On Nov 22, 2005, at 8:50 AM, dave cronin wrote:
hey now. no one says you have to love the music, but
that's a bit out of order. no reason to take potshots
at the kontrol peeps just for following a couple
techno conventions/cliches.
I don't have anything personal against the promoters, but if you
advertise your company as booking "Minimal techno and avant house"
talent, then you should do that, and not limit yourself to producers
who happen to be trendy/popular at the moment and associated with
Hawtin, or his label as the two shows in a row that Kontrol will be
putting on after Dan Bell are. If that's not riding the trend as
opposed being really dedicated to the overall "minimal" techno genre,
then I don't know what is.
these guys put the on night out of a love of the music
at a time when no one else in SF would touch the more
avante side of techno/techhouse. luckily for the rest
of us who just show up once a month, it's been
successful and FUN.
What time are you speaking of? 1999 or thereabouts? when Perlon and
Playhouse just began putting out its trademark sound? To my knowledge
these guys (Kontrol promoters) have been around for about a year, and
other promoters (blasthaus for example) have been booking microhouse
producers for a while (Hawtin, Matthew Dear). It's not like
apendics.shuffle (or however you spell his name) and Orac had albums
out more than a year ago (or that large of a body of work for that
matter), which brings me to my point, that they're cashing on a current
trend while ignoring talent which inspired the whole minimal scene in
the process.
-d
--- Wojtek <[EMAIL PROTECTED]> wrote:
But then again, what else can you expect from a
promotion company that
spells the word control with a K and uses photoshop
to make the
producers it books appear otherworldly, quirky, and
"cool".
On Nov 21, 2005, at 1:35 PM, gretchen anderson
wrote:
I enjoyed John Tejada and Justin Maxwell quite a
bit this weekend.
It's interesting that you say that, but to each
her/his own, I guess.
To me their set wouldn't have been enjoyable if they
added five laptops
and three analog fx boxes to the sequencers they
were operating. What
their music lacked in depth and emotion (aside from
John Tajada's few
emotive but far too short moments) they certainly
did not make up for
by playing to the crowd, incorporating electro-clash
guitar samples and
a whole slew of quirky and gimmicky "glitch" sounds.
It's also interesting to see how the new so-called
"minimal" sound is
considered progressive by some magazine music
reviewers, while what can
be termed "classic" techno, or at least the original
"minimal techno"
of Hood, Mills, Bell, Shakir and others carries the
stigma of being
perceived as "soulless, repetitive machine music" to
this day, while
exactly the opposite is true of the former and the
latter.
