Supporting role

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...

Comments

[kenny]

There was a funny interview somewhere with Legowelt where he talked about Disco Route. He couldn't see why that track had been picked up, "i have loads of songs just as good, its nothing special"

[tom/pipecock]

the thing is, how much does this make a difference in the long run? i know Moodymann's "I Can't Kick This Feeling When It Hits" was a big hit, got licensed and whatnot but he still isn't on the profile level of so many other producers. and that was like 10 years ago! the same thing happened with UR and Jaguar, aside from still hearing that track way too many times, it did help UR out in many ways but was also a problem for them as well. it is never very easy.

[jig]

in legowelts slices interview he describes 'disco rout' as a rich aunt or uncle who sends him a few quid now and again
made me chuckle

[chrisdisco]

a big part of this phenomena is the recording of dj sets, which has led to everyone trying to ID each track in every one of richie's sets and so on. got to find that magic track and start playing it too...