Coffee, Electronica and 2007
December 11, 2007 at 2:40 pm
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Anybody who listened to your music might expect you to reference Kraftwerk?
All I’d heard was The Model, which had been in the charts. Until I signed for Rephlex and someone put on Computer World. I was well into that, but I didn’t hear that until about 1992, by which time I’d already written Tango N’Vectif. So Kraftwerk’s not a big influence, but I really like their production, it’s wicked. Their tunes are totally wicked as well. - Mike Paradinas/Mu-ziq, 2004 interview.
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“Interesting Electronica Albums 2007”
01. Skream - Sub Island
Box Of Dub (Soul Jazz, 2007)
02. The Tuss - Rushup I Bank 12
Rushup Edge (Rephlex, 2007)
03. Kettel - Zutphen
Whisper Me Wishes (Djak-Up-Bitch (DUB), 2007) (wiki)
04. Venetian Snares - Husikam Rave Dojo (wiki)
Pink + Green CDM (Planet Mu, 2007)
05. Kieran Hebden And Steve Reid - Our Time (hp)
Tongues (Domino, 2007)
06. Boxcutter - Windfall (hp)
Glyphic (Planet Mu, 2007)
07. Tigrics - igric
Synki (Highpoint Lowlife, 2007)
08. Burial - Dog Shelter
Untrue (Hyperdub, 2007)
note: I ‘ve been wanting to explore electronica but keeps getting bogged down by things. So here is my very first all electronica post. Favorites albums and tracks from 2007. Everybody in there is from UK labels. I haven’t found any recent albums I like here yet. I need to figure out why. Kettel, Venetian Snares, and Kieran Hebden don’t need introduction and their albums are well regarded. “Box Of Dub” is a compilation filled with recent mix of UK underground sound. Boxcutter, I am surprised is not being mentioned more often after everybody picks Burial’s Untrue. I like how Glyph beats come and go on top of the dubby voices instead of solid wall of pounding beat. Haunting and sweet. It has slightly richer sound than typical electronic album without leaving unpredictable beat that makes IDM beat charming. Well, I tried to put most representative tracks from the albums that I like so you can work out the album sound yourself. enjoy.
Another interview
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mike: yeah, astralwerks said that they would release it, but i’d make more money doing it myself. basically, i wouldn’t get any money if i released it with them. as before, i had no money from astralwerks releases. it sucked. i’d get such a small amount per unit. ten cents per unit.
it works very differently for major labels because they have a hold over the chain stores. when you’re independent, you can’t get as many copies into shops. but with bilious paths, we’ve already pressed up more than anything we’ve pressed before, so that’s a good start. i don’t think we’ll sell 40,000, but i’d love to sell 20,000.
in america, you get hardly anything back per copy, even compared to everywhere else. everything costs so much, but the manufacturing is cheap in america, so that’s why we’re manufacturing it in america. the press costs loads. it’s so expensive. but shops won’t take your records unless you have a press company. magazines won’t always want to review you and if you’re dealing with a press company, they won’t like dealing with unsolicited stuff.
ben: bilious paths will be the first release on planet mu records from µ-ziq. how has that altered your expectations for the album?
mike: god knows what that question means. i always wanted it to be good. musically, i had expectations. sales-wise, i dunno, i started writing it when i was still on virgin (astralwerks), so….
ben: this album has been in the works for quite a while, since royal astronomy?
mike: yeah, since 99….some of them are even older. i’ve updated some of those.
ben: your own catalogue of music, whether as µ-ziq, kid spatula, or jake slazenger, has revealed signature qualities, which are uniquely mike paradinas. do you think it’s more or less difficult now for other artists to distinguish themselves from everybody else? if so, why?
mike: well, there’s been so much music. i mean, since electronic music, dance music, the scene that started in 1988 in england with acid house, there’s always been other explosions of other artists, there were acid artists then there was rave, then aphex-type stuff which sort of came around ‘91 or ‘92. it’s now saturated, because that’s the sort of music of choice for people who want to make computer music.
http://www.klangforschungost.org/forum/printthread.php?t=522
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According to Allmusic The Tuss is actually Richard D. James himself (aka Aphex Twin). Kind of obvious once you know it…
So I’m considering this and the past post as your “best of 2007″. I’m very surprised about your Radiohead inclusion seeing that you didn’t seem to have a favourable opinion on it some weeks ago. I wont be doing a “best of” year in electronic songs (would take me ages to finish) but I think that maybe following could fit up here within your own selections:
Black Dice - Roll up
Deepchord presents Echospace - Empyrean
Sunburned hand of man - nice butterfly mask
Do lists with those tracks…
I still have to write my “best of” album for BF. (it’s pretty much my usual suspect.)
I’ll post another end of year (a little like best of, but in usual post form)
after that it’s pretty much 2008. (2008 list,) and start doing electronica albums and hardcore (best of)
But my schedule is going to get a little erratic soon. And yeah. I am considering radiohead album part of 2007 since you like it so much. lol. I am not that crazy about it. The next list probably comes with all the tracks I consider edgy… but probably outside what MdM is normaly doing.
An excellent post. the Burial album is my favourite one of the year, and am loving the other Dubstep stuff I have heard too.
Cheers for these, Ed, 17 Seconds
Heya Ed.
yeah another good album is Planet Mu 200 compilation. (as a celebration of their 200th compilation) It has various artist and gives overview what they’ve been up to.
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Gummi,
Yeah Tuss is Richard D. James.
I think key people in Rephlex records is signed using pseudonym.
http://groups.google.com/group/alt.rave/browse_thread/thread/2b1d14ae853ba101/7a4d8b6191bb3e55?lnk=st&q=rephlex+manifesto&rnum=1#7a4d8b6191bb3e55
Our intention is that all
these people will work with us under pseudonyms: it is very important that
our music (past, present and future) sells by its own merit and not for
licencing or production credits. We place equal importance in the evolution
of fresh artists on the scene however (see our discography for details) and
we aim to offer a fairer contract for everyone.
We have an extensive mailing list for DJ’s - especially in the extremes of
the country (all our staff hail from Cornwall and we are all to well aware of
the difficulties in obtaining any kind of diverse recording in such parts). We
also run a mail-order department for back catalogue and merchandise
(slip-mats, T-shirts etc) and all correspondance is answered personally -
though replies can take a while!
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