Re: [microsound] Quality Control

[philippe petit <philippe-petit@xxxxxxxxxx>]

> The answer is:  both.  I like both approaches,

I agree with you Joshua,
Though it is certainly a tough question to reply to. None of us has the same
tastes and standards in term of quality and I'm sure that the people at Tiln.
enjoy every music they offer online. Same thing for every label, be it virtual
or "real"...


> and my joy in examining a
> beautifully created musical artifact - for example the latest Cranioclast
> picture-disc 7" on Drone Records or Hatohan's CD box on Hacca Note - is
> balanced by my enthusiasm at watching music evolve on line (as in the
> Bovine Life project or the Fallt label).

Indeed Fallt is an amazing label and I feel very happy that they are not just
putting music online, but very soon will deliver the complete Invalid Objects
series. They already did issue good music, and have some more to come.

Bovine Life is Chris Dooks - an Edinburgh based digital artist working across
a whole range of media including video, photography, internet projects and
music. I guess that when music online is that good, it finds a home.
Bovine Life is now signed on BiP_HOp so I am not the one to describe his
music.


>
> "Systems of Romance" by Ultravox, one of my favorite albums, and although
> it is a rock group the example has some universality.  This group released
> one LP - 35 to 40 minutes of music - per year and so had to choose only its
> best material

True but on the other end some people will say that it is a great shame that
some of the creativity of Ultravox got lost.

Nowadays it is easier and faster to create music, obviously easier when you
are alone behind your computer, opposed to a group that has to rehearse, enter
the studio, and every musician to be satisfied with the session. So an
advantage with new technologies is that a lot of creativity is going on, but
that doesn't mean quality. So it could be the role of a label owner to help
his artists to make a selection. And definitely the sound assemblers should
edit and be more selective. Though non-editing is happening in every kind of
music, and maybe even more in journalism...

I like when people collaborate and exchange their opinions, interact to create
their music. I'm sure many of us could name great duos in electronic music...
philippe

**************************************************************
http://www.bip-hop.com
unconventional sound adventures, adventurous & creative electronica...
**************************************************************

TENNIS : europe on horseback [bleep 03] out in April
TENNIS is Benge and Si-{cut}.db. An on-going London based collaboration
exploring digital and electro-acoustic sounds and rhythms combined with 21st
century audio software.
"Europe on Horseback", and shows a progression of the "Tennis sound" into a
harder more digital/glitchy but accesible rhythmic realm, with dub and german
influences to the fore.

BiP-HOp Generation v. 2 [bleep 02] out in March
20 exclusive tracks, 70+ mns of music and comes in a 6 page Digipack including
a booklet w/ infos on each musician
AROVANE / BERNARD FLEISCHMANN / WARMDESK / KÖHN / WANG INC. / LAURENT PERNICE

BiP-HOp Generation v.1 [bleep 01]
v. 1 offers 74 mns of music and comes in a 6 page Digipack including a booklet
w/ infos on each musician :
MARUMARI / SCHNEIDER TM / PHONEM / GOEM / ULTRA MILKMAIDS / MASSIMO

------------------------------------------------------------------------------------