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You may or may not have noticed this - actually, you probably haven't noticed it because it only happened a week or so ago - but I'm no longer reviewing for Beatportal, Beatport's online 'magazine'. Beatportal approached me last year to review for them. At the time, they were in start-up mode and said that for the first few months, there would be no money involved. Given that the Beatportal project was being headed up by a former colleague of mine from DJ Magazine, I agreed to work under these conditions. Once the project kicked in, I got paid for my reviews, albeit at half the rate one normally gets for print magazine reviews, which, as anyone who has ever reviewed techno knows, isn't a hell of a lot of money. But I felt I was doing it for the right reasons, and submitted my reviews, some positive, some critcial, but always constuctive if critical. Then, a few months ago, Beatportal asked me if I could submit reviews in a rolling format instead of in one go once a month as had been the case. I thought this was a good idea, even though I was a bit surprised when asked to only review releases that I recommended, eg, no more critical reviews. I was also asked to submit the reviews myself, in much the same way that I update this blog, something I had no problem doing. A few weeks ago, I got a strange email from my former DJ Mag colleague at Beatportal with the header 'Blogging for Beatportal'. I have the email somewhere in my mail folders, and to save my former colleague, who I still think is a decent guy, any blushes, I'll summarise its content. Basically, Beatportal were doing away with all of its reviewers, but wanted to retain my services and get me to blog for them, and pay me more. It sounded too good to be true. But here's the sting in the tail: they wanted me to blog from this site: after the first few lines of each post, there would be a link to the full text on Beatportal, where all manner of players and branded images could be displayed. Or to put it another way: Beatportal wanted to take over this site (or maybe just its content) and pay me the grand total of $500 a month (the fee I was going to get to blog for them) to do so. I politely turned down the offer and my former colleague expressed disappointment that I felt Beatportal was not an independent outlet. How could it be? It's owned by a company whose main business is selling music: surely all the glowing reviews I was encouraged to submit to Beatportal wasn't for the good of my health? I have always maintained that this site, like any good blog, should be independent. I don't run it to make money, so was I wrong to turn down the cash and allow it to be turned into a Beatport satellite? I feel I made the right decision - what do you think?
Does techno need patronage? The powers that be in the West deem that electronic music is part of 'popular' music, even though it is a niche pursuit. This means that there is little or no arts funding available to electronic producers who want to make music full time. Seeing as radio is mainly limited to conservative playlists and print mags' readerships and influence are dwindling, the only other means by which techno can be championed and supported is online - blogs, portals etc - or with the support of big-name DJs. Get a premier league performer behind your record and your profile will grow, your sales will shoot up, your bookings will increase. One of the best examples of this phenomenon was Sven Vath's support for Legowelt's 'Disco Rout' in 2002. Legowelt, then only known to those who followed the Italo/neo-Chicago-influenced Dutch scene, suddenly became a household name in global techno circles thanks to Sven's patronage. 'Disco Rout', which was re-released last year with new remixes, appeared on Vath's Cocoon imprint and the thousands of people who buy his mixes and go to his gigs bought the record. So is the concept of DJ patronage still important? I'd argue that it is. People who buy electronic music still closely monitor the charts of DJs they like or respect and, even though the advent of digital may mean that the monetary gains that accrue to producers from such high-level patronage have decreased, there is greater availability for more people and the knock-on benefits are still there in the form of gigs and more releases. Of course, it makes sense to treat such patronage with a pinch of salt or at least a cynical set of ears. Last year, Richie Hawtin started playing Kabale & Liebe's 'Mumbling Yeah', an unremarkable if useful minimalist DJ tool. Unsurprisingly, sales of the track spiked and it became one of 2007's most popular tracks. RA's writers even saw fit to make it the site's single of the year. I'm not suggesting that Hawtin's patronage led them to arrive at this decision, but there is no doubt that with his support, the track's popularity and profile grew. While the big names' ongoing support for underground music is desirable - given a choice, I'd still much rather Hawtin plays 'Mumblin Yeah' than Dubfire - those who closely follow what they play should be more discerning before they start crate digging...
Hasn't been a plentiful one for new releases, so I have mainly been listening to:
Rory St John: 'Ear Cycle EP' 12" (Mantrap)
Faze Action: 'Original Disco Action' 12" (white)
Alex Cortex: 'Replanted' 12" (Pomelo)
Vladislav Delay: 'Idea' (Andy Stott remix) 12" (Semantica)
Various Artists: 'Berghain 02 Samplers' 12" (Ostgut Ton)
Add Noise: 'Handwerk 1 & 2' MP#s (Handwerk)
I'm not big into giving free downloads on this site because they take away from the already small sums that techno producers make from their art. In this instance though, Berlin label Handwerk have sanctioned these two freebies as they were only commercially available on vinyl, and have long since been snapped up. Add Noise has been making dubby, bass-heavy techno for a number of years now, but it seems like his move to the German capital a while back has coinicided with his sound becoming darker, moodier and well, just a little bit spooky. With the sun beating down outside, 'Handwerk One' and 'Handwerk Two' are creaky, clicky and slightly creepy, the soundtrack to the haunted dance floors all over Europe...
If there was ever a reason for Ubercoolische to return, then this irony-free zone is it...
Hello one and all, hope you are enjoying the scorching weather. Well Redshape played one of the best live techno sets I've ever heard on Saturday night - thanks to everyone who came down. At the end of this month, we've got another live show, this time from DMX Krew.
One of the most talented electro(nic) producers, Ed Dmx's music spans synthpop, techno, ghetto and bouncing bass. Rising to prominence in the late 90s with a string of releases for his own Breakin' label as well as work on Rephlex, Ed is the real deal, a B-boy pearl before the big room electro swine.
After a double-booking mix up last year at our former home (thanks, Tanya!), we're thrilled to finally have Ed over to bodypop his Test cherry to the sound of some real electro music. Get down early for this one folks, because the last time Ed was in town to rock the Underground to its core, the venue was full to the rafters. For a taste of what to expect, check out Ed's live set from last year's Bloc. Also, check out his refreshingly honest interview on this site...
Admission is 12 euro, doors are at 10.30pm and support comes from precocious machine music talent Paudi Ahern and myself. Beat dat!