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Fucking hell there is a lot of music on that site.
pompous opinion that I know my "below the radar" music. You then go on to something like Boomkat and see the huge holes in your knowledge. There's shitloads there that I've not heard of.
Yeah, I've heard of Dinosaur Jr. But that's about it.
Then you get there and realise that J Mascis is in the other 200 bands booked that you'd never heard of and you start to feel better about yourself.
Some of these obscure Boomkat/Wire releases must sell a poultry amount which does make you wonder how half of these artists can afford to make music (day jobs maybe.)
We'll just go on a wild goose chase trying to agree on an answer.
It'll be made by people that think pseudo-artistic process can trump talent and skill; that the means justifies the ends. And it doesn't. Basically like most of the shit that plays at Cafe Oto on a Tuesday night. Yeah, it'll sound cool when you tell your friends about how you went to Hackney and saw this amazing free music band play an hour and half non-stop set of improvised 'music' with Steve Noble on drums (always fucking Steve Noble on drums!); but did you enjoy it? Of course you fucking didn't. It was shit and boring. And you know it, but you won't admit it because you want to look super alternative and sophisticated. More alternative than ATP even - SUPER ALTERNATIVE! Yeah, maybe it was fun for about five minutes that some old guy with a crazy white beard had mic'd up a metal dustbin that he was playing with a saw, but you quickly realise that the idiots on stage have no more clue than you do what they're doing; they just happen to be arrogant enough to think that what they're doing should be seen by other people. It shouldn't. You should go home and thank your parents that because of them you didn't turn out to be a moron with ideas above your station, and think that simply because you once did acid, you dress like a tramp and you live in a shithole, this is some instant gateway to artistic credibility. Because, hey, we've all read 'Down and Out in London and Paris' and half a Bukowski novel, right? Poverty is glamour!
So no, I don't feel overwhelmed by the music on Boomkat. Because I know the reason I haven't heard much of the music they sell on there - and the reason most of it is produced in extremely limited runs - is because no one wants hear it. And that's because it's not very good. So don't feel bad about it. If you like that kind of shit then yeah, that's fine, go and buy it. But there's no need to feel overwhelmed. In that kind of scene, every fucker gets described 'legendary' or 'seminal', and they're not. They use these kind of superlatives to sell you shit records and cover up a distinct lack talent. PR bullshit is all they've got. Hell, some of the old guys are so good at selling their legacy that doesn't exist, and tales of 'scenes' back in the 70s that weren't 'scenes' at all, they should be working at fucking Nike. Because then you can go to your cool friends and say "so yeah, I was bought some stuff off Second Layer the other day. It's this legendary blind guy from Alabama who recorded this seminal jazz noise album in Alabama in 1932. It's been re-released now on vinyl by this collective of Swedish anarchists because they feel that oppression of the black man is as relevant in 2012 as it was in 1932." And you think, "yeah, that sounds cool. I don't mind a bit of jazz noise." And you go home, and you listen to it, and you realise there's a reason that this album hasn't been re-issued in 80 years, and there's a reason only some dumbfuck Swedish anarchists would be stupid enough to do it - *because it isn't any good, or of any artistic worth*.
I know what I like, and I know whose opinion I can trust when it comes to the more extreme ends of the musical spectrum. But just because something is sold on Boomkat, doesn't mean it is intriscally of value. Just as the same way that you can go to the Tate Modern and say that things are shit. Context does not justify bad work. Idiots who apparently know what they're talking about because other idiots say they know what they're talking about does not justify bad work.
So fuck Boomkat for peddling mostly shit music to people with unoriginal PR slogans and the age old idea advertising cliche that by shopping there you're buying your way into some cool, idealised, lifestyle where everyone's a fucking 'creative'. If someone wants to create bullshit, that's fine. But i'm not buying it. And i'm not going to think that buying it will make me look more sophisticated than the 16 year old kid at V Festival for the first time dancing his tits off to the Vaccines or The Enemy or Beady Eye and having the time of his life with his friends just because i'm some cunt that thinks he's really cool sat in a rat-infested, mould covered, piss-stained, shit smelling, 'converted warehouse' in Hackney fucking Wick listening to a record I just paid £28 of my dad's inheritance for because it's super seminal.
Get a fucking blog.
Typo of rage.
who makes music but isn't getting anywhere and is pissed off at the world as a result. Someone who thinks because they took piano lessons and got to grade 3 they should automatically be heard over lesser "DIY musicians". What a load of nonsense your post is. It is like saying you are a massive twat if you go to a local market and buy produce instead of sticking to Coca Cola, MacDonalds, Nescafe and Reggae fucking Reggae sauce. All musicians start off as unknown and with a handful of listeners. Unless they've had a major label hammering on about how this band is going to be the next big thing, before they've even made a track. And I bet all the music you like from your trusted sources passed through the likes of Boomkat before you even heard it. Utter drivel.
what the fuck do you know know about my comprehension skills you arrogant git? After all it is you who doesn't understand something here, not me.
... and that you are an idiot. Mr. "I'm cooler than Boomkat because I've called 90% of what they sell shit". Well done mate, pat yourself on the back. You are no better than the people you describe in your post. Another person on DiS wanting to be considered to have all the answers on music when you are the enemy of it. Of course you will find people who agree with you, because if they are kicking Boomkat what they are really saying is "I know more than Boomkat about music" And just because you have a PC and keyboard doesn't mean you should have ideas above your station and write your drivel - because you hate people like that right?
And I only listen to good music.
Oh, and I use a Mac, not a PC.
... you are probably a social inept person who is resentful of anyone who tries to express themselves in a band because you don't have the balls. Who cares if they get up on stage and make a shitty noise and they don't know what they are doing? It's about expression and a journey of creativity - everyone starts somewhere. They might sound like a tuneless load of crap but get a taste for it and start practising and become a great band. Where do you think your favourite musicians come from, outer space? You are a fucking snob dude, I hate snobs.
Point proven, you pompous pretentious snob. Yeah, you are totally post-Boomkat, wow. Perhaps we should have a parade for you or build a statue in your likeness. My hero.
.... so when junior is banging on some pots and pans and loving those new sounds for the first time, mummy should stomp it out rather than encourage his creativity and turn him into the next John Bonham / Buddy Rich / Animal from the Muppets. I guarantee every musician you worship made a shitty noise at some point. I bet their first few gigs were also pretty shit compared to later gigs.
that's making it for me.
cafe oto, £5 door
I should really stop liking what I like
why is every fucking gig i get invited to these days by some legendary bloke from fucking god knows where that somehow i've managed to never ever hear of before
maybe i just don't care. there's too much music. you should have to pass a test to be allowed to make it
...but that is complete bullshit. There will always be shit music (because it's objective)and just because people don't like/understand some of the more experimental stuff on Boomkat doesn't mean it isn't good in it's own right.
but i mean, i just see the same thing all the time. experimental musicians making a noise with a guitar pedal. it doesn't have any value. i can't talk specifically about any particular release that is on boomkat or whatever. i just think i don't see very much happening that is like "woah fuck", don't get me wrong, i play music as well and my band aren't exactly ground breaking. i probably wouldn't pass the test either. i did bother to learn to play the drums though rather than just sticking a contact mike on a wok
haah, i would fail the 'writing words' test and as well the 'making music' one
there's a lot more to it than just slapping a contact mic on a woc or playing a guitar with one peddle. a lot of this work is based on freedom of expression, and removing the constraints of most music to find a new way to create music. it's about finding new potential in things that would never of been thought to be used before. mixing boards, old record players, sine wave generations etc. most of the people who play at venues are very different in style. some create harsh noise, some are free improvisers, some are sound artists, some are lowercase musicians. there's not just 'the wire' music, there's a massive range of experimental music being made.
a lot of these works aren't just about pure listening, but about conceptual listening. for example, christian marclay released a piece in 1985 called 'record without a cover'. on the piece, it was a recording of him experiementing with vinyl. damaging it, scratching it etc to find new sounds and ways to use turntables. then, when you buy the record he states to keep the record unprotected, just lying around the house. this record then gathers dust and scratches, allowing the original composition to be evolvoing and changing all the time, continuing his original work.
or there's musicians such as derek bailey, who to people who aren't used to it sounds like he's just playing anything and generally having a right laugh to himself. but he's trying to find new ways to improvise that are different to the classical ideas. the music is seemingly random but with an underlying logic to it, just one we're not used to. different notes, intervals, progressions. it's about new ways to create and experience sound and music
made me throw in my mouth a little bit
i genuinly don't understand. you have conceptual art where the viewers is forced to go beyond what he actually sees with his eyes to understand the reason behind why the artist produced what he is and all it's underlying meanings. why is the idea of concetual sound and listening to abhorrent? is it because music is genuinly viewed as a visceral, entertaining & emotional experience rather than a cerebral one? why is the idea of using your fucking brain to understand a piece viewed with such suspicion and hatred
was the choice of words really, but whatevs.
i am talking about people who think they can just hit a wok for twenty minutes. i've been to and even played at noise and improv gigs, i'm not a total noob to it (although i'm certainly no expert either) but i do just see people making bad sound, badly and with no thought. it's not on.
but there's also shit rock, shit folk, shit techno, shit indie etc etc etc, but you don't see people acting with the same hyperbole about that. yeah you get people complaining about macho rawk types and indie bed wetters, but you don't see people trying to undermine the actual foundations of that kind of music. there's good music and bad music, but because you haven't seen any good noise or improv live, doesn't mean improv and noise is intrinsically shit
GG seems to think just because something isn't produced in large runs it must be shit.
It's deeply unreasonable to expect everyone to have the same opinion musically. It's also deeply unfair of you tar everyone with the same brush because they listen and enjoy something other than you.
I won't lie, I'm not about to listen to improv jazz stuff at home but I've seen it live and it's fascinating. Maybe that is because I go to gigs with an open mind....
And I go to gigs with a closed mind. I pay money to hear the hits, not the b-sides (unless i'm watching Oasis).
people undermine stuff they're not into. that happens all the time. some people well take the piss out of rock music etc
that loses it's emotional or aesthetic value to become something more cognitive is really really shit art. stuff can be cognitive, fair enough, and it often adds a whole new level to it, but if it looks shit or it sounds shit then i don't care.
but there are other ways to respond emotionally to an art work. if a piece is more brainy than brawny, it connects with you in a different way and an emotional response can be drawn from that. so, say for example. you listen to this piece by blind willie johnson http://www.youtube.com/watch?v=BNj2BXW852g. it's visceral, it's heart breaking, it grabs you from the start (especially if you know anythin about his back story). then take this video of derek bailey & evan parker http://www.youtube.com/watch?v=9VkeiKqc-xc. you can hear them two throughout it, responding to each other, testing the limits of where the other musicians wants to go and how to get there. and to me, watching two musicians in this situation is that as emotionally thrilling as the blind willie piece. it just takes a
meh, maybe i'm talking pretentous nonsense who knows
what does this mean?
and good show! Hear hear! Yes! Gerogerigegege!
from a legendary noise artist.
and as such it has been brilliant for me. Love it. DOn't use it as much these days mind. The gushing in the reviews is what makes it so great.
It started as that little record shop in Afflecks Palace when I was at uni I think, or I may have just been internet ignorant and it's been around for ages? Dunno.
Love them so much, even if it's just for putting out Machinefabriek.
These days I can only afford to check out the Special Offers page and a lot of Type stuff ends up there.
I always visit their site knowing what I want and end up buying stuff I'd not heard prior to visiting Boomkat. I like that though.
Once you've been reading it for a while it gets easier to cut through the superlatives and figure out whether something's going to be of interest to you or not. not sure why people above are typifying the things they sell as improv and re-released rarities, if you don't like that stuff maybe just go into 'bestsellers' or 'recommendations' and select the genre you want to see?
Their end of year lists and montly bestseller charts (which you can narrow down further by genre) are the places to start. Otherwise it can be just like walking in a shop and really not knowing where to start looking.
you should probably steer clear of Amazon
Think it's a JAG, pal.
Wow there's a lot of CDs in HMV.
i'm not sure anyone has any idea what is going on with boomkat to be honest. they have about 4000 recommended releases a week whose descriptions just consist of various permutations of
long awaited comeback
one of the most anticipated releases of the year
early contender for release of the year
turning your bedroom into a dancefloor
and so on. still usually worth digging through because they get some good stuff in that you have no chanced of seeing elsewhere
I'm forever finding music through boomkat that I was completely unaware of beforehand. And I seldom read the blurbs, just play a few snippets and make the call.