14.7.07 Fabric 35 Special

Hello folks! My fabric mix CD is in the shops on Monday.ª It's bit all over the place style-wise but hopefully the way it's put together makes some kind of sense. I noticed after I did it that although it's for fabric it starts at the Robert Johnson and ends at Berghain... Still, that's not a bad way to spend an evening.

Anyway, here's a rundown of the lovely music on there.

1. Jahcoozi - Ali McBills (Robert Johnson 6am X-Ray Italo rework) [Careless]

Ata Macias and Sasse Lindblad did this fantastic dubstep meets italo remix for Jahcoozi last year, in the studio next door to me in Berlin. Sasse needs no introduction; 10 years of Moodmusic were celebrated this year with another unassuming purple patch and other killer releases like his "That Side of the Moog" on Sunday Music and The Green Men on Buzzin' Fly. Ata is of course the man that started Playhouse and one of the most brilliant and musical DJs in Europe. He doesn't get into the studio much, although he and Sasse did remix Jurgen Paape for Kompakt a few years ago which was ace. As soon as I heard this I knew I wanted to have it as my opening track.

2. Marcashken - Nimrod (Marc Houle Is A Nimrod Remix) [Leftroom]

Leftroom have been a consistently great label in the past couple of years. This release in particular stuck out for me because of the new wave-ish qualities and the electric bass, which segues neatly into the moody new-wave electric bass of Gui.tar (do you see how I do this? Piece of piss, this DJ lark).

3. Gui.tar - Push In The Bush [Careless]

This Rework-ish piece of sulky house is some 2 years old now; I haven't stopped playing it since it came out and it seems to have been missed by lots of people, which is a shame because it's atmospheric and sullen and bouncy all at the same time.

4. Snax - Honeymoon Is Over (Konrad Black Mix) [Four Music]

Canadian rascal-about-town Todd Shillington on remix duties for Snax and it's turned into a big ole hit which is ace (I think it's number 1 on Beatport as I write folks). It was this or his fantastic demo mix of "Mouth to Mouth" (which got changed before the final release version - boo hiss) but this has the wonderful falsetto vocals too so it won. I always love Todd's basslines which have this rolling italo-ish quality. When listening through to the tracks I'd provisionally selected for the comp I realised that loads of them have a very analogue sound; I am getting a bit tired of bland laptop minimal-electro; luckily there's lots more rich sounding stuff out there.

5. Jens Zimmerman - Tranquilité [K2]

This runs under "Honeymoon Is Over" nearly the whole way through - all the weird vocoder stuff under Snax is Jens Zimmerman. I don't know much about this apart from it's mineshaft-deep analogue techno from Frankfurt and I love the timbales that emerge halfway. Then in comes Liquid Liquid for some full-on percussion frenzy.

6. Liquid Liquid - Bellhead [DFA]

Since most of us in this business live in Computer World, it is easy to forget how people playing together in a room are capable of making incredible dance music. The original version of this record was made in 1981 (the version i've included is the edit from the DFA#2 compilation CD some four years ago). Some 25 years on it still sounds thrilling and radical.

It's difficult to overstate how influential bands like Liquid Liquid (and ESG and the like) have been. Like the acid house that was to follow, they were both pop and avant-garde at the same time. Avant-garde in the sense that their music comprised de-centred enharmonic percussion jams where the only melodies emerge from various patterns of bells, xylophones and marimbas. That might not sound that appealing to some of you (!), and yet the result is so exciting and undeniably funky it makes the hairs on the back of your neck stand up. That's the pop bit.

7. Lee Burridge and Dan F - Treat 'Em Mean (Exercise One, Remix#2) [Almost Anonymous]

Exercise One are one of the most exciting techno acts to come out of Germany the last couple of years as anyone who has been lucky enough to see them live will know. Their Sebo K remix on Mobilee was one of the biggest records of last summer for me, and this is shaping up to be one of the biggest of this one. Again with the rolling italo-ish bassline (I detect a theme...) but this time in a surging stadium-techno setting.

8. 100Hz - Trustlove [Hi-phen]

Geoffroy from Hi-Phen gave me a CD of this very early last year, which I promptly lost. I then spent weeks guiltily dodging his repeated emails asking for a reaction. Meanwhile I had this amazing track on a white label I had been sent and lost all details of (yup, i am a hapless idiot), with the refrain "I love you but I don't trust you", which was tearing it up whenever I played it out. But I had no idea what it was for ages until finally it came out properly and imagine my surprise... (you guessed it. one and the same). Hopefully, I made up for it by nabbing it for the comp.

9. Samim - Paspd ft. Big Bully [Circus Company]

Another producer going through an amazing run of form over the last few months and heading for another hit with his new single "Heater".

10. Laven & MSO - Looking for God [Klang]

Robust but funky Frankfurt rave-bomb (with a large dose of Wild Pitch in there) that just keeps building and building. And it has a great bassline, something which is lacking from so much "maximally-challenged" techno of late.

11. Simon Baker - Plastik [Infant]

Another track which has blown up into a big old hit in the last three months, and no wonder. Simon's been making good stuff as Liptrick and for his Infant label for the last 3 years; but this is him really stepping up and claiming a place in the front-line (and the singles that have followed in its wake have been great too). Tremendous serpentine swingy techno - and once again (have I hammered this home enough yet?!) it's all about the bassline. We love basslines.

12. Samuel L Sessions ft. Paris the Black Fu - Can You Relate? [Klap Klap]

So Paris the Black Fu's voiceover risks accusations of grumpy old-school rave nostalgia, but the backing is undeniable. Raw and jacking techno-house that kills every time on every big system.

13. Johannes Heil - All For One (Tobi Neumann's Swinging Remix) [Klang]

See my Enthusiasm from a couple of weeks ago for my eulogy to the godlike genius that is Tobi Neumann. In case you haven't had the pleasure of hearing anything of his yet; stop reading, point your browser at Beatport or some other online music vendor and buy this Johannes Heil remix forthwith, then turn up the stereo and wait for the breakdown. Whoop!

14. Kaos - Panopeeps [Lektroluv]

More new-school old-school from Berlin's DJ Kaos. Cheeky Hurley-ish bassline with quite lovely, euphoric chords floating over the top.

15. Beanfield - "Tides" - C's Movement #1 (Carl Craig Remix) [Compost] / Aril Brikha - Berghain [Kompakt]

Someone harrumphed on Resident Advisor when they printed the tracklisting for this CD that Beanfield was far too old and well-known to be on here (some wannabe called Sasha apparently included it on some mix somewhere...). But frankly, I couldn't give a toss. I adored the remix at the time and it marked my falling in love with Carl Craig again after his self-imposed exile in the - erm - jazz wilderness. A love affair which shows no sign of abating judging by his remixes of Junior Boys and Brazilian Girls this year.

But the real reason it's here is not nostalgia. I played it again for the first time in ages at Cookies in March, lined up the Aril Brikha track afterwards and realised they were in the same key at the same tempo, and - even better - they sounded like they were made to go together. Like it was meant to be.

When you luck out with stuff like this it's like a bit of magic, a present from some other place and the only thing to do is make sure that as many people hear it as possible. So here "Berghain" just sits underneath "Tides" for the duration. No trickiness. No fannying around. Just a new whole from some sublime parts. Which hopefully is what DJing is all about.

ª This information is for those of you who've decided that people who have chosen to make music for a living - rather than making cakes or shoes or selling weapons or teaching joga - are still entitled to some kind of financial reward for what they do and so who haven't already downloaded it from some Russian bloodsucker or collector nerd with a blog masquerading as a "fan who's just helping to promote the music they love, man." Your reward is a lovely tin box with my name on it and the ability to sleep at night. I, and much more importantly all the producers and labels included who struggle to survive in what are frankly difficult times, salute you!

Comments

[Gregor]

Once upon a time I moved to London, flipped open Time Out, saw a thing I'd never heard of called Lazy Dog at Notting Hill Arts Club. I was meant to meet a chunk of new friends there but they got stuck in line and I found myself alone in a blissfully packed and sweltering basement with condensation dripping from the ventilation ducts listening to Ben Watt spin some magnificent tunes. It was music with soul like I'd never heard (coming from Chicago, you'd think I would). Ben and his music were the top of my pyramid of musical exploration for several years (and he remains my guide). I then heard the secretsundaze boys play your Chemical Brothers remix at a Shoreditch street party and had to ask my man what it was, from then on I've looked out for every release you've done as a similar harbinger of great things to come. The two of you steer me around to the quality with a thoughtfullness about what you play that is second to none. Thanks. Good luck with the album.

[Rolphus]

"This information is for those of you who've decided that people who have chosen to make music for a living - rather than making cakes or shoes or selling weapons or teaching joga - are still entitled to some kind of financial reward for what they do and so who haven't already downloaded it from some Russian bloodsucker or collector nerd with a blog masquerading as a "fan who's just helping to promote the music they love, man." Your reward is a lovely tin box with my name on it and the ability to sleep at night. I, and much more importantly all the producers and labels included who struggle to survive in what are frankly difficult times, salute you!"

Er, or those of us who subscribe to Fabric's CD series, supporting the clubs and artists we love every month, and have had the CD delivered to our homes 2 weeks ahead of everyone else.

Like me. ;)

[Dave Rinehart]

I'm the harumpher on 'Tides', but you're absolutely right - after getting your mix in the mail it was like 'Tides' and 'Berghain' were meant to be. I'm eating crow as we speak, literally eating a freshly-stoned crow. Nice work on the mix. o(_ _)o

[Richard Carnage]

Been loving this for the past month, and I'd urge anyone who has even a passing interest in electronic music to pick this mix up. It's always nice to hear amazing tracks you haven't heard before mixed up in an inventive way with belters that you love. I must say, I've picked up 'Trustlove' off the back of this, and I'm really looking forward to the release of Exercise One's mix of Lee Burridge. Any idea when that's coming out, Ewan? Also, are DFA ever going to put out their Liquid Liquid edit or is it going to be buried as a mixed track on the #2 CD?

Anyway, well done son - definitely in my top 5 Fabric mixes and it really does come close to rivalling Mayer's for the top spot.

[Croncho]

Ewan,
Yeah I totally get it because I work in the movie industry, I do know about the things that happend along the way, nice mixing I will surely buy it as soon as a I can, meanwhile I listened to your mix in samuraifm

[Ronan]

"This information is for those of you who've decided that people who have chosen to make music for a living - rather than making cakes or shoes or selling weapons or teaching joga - are still entitled to some kind of financial reward for what they do and so who haven't already downloaded it from some Russian bloodsucker or collector nerd with a blog masquerading as a "fan who's just helping to promote the music they love, man." Your reward is a lovely tin box with my name on it and the ability to sleep at night. I, and much more importantly all the producers and labels included who struggle to survive in what are frankly difficult times, salute you!"

Isn't this a DJ mix? rather than someone making music for a living?

With all respect for a great mix CD I think the above is a bit harsh. I mean, I seriously wonder if techno would be even worse off without illegal downloading, not better.

I keep a blog and occasionally put a track up for download, I don't feel particularly bad about this because although I download tracks off other peoples blogs occasionally I also spend a huge percentage of my money on music, and I don't earn very much. If an artist ever asked me to take a track down I would, immediately, but this has never happened.

In fact, the only feedback I've ever gotten from artists who found posts with their tracks involved was an email or comment saying "thanks for the support" or telling me they enjoyed the blog.

There may be blogs that post 7 tracks a day and nothing but the free mp3 but I don't know of many techno ones that do this to be honest. I actually think anyone who bothers to waste their free time keeping a blog about techno that genuinely tries to throw light on lesser known music couldn't be doing so for any reason other than love of music.

Also perhaps musicians aren't extremely well off or find it hard to survive, but then I don't know many bloggers or amateur music writers driving Mercedes cars around either, I'm sure plenty would love to be subsisting by making vinyl. If being a musician is such a difficult, bad life then perhaps some producers could replace these uppiyu bloggers in some of the woeful menial jobs that 95 per cent of humanity do to get by!

[ewan]

Well, I put it a little harshly perhaps, but for me MP3 blogs are the thin end of the illegal downloading wedge. I know countless producers and labels that are up against it, some labels that are rather well-known that are on the verge of going out of business because of the collapse of record sales. I don't doubt that many MP3 bloggers are fine and genuine cheerleaders for the music they love. I think those that are putting up deleted vinyl stuff from yesteryear are performing a useful function in keeping this stuff as part of the common culture. That's all good.

But i have a big problem with people giving away mp3s of new tracks without permission. Most people in dance music are aiming to sell a small amount of a specialist product; a blogger giving away mp3s of that great new track will take away a percentage of sales. It's no good putting a disclaimer up saying if you object i will take the link down; who has time to go and check out who's giving away what? Giving away something that doesn't belong to you is at a very basic level just plain wrong. Mine is an ethical objection and i can't get past it. I think people that use it as a promotional device are misguided and are contributing to the development of a culture in which music is considered something that one doesn't have to pay for, or people aren't allowed to make a living from. It should just be a gift to society. After all we enjoy our job; how dare we ask to make a living from it as well? And although it's interesting being on the front-line of an experiment in techno-anarchism, if I decide to open that experiment out and not pay for my socks or cakes, my joga classes or my rent then pretty soon I will end up in jail. And no-one’s going to let me off because I’m a musician.

Record sales have plummeted and it’s largely due to piracy. I’m lucky to have another life as a DJ - I can decide to make my living by playing records and treat the music I make as "promotion" for that. But for producers that don't DJ, or people who have spent years trying to run independent labels it's the most difficult time ever and it's just getting worse. So this is a practical objection to go with the ethical one. But there's a third romantic one too.

I love good writing about music. I used to devour the NME every week when i was a kid (when it actually had writing in it) and now i get much of my fix of music writing from the internet and some of that from blogs. But if you're a great writer you can evangelise and get people excited about music without having to have the track there to back you up. There are brilliant writers like Phil Sherburne who would never dream of giving people's tracks away. Part of me feels that if you have to play the damn track rather than evoke it or describe it so that people want to go out and hear it then what are you doing writing a blog in the first place?

There are some blogs which are just narcissists showing off the amount of promos they can get their hands on. Worse than that there are the ones which are just download links; parasites, selling advertising and making money from giving away other people's hard work whilst pretending to be part of some cuddly community of sharing. Real community would mean considering those that make the music too. These are the people that get me really angry; the people that add nothing to our culture. They create nothing whilst slowly helping to strangle the thing they "pretend" to love.

I think i would have less of a problem if MP3 blggers streamed lo-res versions of the tracks they were talking about. I just think letting people download is wrong. I've thought about this loads and I can't get past that. I may be putting my head above the parapet a little here but it breaks my heart to see how my friends who have struggled to build up independent businesses and careers as label owners and producers are falling by the wayside. We're not talking about Mercedes we're talking about struggling to subsist. As I said, this isn't really about me - I'm one of the lucky few making a living. But its almost impossible to make a living as an artist now without DJing or doing something else. And its no good saying well other people have menial / badly paid jobs too. I don't doubt that; but I always pay people for the services and the work they do on my behalf. I'm not asking for special treatment. I'm just asking for fair treatment.

This is obviously a much bigger issue than just blogs, and I don't mean to beat on genuine music fans. I just wanted to put another perspective; one that I think people are sometimes afraid to voice, because they worry that it will sound like the whingeing of the privileged. That's the implication of Ronan's last paragraph and it's one that I absolutely refute. There is an ethical issue here and people are in serious amounts of denial about it. Anyway, preachy bit over. I will get back to being jolly about new records soon, I promise. But there will never be a download link on this blog. Never ever.

xx ewan

[Ronan]

Well, my response would be to say that you can't be steadfastly sure that people who download these tracks would actually buy them. Are sales diminishing because everyone is getting the music for free (and we're talking a huge drop for downloads to be solely the problem, biggest selling 12s being about what, 7000 these days, not 20000 as in the 90s) or because people have less interest in electronic music?

"Part of me feels that if you have to play the damn track rather than evoke it or describe it so that people want to go out and hear it then what are you doing writing a blog in the first place?"

I agree with you, that great writers can evangelise and spark off peoples interest in tracks, and this is what any writer hopes to be able to do. But then I think it was Simon Reynolds that said writing about music was basically "failing interestingly" to capture the essence of it.

I also know from experience as a writer or a DJ or just in daily life that people can be very closed off towards electronic music, and even within the subculture of those that like it, people can be closed off to certain strains of electronic music. And people can be vehemently closed off to any and all music writing, no matter who's doing it (I've seen Phil Sherburne being slated in numerous places, and I agree with what you say about Phil's writing) So maybe a track every now and again helps people to realise that the point of music criticism isn't some lofty sermon from the mount, but a quest for great music.

And yes maybe one shouldn't pander to those that think otherwise but I think you can bring in people who have no idea what music you're talking about and would never buy it by playing it for them. And that's something that anyone involved in techno should know is never easy. I honestly think that a lot of people who read mp3 blogs and check the music there would never find and buy that music on their own. I feel this way cos I know tons of people who've found my blog through links on totally non-techno blogs and emailed me saying they've gotten into whatever artist...

Plus maybe after downloading one mp3 they then buy a record by that artist the next time around, or they buy the vinyl, or the other side of the record. Or they buy the mix CD, or the t-shirt, or a ticket to the gig. Which would you prefer as a small label, to be mentioned on a blog with a few hundred readers and have a track given away to maybe 50 or 100 downloaders or never to be mentioned anywhere? Which would be more helpful to you?

I recently blogged about Mountain Peoples "Mountain 004" and put the track up for download, and coupled with some people who'd already bought the track and liked it, there was suddenly a whole thread about it on Dublin's main dance forum. I am pretty certain a huge percentage of the people on that board went and checked that record and the previous releases on the label and spent money on them. I'm sure this happens for lots of stuff.

Then there's the fact that the bigger labels are sending out promos to so many people. It's a lot easier to criticise people for downloading/sharing files when you are sent these promos. No offence to you personally Ewan, but if you look at the Hype Machine or similar sites the most downloaded tracks are always the unreleased ones, the ones people want to hear, the ones they see in setlists and then seek out before the release.

In this sense I feel that, as difficult as it may be to say it's okay to give away someone else's music, it has helped to make DJing a bit more democratic and removed the divide between DJs who are in the loop as regards promos and the guy in your local club. Perhaps not skill wise, but is it fair that tracks should be given for free to some and not to others?

I mean, if you really want to get strict about it then surely there should be no promos, and everyone should have to pay. This would probably stop the leaks too, since it seems most of them come about by somebody in the loop of artists giving away the record for free. Is it fair that there is a divide of who should get a record for free and who should have to pay for it? An interesting question, in my opinion.

As I say, not having a go at you personally but I think this is all pretty interesting.

[Henry Julier]

Ewan,

I have high hopes for your Fabric mix... I think we all enjoyed your RA podcast which was a huge breath of fresh air amidst a sea of bleep. You are like Hermione Granger (alright, maybe that's unfair because she is a girl) in a sea of Death Eaters. There is no escape from Potter madness these days.

Will you be playing in NYC anytime soon? That's what i really want to know.

Cheers,

Henry

[AndyB]

Ewan,

Wow! lots and lots of fancy words about the Album and your comments....! My two penneth.. I listened to the album a few times now.. It sounds dead nice to me!

[db]

Ronan, Firstly I wanna say I read your blog and your contributions to Resident Advisor and usually agree with your tastes and comments on music and enjoy what you write, but I feel I have to pick apart some of your responses.

You say you spend a huge amount on music. I see this argument alot from people that share MP3's or obtain them illegally, either via blogs or programs like Soulseek. Its more of attempt at a justification rather then an explanation or reason. Its like when someone litters on the street, sure your one little piece of litter isn't much but when and if everyone does exactly the same thing then its get really bad for everyone. I believe just sharing the one track occasionally or downloading one track occasionally perpetuates the problem. The online community is very much one of "Oh he did it, so it should be ok for me to do it", this attitude passes from person to person and before you know it everyone has downloaded a track and the artist misses out.

You also say that there aren't many techno blogs that share many MP3's. I think we both know this isn't true, there are many out there. Most of which post 10+ tracks a week, and many of which do so in 320kbps format. The love of music may be one of the driving factors for these people but I think popularity is the main factor. Not a personal attack on you as I know you genuinely review tracks and I believe your driving force is to share and promote what you believe to be good music, both on your blog and radio show. But there are heaps of blogs that don't even post comments, just tracks, in a high quality rip with only one intention, to increase the amount of hits on their page.

In your second reply you start with a comment that nobody can guarantee that downloads are responsible for the diminishing record sales. I agree you cant, and I believe the major factor to be the changes in technology that have caused vinyl sales to drop so dramatically. But unfortunately there is no past that you can compare MP3 sales today with to see if they have seen a drop due to illegal distribution. Illegal distribution has actually been around long before anyone started selling MP3's. You also mention that the promotion and buzz that a free MP3 download creates may help the artist in the long run. How can you guarantee this? From my experience I would say that at given the choice at least 7 out of 10 people would download a track for free rather then buy it, surely that must be bad for the artist. Take for example Solomun and Stimming - Feuervogel, which you were singing the praise of before most people. But you then offered it as a free download from your site, at 320kbps exactly as downloaded from Beatport. I'm sure you couldn't argue that this track would of been downloaded from your site by many people, most of which probably would of bought the track themselves if it wasn't for it being available for free from your site. Now you may be correct in saying that this opened up many people's eyes to this artist and Diynamic as a label, but where is the middle ground between the artist receiving some future promotion and being ripped off and missing out on income now!

You write about sharing of MP3's also levelling the playing field between top dj's and you local pub dj's but giving them access to the same music? Is this a good thing? Why does Dj John Smith need to be able to play the latest Get Physical track out before its even been released, does he audience even know and or care what it is he is playing. Maybe he just wants to own the track because he really likes it, but why cant he wait until its released just like old days? Were the old days of waiting for stuff to be released really that bad? Where the old days of set track list containing either tracks "Unknown" by "Unknown" that bad, or a track name that you cant just Google or soulseek and have a copy downloading to your PC in minutes. As far as promo's go, even though I know alot of promo distribution list aren't all that exclusive any more, I still think they play there part. I think a top dj or industry type like Ewan should have access to tracks that Dj John Smith doesn't, because quite frankly Ewan has either slept his way to the position he is in or has put in a huge amount of hard work, most likely alot more then Dj John Smith can even fathom to get there, so really he has earned his position and the benefits that go with being in this position.

If promotion is the aim of a MP3 blog then I don't see why a sample of the track cant do the same thing as a complete track. Once again nothing personal against you as I believe your intentions for running your blog are 100% positive, but its naive to think that everyone else with a blog is in the same boat.

db

[Ronan]

there are a few areas where I disagree with you, but I feel a bit awkward having a long argument in the comments box of someone else's website!

[Ewan]

not this is what it's for. argue away. i was gonna weigh in again at some point too.... :)

[Anko]

Vinyl Sales Decreasing? http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/07/17/nmusic117.xml

Either way it's irrelevant. Information wants to be free. Society is better off if it is. Where would society be if not for libraries? If all the books were only available to those who could afford them? Ownership of songs is a relatively new thing, an artificial creation. The idea is so that artists get some control over their work. The problem is, while you can control physical objects through force, you can't control information. You don't own information any more than a comedian owns his jokes, or the town storyteller owns his stories. And it extends to music.

The idea that you have control over the songs you write and can make a living off it is a dream that artists and record mougils cling to. The business model is dead. Technology kills off many business models. I'm sure there will be a similar uproar from mcdonalds workers when robots take their jobs. Or maybe they will change their business model to suit - selling human made bugers at a higher price.

That's what artists have to do. Instead of clinging to the days when they could control their songs, they should concentrate on live shows. The songs nowdays serve as nothing more than advertisments for the artist.

As an artist, this seems unfair! OMG i used to be able to make money from my songs, and now i have to go out an perform! waaaaaaa! And in a lot of ways, it is. It really sucks. But that's progress. That's what the horse operating farmers said when tractors came in, that's what the textile works said when they were replaced by machinery.

That's progress.

And freedom of information benefits society as a whole.

p.s. ewan you are amazingly amazing and and idol of mine, please play some australian shows soon!

[db]

Woah! There is a huge difference between technology making someones job obsolete and technology providing the platform for something someone has created to be shared without their permission.

And what do you mean you cant control information? Is there some mysterious driving force somewhere that people cant control responsible for the distribution of mp3's? I dont think so, its people that make the choice to share, and its people that can easily choice not too.

db

[Ronan]

"no this is what it's for. argue away. i was gonna weigh in again at some point too.... :)"

*puts kettle on, rolls up sleeves*

I think the main area I disagree with you db is about the specific "Feuervogel" example. I agree with you, that I absolutely can't guarantee posting an mp3 of an artist yields benefits overall in the long run. However I always try and pick tracks from labels or artists that I feel have a lot to offer, and to be fair I always put emphasis on that too. When you consider that most mp3s I put up only get around 100 downloads AT MOST, and that from that subset some will buy the vinyl, some may never have bought the track, and others may buy other records from the label or artist, then I do think the negative effect is pretty negligible.

I guess that's why I don't feel like I'm just ignoring the moral aspect of this. I don't really feel I've ever ripped anyone off hugely and I reckon I've done some good overall. Maybe I'm being pompous in that belief but I hope not.

As regards blogs that post loads and loads of tracks, I guess I wasn't aware there were so many, I don't seek out those blogs and to be honest I never play illegally downloaded stuff (maybe 2 or 3 illegally downloaded tracks in the last year and usually only if I can't find them to buy). But yeah I stand corrected on that.

I suppose then, ignoring the sort of tangential promo part of my post, my argument boils down to being an opposition to the absolutist criticisms of mp3 blogs here. The blogs I do read are a mixture of discussion and occasional mp3s, Test and Tape being the main two I'd check out. It's worth mentioning here that Phil Sherburne, though he never posts mp3s, also doesn't update that often (sorry Phil, if you're reading).

But even on Tape/Test I seldom download the mp3s. I know it's not scientific proof to use myself as a case in point, but PERHAPS this may be evidence that there are others like me. Maybe DJs aren't the ones fiending on all these mp3s, but casual fans instead. Or maybe I'm in the minority of geekdom in that mostly I've heard or own the mp3s on a site (or am kinda kneejerk untrusting of the artist if I feel I don't like their usual stuff, not in a mean way!)

So at the very least, might it not be possible that in this way new people are being introduced to the scene as a whole? Would these people get as much from a stream or a sound sample? I'm not so sure. If you're less well acquainted and less indoctrinated into techno or house maybe you need to let the thing breathe for a little bit. Also I feel hackish forcing people to come to my site to hear the record.

And in my opinion that less well acquainted audience is really big for blogs and messageboards etc. In fact, what they're doing really well is sort of humanising all this techno and taking it away from being something solely for DJs.

Certainly all this has made me think about posting mp3s on my site, but if I do stop doing it I will feel a little sad as I think I'd lose a certain audience of people who might be just getting into dance music.

But I dunno, there are so many deep complex arguments here. Somebody on my blog said today they were appalled by DJs who downloaded all their music illegally and then got paid for it, and I thought "yes that's reprehensible". Then I thought about it further and thought "well, what if someone has a DJ gig and is thinking they want to do the best possible set but has no money". When you're DJing should you do the right thing that may result in a worse set, or the thing that makes more of the people in the club happy? Should someone who is broke stop being a DJ?

It's sort of weird to be arguing for "djjohnsmith" as you nicely named him, db, but after a few years working in a record store one of the things I've really come to value about dance music and DJing is the democracy of it, how it gives so many people, plenty of them with no encouragement to be artistic growing up or whatever, the chance to do something artful and to express themselves, even if they don't know that's what they're doing. Techno is the most living proof that art is not being some lofty thing you read about in the Guardian, but something for everyone.

That's the reason I invoked "crappy menial jobs" earlier. Cos I know when you see someone promoting a night or something, even if it's doomed to failure, you think "well at least they're DOING something". You see in peoples eyes in record shops that buying a few 12s or whatever are the highlight of the week.

That's so valuable. But there must be cases where people can't afford to buy everything but for them to feel better about what they're doing and to feel they are giving DJing their best shot, maybe they download a few tunes illegally. I think that's why so many people fail to treat music like a product, even if that's wrong, cos it's actually a need for them.

FWIW, to throw another idea onto the pile, I think illegal downloading is far worse amongst the album buying public than techno fans. At least vinyl remains a somewhat attractive product, unlike CD albums.

[Anko]

Sorry I don't understand this difference of which you speak. The argument is about new technology changing business models, which is exactly what is happening here. We are talking about the recording industry's job becoming obsolete. You can try and cling to the old model - after all it is protected by copyright law in the majority of countries.

There is no mysterious driving force behind our inability to control information. There is just no means to do it.

* You can try technological measures like copy protection - this doesn't work because if you can hear or see something, you can record it.
* You can try laws eg. copyright. This doesn't work because it requires people to respect those laws, and those laws to be implemented in all countries. What could be done? Give the government access to every electronic device you own? I'm sorry but that's not the kind of world I want to live in.
* You can appeal to people's moral judgement. Good luck with that one.

Furthermore, I believe that people are better off for sharing so my moral judgement leans towards sharing. I think sharing is caring. I don't get why I'd make the choice not to share? If I like an artist I might donate to them via the purchase of records or by going to a show. Everyone I know likes having a tactile reminder of their favorite band - but I don't think being duped into buying a full album cause the single is good for society as a whole.

How is it fair that someone born into a poor family can't experience the same information as someone born into a rich country?

[db]

Ronan, to be honest I do believe that your mentioning and providing a copy of Feuervogel on your blog did do good for the artist and label, but to kinda of change my angle a bit, shouldn't it be the choice of the artist and/or label how they promote themselves? I'm sure many artist see their or hear about their tracks being available without there permission and don't mind at all, and probably do see it as a positive. But I have noticed over the last couple of days a new Modeselektor track that was up on a couple of blogs disappeared at the request of Bpitch, which takes me back to my point that maybe its really the decision of the "owners", for lack of a better word, of the music to decide the method in which its promoted.

Again, I agree with you in regards to Tape, Test, your own blog, Ewan's (when its updated!!), ILX, ITM, Global Underground, mnml, and a few other places are awesome reads and great places for discussions on music new & old. Unfortunately for each of those sites I could mention 2 or 3 that do nothing but share tracks, keeping in mind the dreaded soulseek as well.

You and Anko both raise points about people in less fortunate situations being able to access the same music we can. I'm going to sound like a heartless bastard, but I don't see how you can justify "stealing", once again for lack of a better word, music just because someone is poor or cant afford or access music legally. Why should the artists or labels subsidise the less fortunate. There are plenty of tracks that I would love to own, but cant for various reasons, but that doesn't mean I should be able to just take them. The tracks I would want I would either just love, and want to own so I can listen to them nice and loud through some good headphones, or I would use to elevate myself and my sets above others. Neither of these reasons are necessary for me to live, so I couldn't justify stealing them. I remember reading something you may of written actually, about the obsession of fans and people within our beloved genres for new music, it has to be unreleased, it has to be a promo, its has to be exclusive, if this is what is driving alot of the downloading and sharing today then the problem is having an even worst effect then I thought. I'm lucky enough to live in a nice country and work a good job so I can afford to buy the music I love, and maybe because I see things from this point of view then I cant understand your's and Anko's point. But I do have to say that without the internet would you both still believe that people less fortunate should be sent vinyl to satisfy their love for music, just because technology has now given us the means to distribute music freely, doesnt mean it should happen. This same technology has given us the means to do lots of other things that we all dont even consider doing.

You raise good points in the rest of your reply, and I agree with some and disagree with others. I could sit here at my desk, avoiding work, and type away all afternoon, but I don't think there is some grand resolution that we'll reach.

I do have to say though, that I have gained some understanding that not every person who runs a MP3 blog, visits them, downloads a few tracks here and there or shares a track they think is special with others is some type of evil overlord hell bent on the destruction and ripping off of the labels we all love. That said, there are definitely people out that don't do anything but download everything they can, share other peoples music to there hearts content, and never ever support the artist and labels that supposedly love. But there is definitely a distinct difference.

If your ever down under we'll have a cold beer and discuss further.

[Dave Spruce]

Arguing on the a comment page on the internet is like participating in the special olympics.. Even if you win, you're still retarded..

You guys are crazy having this HUGE discussion here. It's good reading though!;)

Love your work Ewan, keep it up!

/Dave

[silvestre]

Dear Mr. Pearson,

I have always tended not to idolize people, but with you
is becoming difficult. You have such a delightful and exclusive taste
that makes it hard not to have you in a pedestal.
Not only your musical taste, producer skills, but also
the quality of your writing is highly praisable.

I adore and envy you in a healthy way.

I still hold a vinyl signed by you and Al Usher some years ago
in Barcelona... probably you were there for the Sonar festival and you popped by Fonfone (closed now). I was playing there and it was an immense honor meeting you and having a quick chat.

All best,

Silvestre

PS. I do BUY all your mixes, productions and remixes.
However, it becomes difficult to buy your Misericord releases,
even in Manchester, whwere I live now. Could you advise me on this, please?

[silvestre]

Your Misericord releases can easily be bought at fabulous Piccadilly Records in Manchester. I was too fast thinking that probably it was going to be difficult to find them here. By the way... Gnanfou is record of the week.

all best,

silvestre

[Norman]

I'm a little late on the party, but I couldn't resist. First of all, some facts about myself that seem relevant to the opinion that follows:

- I have sold almost 200,000 records in my earlier "career" as a rock musician.
- I spent several years working for two well-known American dance music record stores in the late 90s and early 2000s.
- I ran two house music record labels simultaneously between 2001 and 2005.
- I am a music writer who has been published in some major U.S. magazines and have my first book coming out this fall.
- I am finally starting to leak some of my own productions out there.
- In 2000, I counted my receipts and realized I had spent over $8,000 in music that year. Worse, this was not a terribly unusual year in my record buying habit.

I point these things out only because I can totally empathize with every angle of the downloading debate. From the angle of the fan to the artist to the label owner to the retail shop to the music writer who wants to champion his favorite records -- I've stood in your shoes. But when it comes to house music, in particular, Ewan's opinion is really spot on.

That he uses the word "culture" is most significant: House music *is* a culture, a community, an independent and autonomous music scene that carries no corporate muscle or serious financial backing. I don't think it's coincidental that as P2P became more prevalent, record sales dropped drastically. But with my feet nestled between two worlds, I noticed a difference in that effect: The royalty statements for the rock albums I played on suffered a small bit, sure. But the house music record stores I worked for took a far more massive hit. Most record labels (including my own) went from averaging 3-5,000 copies to an if-we're-lucky 1,000 copies. Costs for pressing vinyl kept going up while sales kept going down in this decade. Producer rates had to go down, which meant quite a few of them had to go get day jobs. There was no way they could possibly make enough music to pay the rent anymore, and many of them gave up altogether. (I won't name names, but really, I saw it happen.) To make things worse, at least here in America, we lost Nemesis and Watts -- two of our biggest distributors -- within months of each other. To shrug your shoulders about this is just denial.

I guess what I'm trying to say is that we all know there isn't that much money to be made in house music anyway, but we absolutely need whatever money is there for this culture to not only continue to exist, but to hopefully someday thrive. MP3 Blogs might promote tracks and artists in some way, sure. But if people aren't buying the records -- and, unfortunately, nothing leads me to believe that they significantly are -- then these artists and labels will inevitably close shop. Too many of my friends have given up, and we're all at a loss from their creative departures.

One person asks: "Are sales diminishing because everyone is getting the music for free or because people have less interest in electronic music?" To which I'd say, my local clubs were still packed every week, but fewer people were spending money at my record stores. I won't posit an analysis on that, but you can guess what I think.

One last thing: "DJJohnSmith" should really get over the whole up-front tunes thing. He shouldn't give a fuck if Ewan has an entire crate of white labels with 2008 release dates. If you can't rock a party with a crate full of records from 2001, then you sure as hell can't rock a party with a book full of burned CDRs. Trust.

[Ronan]

yeah sure, a true dj should rock a crowd with two slabs of vinyl and a plank of wood, while someone hammers nails into his feet to verify his passion for the music, or perhaps more fairly, DJs should have the CHOICE to rock a crowd however they want with whatever music they want, with the same choice of music at their fingertips as famous or established artists (few of whom are playing all old records and plenty of whom are committing the venal sin of burned cd-rs!!)

[Ronan]

and I don't mean nobody should pay for it...just still waiting to hear a decent excuse for promos

[Clare]

And perhaps a reiteration of Ewan’s comments and most of the articulate and extremely poignant comments above, downloading a track you haven’t paid for is stealing. Plain and simple. Stealing stealing stealing. You didn’t make it, every artist and label has its own promo team who decide how to disseminate it, you really don’t even have the right to stream it! There is no justifiable reason to take someone else’s music and give it away unless you are the artist or their label. Not to the poor, not if you’re a journalist, not because you believe in some stupid utopian way that you deserve all culture as technology would grant it. It’s stealing. Everyone chooses their path in life, and some people, like Ewan and members of my own family, are talented enough to make music and try and subsist from creating it and selling it, not unlike every other profession in the world – where people labour in exchange for money. Just because a new generation of people look upon music as their right perhaps because they have mastered the technology that allows them to steal, whether they’re desensitized to the idea that they are actually stealing, whether they think anyone who can release music must be wealthy enough so what does one download count, or whether they just don’t care – it is still stealing. Some of us are trying to live – trying to feed our families, trying not to have to DJ five times a week, trying to exist as other normal people do, and every single illegal download counts. If you love music, buy it. It’s that simple. You don’t have the right to steal it, you don’t have the right to duplicate it or make it available for others even when you have purchased it yourself, and you certainly shouldn’t try to stand on some pious pedestal and say you’re strengthening a community by making people aware of new music by stealing it and making it available for others to steal – write about it, stream excerpts if you have to, but grow up – there won’t be an industry if people keep devaluing music. It’s that simple. Illegally downloading a track is exactly the same as shoplifting, or mugging someone on the street – perhaps worse, because it’s secret and dismissive and most people don’t even think it’s wrong. Anyone who even thinks there’s an argument here is deluded and perhaps should try and have their own work cheapened every day when they clock in. Wake up now before there’s no one left except the majors. And above all, stop stealing music.