because some actually make people dance.. which is what its all about. I really dont care how long a producer has spend making the track, this is not important.. as long as it sounds good and people can dance to it.
Why should someone study the history of techno in order to start producing? We are living in the now. What does an 18 year old producer have to do with dance music in the late 80's? He's making music for his generation, so i'm not surprised the older techno hounds are mad as hell.
There is no way anyone can stop the current Italian minimal hype, or the baltic voices over a stripped down house-beat. Maybe we are all sick of it but as long as the dancefloor demands it we will keep hearing this music.
If people want more originality, stop booking and releasing records from people who copycat!
Some say the minimal jar is empty, well maybe it is.. Its had a good 7 years and maybe now people are ready for the next thing. If that next thing is to play your old tracks then so be it.
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blockup
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drokkr.minimal
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blockup
You can't never wish more than enough for people to have fun and be happy. That's probably the core of my own manifesto.blockup wrote:I'm sure that doesn't need to be said.drokkr.minimal wrote:one thing that nobody seemed to mention...
HAVE FUN
Manifesto's are nothing more (or less) than a code of honour. I can somehow believe that as an artist, you somehow need to go back to your roots or stick things in which you believe in. I like to think there's a bit of that in Phil's text.
One thing that strikes me, so many people HATE Myspace promo/demo submissions. I wonder why its still happening.
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blockup
pheek wrote:You can't never wish more than enough for people to have fun and be happy. That's probably the core of my own manifesto.blockup wrote:I'm sure that doesn't need to be said.drokkr.minimal wrote:one thing that nobody seemed to mention...
HAVE FUN
Manifesto's are nothing more (or less) than a code of honour. I can somehow believe that as an artist, you somehow need to go back to your roots or stick things in which you believe in. I like to think there's a bit of that in Phil's text.
One thing that strikes me, so many people HATE Myspace promo/demo submissions. I wonder why its still happening.
Probably because they get so many.