Tuesday, 12 March 2013

INDIVIDUALISM & INTEGRITY FROM XRIS CUNNINGHAM VS WARREN BUFFETT



INDIVIDUALISM & INTEGRITY FROM XRIS CUNNINGHAM VS WARREN BUFFETT

Integrity: noun
1.adherence to moral and ethical principles; soundness of moral character; honesty.
2.the state of being whole, entire, or undiminished: to preserve the integrity of the empire.
3.a sound, unimpaired, or perfect condition: the integrity of a ship's hull.


For those of you who are unfamiliar with Warren Buffett vs Jay Z for for FORBES a while back here you go:


Having fun doing the Jigga sign are we?

 
For those of you unfamiliar with what I think was the coolest video-maker of the late 90’s early 00’s Xris Cunningham’s work here you go:


AFRIKA SHOX:         


ONLY YOU:

And of course 'come to daddy' by Aphex Twin. (soz windolicka):

 
Just this week I came across two interviews by these two that had bits of inspiration for the independent musician trying to get paid, get a deal or recognised.  And even though Chris and Warren are at opposite ends of the popularity/fame/financial spectrum they both herald the view that we should be single minded in our pursuit for what we are doing. 

But first let's listen to this track on integrity before riches by NEW JERUSALEM EDUTAINMENT  - (15 plays so far):

Warren Buffet On being Individual (listening to yourself):

"You have to be able to think independently, you have to be, you have to be, when you come to a conclusion you have to really not care what other people say, you have to follow the facts, follow your reasoning. And that's tough for a lot of people, that part I think I was really lucky with, I was born that way."

Later he says:

"I cant really tell you the answer, I didn’t learn it in school or anything, it never bothered me when people disagreed with what I thought as long as I felt I knew the facts, there's a whole bunch of things I don’t know a thing about, i just stay away from those  (laughs), so I stay within what I call my circle of competence."

 
I chose this bit of an interview by Warren Buffett for Forbes, not only because he is cool enough to accept to be jive talking or making himself look smarter than he already his next to Jay Z, but also because he highlights the principles of listening to yourself to breakthrough in your career, social life, and decision making. He is upholding the power of the individual. Albeit by saying he looks at the facts but nonetheless if he got to where he is by not listening to his advisors, and networks of friends telling him expert advice on the consequences of him making wrong decisions then who are we to listen to the nay-sayers around, under and above us?

FOR FULL INTERVIEW:


 Chris Cunningham On Integrity:

(When asked if he would take the offer to direct the movie A.I. after working with Kubrick):

"No. I've been offered some pretty big stuff but if I'd been offered that I would have had a conflict because, on one hand I'm struggling to establish my own identity and I'm a new filmmaker and I've just made a few videos-- I was just finding out what I was about starting to understand my subconscious. I feel like each time I do something I want it to be more and more recognizable that it's me so, by the time I do a film, my films will be as recognizable as someone like David Lynch or someone who's got their own thing going on. So if I had fucking done A.I. that would have been the end, I would have never been able to get rid of that Kubrick connection."

(When asked why he chose to only put half the number of videos he made on a DVD 'masters' collection):

 
"Because [the other ones] are absolute shit. I only put stuff on there that's worth putting on there. In order to make the DVD not seem ridiculously small I had to put a couple videos on there that I hate. I felt like it's my DVD and I want to put something out that isn't gonna make me cringe even though you can't hide anything in this day in age. If there's something you've done it'll be on the fucking internet. But I don't want it on the DVD. I'm sure most people in that position would feel the same way. If you do an album you just want the best tracks on there. Those other videos are like outtakes or experiments."

(On being 'bit' copied by others):

"They say you're supposed to feel flattered but I never do. I'm normally pissed off. I think the thing that's frustrating is [the copycats] normally have a big audience and I don't want those audiences to think that I've copied them-- I don't want someone to come up to me and say, "The robot in your Björk video is copied from I, Robot." The biggest problem is if you do something and everyone copies it, that year becomes known for that look and people get sick of it and you're lumped in with that.

I went through a period of being pissed off at so much stuff looking like mine and that's one of the reasons I didn't do anything for a couple years, because I got so depressed because my style had become so ubiquitous and it made me lose confidence because everything looked like what I was doing. It's pretty rough doing your learning in public, the first video I ever made was the first piece of film I ever made; I'd never made a student film or anything before, the first year of doing videos. I'd do anything to erase those videos but I can't. That's what I envy about people in the 20th century, they could destroy their early work and once they get good they can treat that as year zero. But these days you've got some bastard that'll turn it up on the internet [laughs]. I wish I could dredge up something of theirs and get them back. I'm constantly trying to find ways to make stuff that really neutral. That's something I like about Spike and Michel, they're very neutral stylistically so it's very hard to imitate them but my stuff is very visual so it's easier to copy."

 
I chose this bit from an interview of ChrisCunningham with Pitchfork ezine, because 1# I love everything to do with Pitchfork (as a student of graphic design) but their polls, and 2# because I love everything to do with Chris Cunningham (aside from his 3rd Aphex Twin video).  In this interview I was astonished to read about how Chris Cunningham – probably the most hailed innovator of music video late 90’s next to Hype Williams, Gondry, Jonze – was telling it as it is as an artist, and saying stuff as he would never work with Speilberg though he worked with Kubrick, he turned down lots of offers from famous musicians labels to make a video for them, he wouldn’t even include some of his famed work for a DVD selection and only chose some to make up the numbers, and that it takes he will only work on something if he believes in it. In this interview he is triumphing the creative spirit as something that should not be commoditised.

Signing off:

Rae Burnz

Monday, 11 March 2013

HOW DOES SOUNDCLOUD.COM ALLOW FOR OPEN ARTIST DISCUSSION?


HOW DOES SOUNDCLOUD.COM ALLOW OPEN ARTIST DISCUSSION?


Forget PM's or Direct sending of messages. Im talking open forum messageboard avatar style. Talking back myspace style. Does soundcloud allow this? And if not what is the reason behind this?


Before we become a members of a music do-it-yourself publishing website, we normally look for what suits us best right? 

This could be:
  • Is it free?
  • How much webspace do I get if it’s free?
  • What genre images do I see the most of?
  • Do they have charts?
  • Do they have forums?
  • Can I make money here?
  • Can my music fit it, and will I get downloaded?


If I missed anything please add. But I think most importantly the key thought that runs through our  heads before we decide on selecting one of these music-publishers is: ‘what kind of feedback will I get for my music?’ capeesh!

Here are some of my initial thoughts on soundcloud.com that I made not of:

“Just went to soundcloud. Will be taking pop-corn and the granola bar later. Ok so they have groups, but within the groups the best you can do is compile tracks or ask users to upload their stuff.  No commentary section within the group. In fact all commentary is done via the song itself, the wave form just hangs in the air, and everything revolves around it.

I tried dashboard, and it just leads to my profile and settings. Follow me, follow them, like this, play that. I don’t know where can I ask question?  Where can I interact etc?”

Seems like what I was looking for was an open forum to interact. Must be the soundclick in me, and I am sure soundcloud is probably trying to avoid what happens in open-forums by way of insults, misunderstandings and more talk than music. Judging by the actual showing of the waveform for each recording or track Soundcloud is a music does the talking kind of site I gather.  But music needs to talk back, it was just strange to me that even on the groups (I was thinking YAHOO groups), there was no facility to have discussions on uploaded tracks that fit into a collective.

Is there an arena or facility on soundcloud to let all that are followers know that you will be coming up with new tracks, promotions, tours or do they leave that part to the embedding of facebook/twitter links?

In saying that, they do have an email notification of the track, but even then is it like facebook where you get updates and or notifications of what others have said on the track (you are following).

Giving feedback on most of these sites are an act of free will most times, sometimes are done with the intention of getting some back, sometimes are done on the more popular bands/acts/musicians to get attention and sometimes are done to give back.  Most of the feedback I read, (and you only have to go to the hottest trap records on soundcloud),  are ‘good bass man’, ‘killer tune,’ ‘sick innit,’ totally awesome, and for the most time even lack the creativity that is used in comments on favourite dubstep tracks on youtube or for an Amon Tobin tune.

Soundcloud for its part does mention in one of their title pages that feedback should be more than just praising of the bass, or the guitar or whatnot, but should be more explaining why you found the instrument to be special, important and what made you like it.
This is commendable, on Soundclouds part. But they don’t as far as I have seen do much functionality-wise to encourage this kind of feedback, and at the moment there is no message/comments board to view.

Though they have groups (I recently joined Ambient Drum and Bass), how can artist talk back to each other in front of witnesses? They haven’t got community forums like soundclick.com, classified sections like artistserver, message boards, no platform to discuss that I have come across so far. And trust me as a fan of 1UDREAD and recently joined the ambient drum and bass group there I think there must be a very, very good reason for this.

Rae burnz

Saturday, 9 March 2013

WHAT SHOULD WE THE UNSIGNED DO WITH NO DEFINED MARKET AND SO MANY GENRES? (PART 1)


THE PROBLEM WITH TOO MANY CHOICES

Which direction should we the unsigned artists take with the so many genres on publishing platforms such as youtube, artsistserver, soundcloud, soundclick, sellaband in our hands?

The benefit as we all know of being signed to a record label is that the fat-cats are marketing experts in communicating the best image for their artists. And with image comes the genre the artist has to fit into.

The pitfalls of this is the control the label puts on the artist to fit within the defined sound and image, which restrains creative control as we saw with both George Michael (I think) and Prince in the early nineties.  The situation with Prince probably started the domino effect that lead to his artist name change.  

So what do we do? The answer instant creation technology has given us is to remix, mash-up or use presets to mimic the established sounds of as many genres at our finger tips.  Using presets from multiple genres I think is a brave thing if the purpose is to find one’s identity, subconscious creativity and establish ones ambition. But it could also be used as a way of just reinforcing the status-quo by trend hopping within these sites to be part of the genre that has the most downloads, chart hits, and attention just as well.

The answer I think is definitely, definitely not pirate remixing or audio-visual mash-ups as the novelty wears off, it's attention-seeking aint sustaining, and currently we aren't on the stage where Wutang and Texas once were at some awards show in 1998.


EVOLVED GENRES

Here are some examples of genres evolving in the 90’s 00’s:

Hip-hop /raga/reggae --> jungle/hardcore/drumand bass/breakbeat --> hardstep/techstep/ liquid funk-step

Rap/Rock/grunge --> Numetal (sorry I could just say the entire Mortal Kombat Film Soundtrack as an example of evolving genres as it used Techno, Goth-metal, rap, and Industrial to an undefinable great effect and probably inspired Marylin Manson eleven years later when he evolved to full-blown Beck-style rap in his 2006 album).

GETTING BIAS

So what do we do as artists to create a new sound and genre movement that we can define and develop in?  Souncloud is trying to encourage this kind of creativity by incorporating a clever kind of editing function called ‘sets’.  Sets is like when your Cubase or whichever computer sequencer you use chops up the wave from one section of a song and patches it up to as many tracks as you wish even with no dj skills.  The possibility this can bring is limited to the feedback the artist whose work is being used in a set gives, or acts on. Which is where things start getting interactive.

Ultimately what I think we need are brave artists that use the advantages of having so many genres to upload their  musical output,  get reviews and encouragement on to go to the next level.

There are two ways I think this can be achieved.

1# DUPLICATING INDIVIDUAL GENRE SUCCESS ON OTHER UNSIGNED WEBSITES

A brave or ambitious unsigned artist is so talented that they manage to get into the charts of multiple genres even though they already have their own genre preference.  The challenge for this sort of artist is to try and test themselves by duplicating the same amount of download and chart hits on another online musical publisher to see if they have this formula and then if so I don’t see why they can’t go far and find something within the genres they have played with to create an  individual but fresh sound that could kick start a movement.

2# MEETING UP WITH LIKE-MINDED  ONLINE ARTISTS TO CREATE FORUMS, GIGS, LABELS OR MANIFESTOS

Use the Reverbnation model of placing event listings and actually meet up where you can with artists that intrigue you, or are incorporating sounds from another genre you aren’t too sure about better than you, or you like their image, their samples etc. On meeting up and talking about studio time, cover art, influences, ideas on the industry etc why can’t an unofficial label be formed if not that at least a commitment to perform publicly? Afterall isn’t that how Sex Pistols set punk on fire, by performing publicly? And isn't that what Amanda Blank, Spank Rock, Diplo, Benny Blanco, Santigold and M.I.A did with their take on Baile Funk, hip-hop, rap, mash-up beats collective? Or the Seattle bands did with Grunge?

I think IM’s and online contact can only take one so far, actualisation and physical presence of the like minded is a logical extension. But only if there is interest. And if they grow perhaps that is where a scene can emerge.

But how do we achieve that? At the moment we may even have some scenes within scenes waiting to be tapped into. 



In the spirit of the label disputes that both Prince (before he resigned in 2004), and George Michael went through for the sake of creativity I'll sign this off with a quote from Kanye West's latest (and greatest) rant in LDN (or how else r we spose' to kno he's in town):

"Creativity fuels everything. I hate business people. People get at me and say, ‘What kind of business can it do? What type of business are you doing? What’s the numbers? How much did you sell? What’s the radio spins? How much shampoo can you sell with yo face on it and shit?’ (Sings) Remind me again why we in this shit? Remind me again why we in this shit? It’s gotta be more than just to get rich. Since when was making music about getting rich? Since when was making art about getting rich? And I know it’s easy for me to say this. And having money’s not everything. And having it is."



Rae Burnz


5 HOT Trap TRACKS ON SOUNDCLOUD





In order of my preference and with no consideration to number of plays, and downloads.



#5  ( Laptop sounding dubstep dragging Prodigy Always Outnumbered metallic crispy, and phaserish track by IMAGIN8): 
Number of Downloads: 0 (as of March 2013)
Public Plays: 286
Favourites: 26  


4# (Self-classified as Dubstep/Trap, and the Dubstep bass is literally in your face in this 1 minute sampler loop by ARIORK):
Number of Downloads: 0 (as of March 2013)
Public Plays: 245
Favourites:26


3# ( Why would Usher eat his heart out to this hoover bass, happy-hardcore vocal and stabbing track by YOUNG MUSH):
Number of Downloads: 240(as of March 2013)
Public Plays: 1511
Favourites:37


2# (Good way to introduce Trap to Ibiza? by ALEXBUSTAMOVE):
Number of Downloads: 1(as of March 2013)
Public Plays: 851
Favourites: 41


1#( Stabs galore in this, and bomfunk MC's freestyler cutups and phasers by HUNNID):
Number of Downloads: 9(as of March 2013)
Public Plays: 1261
Favourites:46


Did you find out anything new about this EDM phenomenon? 

Did you hear anything here distinct that you couldn't hear in already established dance genres?

Can you now say 'I know what Trap music is?'


 After these ten tracks mostly defined and categorized by people like us, I hope you are now better initiated with what Trap is about.  If not just check this:



And if you think I was being unfair to HUNNID's IM BOUT IT, then listen to the stabs in this:



Rae Burnz

Thursday, 7 March 2013

5 RANDOM BUT 'HOT' TRAP TRAX FROM SOUNDCLOUD CULTURE



I give it to Soundcloud for immediately embedding a genre or sub-division for ghetto-tech southern rap edm or whatever fusion you would want to classify as 'Trap'

Unfortunately I didn't see this category of dance music in either the instrumental section on Soundclick.com or the hip-hop off-shoots on Artistserver nor PureVolume or Reverbnation. I think I will probably fare no better on the newly revamped for music purposes myspace.

If you want to know about this evil, but addictive club clanging sub-genre look to features by these guys at topman generation, or see how pitchfork reviewed gucci mane's - trap god - album here.

As for me these are 10 random tracks on the hot list I came across, one even has as much as 14000 listens already. Others are remixes of Harlem Shake (gotta get your 2 cents worth right).

This could actually be one of the emerging scenes that carries more weight and definition from what unsigned artist do with it creatively than the established signed artist do.  Nonetheless let's thank Diplo, Gucci, T.I, Timbaland, and to some extent Will.i.am for paving way towards this fusion.



5 # (This one is the most vocal of the lot by DJ NAPSTY)


4# (One of the many Trap melodies that self-proclaimed TRAP MUSIC.NET have uploaded, if sample cd's were still big....):





3# (self-classified with the tag of baile-trap, hmmm, lazily remixed by BONDE DE ROLE but there is a correlation between the two genres somewhere in there):


2#(Shares syths reminiscent of Moby's Go or Timabaland's JT mixes, 90'ish vocals by KEYS N KRATES):



1# (Ok this track by - LUZCID- isn't exactly a track but more of a set, all hail, it examplifies all that you can do with Trap):


RaeBurnz.

Tuesday, 5 March 2013

Whose style is similar to this?



Whose style is similar to this?

First thing is first, please do not think of any track on Chemical Brothers 1998 album Surrender. Ok with that now out of the way, I will be hoping to take this one with a more open mind.


I will be writing an article on the task of the unsigned artist to out-do their idols. That is develop their craft to such an extent that they would no longer need to hide behind or use their established musicians as their reference point or identity.

This week I came across a track by an unsigned artist who pretty much covers a lot of bases in the ‘electronica’ world. I listen to this track and I can’t quite put my finger as to who ‘out there that has made it’ it sounds like.  The artist is called Uncle Reg. And I will listen to more tracks by them to get a feel of their identity or influences.

HAUNT ME NOW  – UNCLE REG –

Whose style is similar to this?


Haunt Me Now. 

An instrumental piece that goes on for less than six minutes but never feels like it overstayed it’s welcome. 

Ambience-wise it can be likened to the finishing of a post-rave 90’s film –  an come down or the kind of track you would find somewhere in an MTV-2 or M2 playlist.
It starts with a loud and mid to high range frequency covering drone that spans four bars. Along the way it picks up delayed jangles that feel like wallpaper glistening reflections in a rusty and wide underground tunnel. 

There is a melody as there is harmony between four distinct sounds happening at any one time. One picks off where the other finishes still carrying and longing, longing for acceptance?
Then there is the piano break, accompanied by warbles and knocks of all kinds.
Amidst the chunky snares – big beat style, and good down-tempo there is a whiny instrument that I can’t quite place but provides the main emotion in this track.
This track was quite high in the artist server charts for the week commencing February 25th 2013.
I looked further on the song page, and it says it was made by a 60’s organ,  and a fiddle.

Enjoy:

Rae Burnz 2013

Monday, 25 February 2013

ARE ALBUM/SINGLE COVERS ARE STILL ESSENTIAL EVEN FOR THE INDEPENDENT ARTIST? (PART 1)


ARE  ALBUM/SINGLE COVERS ARE STILL ESSENTIAL EVEN FOR THE INDEPENDENT ARTIST? (PART 1)


Okay so once we used to be able to see, smell, and breathe musical activity via live performances. Now if we can’t make it to V Festival to save on the mass spending of £30-50 (or $50-$80)  on individual acts or performers I guess we will settle for digital downloads instead.
Some arguments I have collected by people over 30 is that ALBUM/SINGLE covers in the traditional sense (you know with the front, inlay, back, spine) commissioned and handled by a graphic designers for the sole purpose of promoting the artist, capturing the concept, and giving a message – is an unnecessary expense in this day and time, especially for the unsigned artist.
Here are some reasons behind the argument:
  • Downloads don’t need images
  • You can’t feel a downloaded MP3
  • MP3 downloads are too frequent to spend on cover designs



The album covers I used to take out of the CD when I was a kid, got you to write back, give thanks, order merchandise etc.  The act of visualising and feeling the music was entirely separate than the listening which could be going on in the background.
Now with digital downloads/twitter and interaction like never before why would an album cover still be essential?
  • To conceptualize the artist frame of mind and feeling at the time
  • To give value to the monument of the many cuts, and jams that were going on in the studio – a selection, a shortlist that the artist chooses to release.
How could we remember the differences between Temples of Doom to Black Sunday by Cyrpress Hill? Temples had it’s own tone rightly captured in grainy grey aqua hue blue. As did Black Sunday in sepia.
Or how could KASABIAN (above) get their message across if not for the cover?
How could U2 tell their audience that at the moment POP was what they were thinking if not for the album cover?
If these three examples were executed using Flickr, Facebook Accounts, and or Twitter, would their striking image, shock value at a record shop, and album launch message would be subject to the passing of the tweet, Instagram, and altogether meshed into the many, many levels of information in the social media context?

RB