New from the DFA...

stir I was being facetious a bit I guess, that's what seems odd about the comment aswell, and probably makes it not specific to Mayer really, not much of his stuff is based on total repetition. Even Kompakt as a label, relative to other dance labels, are quite song based, I'd have said.

Murphy's "you turn that up and down for 7 minutes and mute shit, go fuck yourself" typifies this.

If I want an egomaniacal record once every 7 years I'll come back to you dude.

And there's no programming/synths in DFA productions...

And explain how "song-based" equates to "real band" while you're at it.

what genre?

*Mind you, yesterday's Lush thread was a nice tip.

my point was that Murphy is of the virtuoso/auteur side of things and always will be.

Kompakt are not, and the Kompakt guys for all their overblown images are all still prolific and just get on with making records, which are not massive sprawling masterpieces but anthems specific to their own scene.

Just looking for the reasoning with which both phrases appeared in the same short, facetious paragraph is all.

perhaps Michael Mayer should make more song based music, which goes somewhere. bah this is just the usual DFA real band bias thing which always comes through.

xpost - Ronan, i've no idea whay you treat this stuff like a personal insult to you, esp where the DFA are concerned.

and even if it was, the scene in their case is rather big.

that's what you said: it does seem to champion the local and the folky against the virtuoso auteurs -- which is fair play, but it needs explaining how the products of scenes translate.

I'm not sure how this came to be such a specific Kompakt VS DFA thing, though I'm sure it's my fault.

I am not saying, by default, that labels which are more prolific are better. But since the criticism of the Mayer record seemed to suggest it was just tacked together and rush released, I offer a counter argument, not for the sake of contrarianism, but because I genuinely believe that a more sweatshop style environment produces better music and better art.

There's only so many puffed up pieces you can read about the DFA before actually having to consider how many records they've actually released in the 3 years they've been in the public domain.

Very few. And I'm sure I'm not the only one who'd say it's not a quality over quantity issue either, there's just been very little to follow the initial excitement whatsoever.

I think this issue reared its head on some other thread when someone freaked out and said I liked Ghostly International.

It strikes me as a reasonable amount to be honest, taking into account blatant 'perfectionist' stance of Murphy's. But I don't like labels and artists that are too prolific right now just because I am not really keeping track of any of it at all.

In my opinion it is, anyway, I think I'm probably polar opposite to JM in this respect though. I know nothing about rock history.

x-post, as I said N_RQ, I don't think one model is by default better than the other, but in this case stagnation only fits one party in my opinion. As for monopoly, I don't know, very complex to discuss really, probably a case for either.

LCD spending three years on an LP, and then boosting a past-their-prime dahnce supergroop on the lead single is part of the package -- as he says, the fact that they've gone downhill is the whole point. kinda.

I'm going to completely screw up this description and make both 'dance' music and Murphy sound bad, but I do like both. Anyway... James Murphy doesn't actually like dance music. He likes music you can dance to, but when it comes down to it at the end of the day, it all sounds like repetitive lazy shit where it's just a little effect here or there and some sort of cheesy hook, or even worse, cheesy ambience. If you're a guitar tech, fiddling with equipment guy, you're going to be all about the "disco edits" where you take that effect, chop it down, make the music ramp up to that point, and then reverse the effect. You can't just sit there and say "yeah, this beat is great" and dance around. Remember the late 1990s when there was some supposed "rock/electronica" crossover period and all the rock kids were going to love Daft Punk and shit, because it wasn't that "boom boom boom" boring "techno" stuff? Lots twitchier.

It's interesting that the idea of re-appropriation is mention, and it's such a stumbling point for JM. He's doing (in my opinion) a pretty good job of combining a lot of influences, not so subtly. But he doesn't even vaguely connect that to the obvious beat-jacking that went on when Goldsworthy was at Mo'Wax. It's always been amazing to me that the influences are so similar (and probably why Goldsworthy and Murphy get along so well) but there's this weird dismissal. I have no idea how much influence Goldsworthy had outside of the records he either worked on or helped get released (Liquid Liquid!) but the influences are similar to DFA's.