Dale
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Aphex Twin The Caustic Window LP (CAT023) Kickstarter FAQ - LIVE NOW!
Dale replied to Joyrex's topic in Aphex Twin
Because the purchase of the digital release is being extended, does this mean the ripping of the vinyl/conversion will be delayed until this extension of sales is over? -
if you join the syptix club and get syptixed, you'll understand it.
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I like it a lot - it's immediate, and doesn't take long to build-up. Ae have this ability to create simple melodic structures but supported by an amazing sound palette.
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and 3:17
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the lone track isn't too bad but yeah, syptixed is lovely in high quality. amazing track. Sounds like Exai-era. Really, really enjoy the Exai style but also looking forward to which direction they go in for their next release.
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sounds really good don't like the previews of the other tracks though so will just buy the ae track individually and leave the rest.
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the preview sounds very interesting
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Aphex Twin The Caustic Window LP (CAT023) Kickstarter FAQ - LIVE NOW!
Dale replied to Joyrex's topic in Aphex Twin
We live in a different world now. Back then when he got snapped up by Warp, there weren't many people doing that kind of music (not as many as there are today of course). Now we have a situation where there are so many musicians/bands, of which most are turning to self-releasing outlets as they're just not getting any replies from labels, since the labels are receiving too many demos! I don't work in the music business so I could be very wrong, but in all honesty; yes it's great Richard got snapped up by Warp, but that was a different world back then. Well, but the distribution model doesn't matter then if I understand you correctly. I didn't mean we wouldn't know about him because his music is not that special anymore, but rather because there is this sheer amount of music out of which he'd have to stand out (which he would) AND be known to enough people willing to pay for it (which might not be the case). If there's the name Rephlex on something, I can assume the content to be of a certain kind and quality of music. That's where a label can be very valuable. Besides, I want physical releases. But I see the new artists that Warp signs up these days, and I just do this I often hear new artists when I listen to either a compilation release on bandcamp (that someone has posted on here who may have arranged the compilation and doesn't belong to a label), or I watch a youtube video and like the music I hear so I do some further exploration. Vast majority of music I listen to are not new artists though, which kind of shows you my high expectations of new music (it has to hit a certain level for me). It is an issue though - attempting to stand-out amongst the rest of new musicians/bands. I'm sure there are many excellent artists out there that will just always remain obscure and unheard. But I think the internet, if used with a lot of effort (and your style of music already has a large audience), can propel an artist without reliance on a label. I think soon enough, physical releases will stop. Just look up on google physical vs. digital releases and you'll see digital sales making up an increasingly larger amount of sales revenue. -
Aphex Twin The Caustic Window LP (CAT023) Kickstarter FAQ - LIVE NOW!
Dale replied to Joyrex's topic in Aphex Twin
We live in a different world now. Back then when he got snapped up by Warp, there weren't many people doing that kind of music (not as many as there are today of course). Now we have a situation where there are so many musicians/bands, of which most are turning to self-releasing outlets as they're just not getting any replies from labels, since the labels are receiving too many demos! I don't work in the music business so I could be very wrong, but in all honesty; yes it's great Richard got snapped up by Warp, but that was a different world back then. -
Aphex Twin The Caustic Window LP (CAT023) Kickstarter FAQ - LIVE NOW!
Dale replied to Joyrex's topic in Aphex Twin
but why? why do you even need a "label"? you don't any more.... used to be that the label would sort out the production, marketing, PR and distribution of the record, but you don't need a label to do that any more. all you need to do is supply some source material and (if you have a big enough following) the fan base will do the rest - from production of a physical release (if that's what people want) to artwork and marketing via social media. what do labels actually do really? where do they add value? these are rhetorical questions btw, just trying to get people thinking about this concept... i personally believe a label is pretty much exactly what it says on the tin - a label for music; a brand, a logo, an image etc. maybe that's not as important as it used to be...or maybe it should never have been important in the first place - after all it should be the actual sound you listen to that creates the image/brand/label etc... i dunno, not saying i'm right, but think it throws up some interesting questions about the whole industry and the traditional model. I agree with 2WV Labels are becoming a thing of the past. With things like bandcamp and soundcloud being used rapidly to self-release music, there's no need for labels anymore. Going it alone can be difficult though unless you write very well produced music that has a large fanbase already behind it that is constantly looking for new musicians within that style of music. I think the internet is vastly becoming a means to bolster the individual and their creativity. Every now and then I come across some soundcloud pages of some really obscure musicians yet somehow they receive thousands of plays of their work. It seems to me that playing live will be the real money-maker for bands/musicians in the future. -
He's quite a low key artist but I highly recommend checking out 18 Carat Affair: https://soundcloud.com/18carataffair http://18carataffair.bandcamp.com/
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in case rob/sean read this tomorrow - thanks guys for coming out and doing this for us - much appreciated. just want to mention that the thought of the quaristice live set remaining as pre-programmed patterns on your elektrons, not seeing any kind of release just brings about a small amount of musical depression in me. would you guys consider putting this live set out to the community or even on sale? i notice you guys sometimes avoiding questions like this but there are a lot of people who would greatly appreciate such a release. i know i would enjoy this particular live set a lot. the 2005 glasgow untilted live set which got put online became incredibly popular as you know... i'm sure the 2008 live set would get an equal amount of attention.
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i got no idea what kind of deal they got, ours is p good u got a source for that quote? Sean - here you go: http://www.relevantbcn.com/index.php/egg-box-radio/djs-bands-producers/item/3899-plaid-interview Have you thought of releasing material on your own? Yes, more so of late since Warp now distribute mostly through Bleep, which is an autonomous company. At present we are exclusively signed to Warp but there isn't really any point in this exclusivity now. Our advances aren't big enough to justify it and we could deal direct with Bleep and therefore not lose 50% of our income. It's a shame it has worked out this way though and I hope we can continue to have a relationship with Warp in some form in the future as we have a long and generally happy history working with them. We will shortly deliver a new album to them and come to a decision about our future output after that has run its course.
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sounds like you guys have rinsed the r8 in the past - I used to own the r5, but I found it difficult to really tweak the presets into interesting sounds (I could sequence stuff in unique, interesting ways on the machine itself, but altering the tones of the drums into something really cool was a big task at times without it coming across as though I was making some kind of 80s electro track). Did you ever own the R5 and have any thoughts on it? how did you manage to create the drum sounds of Flutter on the r8 alone!? Amazing!
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do you guys still feel highly respected by warp? it isn't like they've forgotten about you guys, afx, boc and other big players who have made them into what they are today? do you get concerned about change of management at warp in the future and how this could impact your relations with them? i heard that plaid are unhappy with warp (read that in an interview) because as a label, they take such a big cut of the sales of records, that it is kind of grating on them now. i guess it might be different for your guys as you probably have a larger fan base than ed and andy?
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bochum welt is alright but he's a bit like a happy shopper version of afx, i mean i like it quite a lot but i keep thinking 'is this richard? nah' which gets in the way a bit we have fans in the east? i lived there like 5 years and i didn't meet one lol - well, when Plaid play in Norwich, they have a pretty big attendance - and arguably you guys are more popular than them so I figured that you'd have no trouble selling quite a few tickets. Your previous tours haven't touched the East in recent years but bearing in mind the Norwich Arts Centre promotion team is part of the University of East Anglia, you'll get a large attendance I'm sure. I saw you guys in Brighton during the Oversteps tour but had to drive from Ipswich to Brighton! Awesome set though - it was worth it. feelings on a screen and asteroids over berlin are the finest of tunes. not heard newest stuff lush (new stuff):
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what do you guys think of bochum welt's music? have you checked out his latest release (good programs)? also - are you guys making plans to play live soon? perhaps gigs in 2014? would you consider playing in the East of England on your next tour? For example, the Norwich Arts Centre (where Plaid have done several gigs - nice intimate space with decent sound system) would be an excellent place for you guys. Don't forget about your fans in the East!
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what do you think of nine inch nails and trent reznor's recent output? i recall trent mentioning that you have been an influence on his music making from the late 90s onwards....
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i think you might have missed my earlier question about headphones preference - what headphones would you recommend for listening to your music? does it matter a lot to you or do you prefer listening to your finished pieces on a pair of decent speakers?
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can you recommend what the best headphones are for listening back to your music? are there some headphones you use frequently when listening to your own music?
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Sorry to push the question Sean but would you and Rob consider putting out the Quaristice live set for download? Or a purchase release?
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overall, what is your most listened to album that you have produced - the one you have kept going back to the most, and why?
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what role do you see computers and mainstream technology playing when it comes to music production in the next 10-20 years from now? will they constantly be taking the labour and time away from the production processes and not permit experimentation/flexibility which seem to be inherent in the subjective human approach to music making?
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are you close with boc and/or aphex in terms of communication and do any of you exchange ideas or comment on each other's work directly? I imagine you probably all just get on with your own thing.but curious to know if any of you come together for a catch up?
