Post by vastar iner on Dec 30, 2012 12:58:45 GMT 1
Well, I like two of those...
2012
Skrillex featuring Sirah - Bangarang
There are also times when the music business seems eager to push things down people's throats regardless. Whenever there's a bandwagon, the media fall over themselves to jump on it and claim to be in at the start; not realizing that in doing so they themselves end up ruining it. Zandra Rhodes' Punk Collection refers.
And sometimes there's nothing there to start with. I remember Romo. A re-invention of New Romanticism, it was hyped up by music mags without mentioning that, if a band had a crowd of 50 to watch them, those 50 were all in Romo bands. The Romo scene was, like pop, autophagous; it provided a great influence on the acts that were already in it.
Then you have Klaxons. For a moment nu-rave was all the, er, rave. Klaxons nicked a Mercury prize. The follow-up album had as short an album career as Su Pollard. The third was meant to come out this year. Waiting. If it ever comes out, pound to a penny they will be desperate to distinguish it from nu-rave.
And the latest beneficiary of the "let's make everyone think this is cool" is Skrillex, a failed neopunk from a wealthy Californian background. The second-highest paid DJ in the world, apparently (a total waste of money, all you need is "Come On Eileen" to get any dancefloor pumping), and feted by such faultless stylemakers as Madonna, who I doubt would have heard of dubstep had she been living with Dubstar. As I type this the above video has nearly 100m youtube hits. One would have thought that that would have translated into a great number of sales.
Yet, despite the advantage of being an EP rather than an LP (and thus being cheaper), the parent of the above track only reached 14 in the Billboard. Presumably because, as with its rave progenitors, the live experience is meant to be the important thing; only thing is, back in the day, the likes of Altern8 and Oceanic produced tunes that mixed with a pop sensibility and rewarded listening, and the stars of the show were the show, not the stars. The DJ was not important. Now the industry wants a cult of personality so that it can package and sell the otherwise anonymous bleeps and beats. It's what the industry wants people to like; dance music commoditized and automated.
In sum: meh
2012
Skrillex featuring Sirah - Bangarang
There are also times when the music business seems eager to push things down people's throats regardless. Whenever there's a bandwagon, the media fall over themselves to jump on it and claim to be in at the start; not realizing that in doing so they themselves end up ruining it. Zandra Rhodes' Punk Collection refers.
And sometimes there's nothing there to start with. I remember Romo. A re-invention of New Romanticism, it was hyped up by music mags without mentioning that, if a band had a crowd of 50 to watch them, those 50 were all in Romo bands. The Romo scene was, like pop, autophagous; it provided a great influence on the acts that were already in it.
Then you have Klaxons. For a moment nu-rave was all the, er, rave. Klaxons nicked a Mercury prize. The follow-up album had as short an album career as Su Pollard. The third was meant to come out this year. Waiting. If it ever comes out, pound to a penny they will be desperate to distinguish it from nu-rave.
And the latest beneficiary of the "let's make everyone think this is cool" is Skrillex, a failed neopunk from a wealthy Californian background. The second-highest paid DJ in the world, apparently (a total waste of money, all you need is "Come On Eileen" to get any dancefloor pumping), and feted by such faultless stylemakers as Madonna, who I doubt would have heard of dubstep had she been living with Dubstar. As I type this the above video has nearly 100m youtube hits. One would have thought that that would have translated into a great number of sales.
Yet, despite the advantage of being an EP rather than an LP (and thus being cheaper), the parent of the above track only reached 14 in the Billboard. Presumably because, as with its rave progenitors, the live experience is meant to be the important thing; only thing is, back in the day, the likes of Altern8 and Oceanic produced tunes that mixed with a pop sensibility and rewarded listening, and the stars of the show were the show, not the stars. The DJ was not important. Now the industry wants a cult of personality so that it can package and sell the otherwise anonymous bleeps and beats. It's what the industry wants people to like; dance music commoditized and automated.
In sum: meh