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Re: [microsound] On the benefits/disadvantages of CDR as a medium for distributingmusic...



> Just wondered how everyone felt about the issue of releasing music on CDR
> and/or the whole issue of CDR only labels.

It is true that there is a lot of music being released on cdr and that not
all of it is of exceptional quality.  But it is also true that there is a
lot of music being released on cd, vinyl, or and other format, and not all
of it is of exceptional quality.  I personally feel that the format is a
more or less irrelevant criterium for judging content.  The point is to
discover artists and work that you admire and seek out their available work
through whatever medium possible.  There are many, many exceptional artists
releasing on cdr, some who release exclusively on that medium, others who
may have several 'real' releases as well...  But clearly the idea that cdr
releases are on cdr because they are not good enough to be on cd is ignorant
and short-sighted.  I have worked with 4 cdr labels, all of whom have
exceptional catalogs of exceptional sounds - (here's a little plug for them,
if we're still allowed to share information like this after that last thread
; ) Bake Records (run by staalplaat's Frans de Waard), s'agita recordings,
Absurd and the phonography organisation.  If anyone doubts the potential
quality of cdr labels, check them out!

One more point - there are also plenty of artists who release their own
material, not because it's been rejected by Big Labels, but by choice.
Yannick Dauby has released most of his own work on cdr, as has the Quiet
American, as do Monos.  Michael Northam always has a few copies of works on
cdr at gigs.  Someone (was it Sawako?) told me of a series of one of a kind
cdrs she made to give out at gigs. These small runs can be more personal and
can end up being quite sought after.

I think it's interesting that in most contexts (food, clothes, etc) being
handmade or homemade is a sign of high quality and a personal touch, while
in music.... ?

patrick

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