Good morning! Today’s stores feature David Guetta, Modeselektor, Flux Pavilion, The M Machine, and DJ Shadow. Please read on after the jump!
Guetta Reckons That Staying Underground “Killed Dance Music”
A revealing interview with David Guetta appeared in the Observer over the weekend.
The Frenchman opined that the dance scene’s unwillingness to embrace its full commercial potential “killed dance music for so many years”.
Guetta said: “That spirit of wanting to keep this only for ourselves, and anything that’s successful is bad. That culture that goes in a cycle where everybody loves someone and they’re all talking about him, and then in one second, because he’s successful, ‘Ah, fuck him, he’s bullshit!’ What? But you were saying the same guy was a genius last year, now he’s the worst person?”
Something tells us he’s a little peeved that people have been hating on him for churning out mindless club bangers.
He also reckons that the dance music underground is dead and that bedroom producers have the ability to blow up more quickly than ever before.
“It was a subculture, it was a lifestyle, it was all of these things. But these days, it’s not really working like this any more. It took me 20 years to do what I did. Avicii, last year, no one knew who he was. Now he’s the biggest thing on the planet. You understand? It’s totally different.”
Worth a read then, if only to get a rare glimpse of what one of dance music’s biggest stars really thinks.
Modeselektor Make More Modeselektions
Details have been announced for Modeselektion Vol.2, due out in July on Monkeytown Records.
The second edition in Modeselektor‘s compilation series has a bit more of an experimental edge than its predecessor. In addition to artists like Addison Groove,Phon.o, Lazer Sword and Siriusmo, who have appeared before on the German duo’s labels (the other being 50 Weapons), Modeselektion Vol.2 features avant-garde heavyweights like Mouse On Mars, Clark and Raster Noton staples Alva Notoand Byetone, who debut their latest collaborative project, Diamond Version.
The package will be available as a triple-LP as well as digitally and on CD. It will be preceded in June with a 12-inch featuring songs from Martyn and Modeselektor themselves. The launch party is happening on June 29th in Paris with Addison Groove, Sound Pellegrino Thermal Team and Lazer Sword.
01. Egyptrixx – Levitate
02. Monolake – Hitting the Surface (Electric Indigo Edit)
03. Addison Groove – Manic Miner
04. Bambounou – Pixel
05. Clark – Nordic Wilt
06. Mouse on Mars – Humoslab
07. Lazer Sword – Landscape
08. Phon.o – Fukushima
09. Sound Pellegrino Thermal Team – Activate
10. Dark Sky – Ruk
11. Diamond Version – Mode Operator (Beispiel A)
12. Prefuse 73 – Death By Barber pt.1 (Haircut Zero)
13. Frikstailers – Sudaka Invasor
14. Siriusmo – Modern Talk
15. Jan Driver – Distorsione For Strings
16. Anstam – Observing The Patterns
Monkeytown will release Modeselektions Vol.2 on July 2nd, 2012.
(via Resident Advisor)
Flux Pavilion: “What I Do is Not Dubstep”
He may be at the forefront of the ‘brostep’ revolution, but Flux Pavilion isn’t fussed about how his music is categorised.
In an interview with Spoonfed, the UK producer said: “I say it all the time on Twitter – what I do is not dubstep.” He added: “I was never really part of the initial dubstep scene.”
The producer, whose track ‘I Can’t Stop’ was recently sampled by Jay Z and Kanye West, cited Diplo as an inspiration for showing him the potential for collaborating with pop artists.
“Diplo is a massive inspiration, he manages to get away with so much and still remains stupidly cool,” he said.
“He’s thinking of going in the studio with Justin Bieber – and my first thought was that’s going to make me like Justin Bieber more…”
Sounds like he’ll soon be a ‘belieber’.
The M Machine Builds iPad-Controlled Light Show From Scratch
SAN FRANCISCO — Out near the piers, in a warehouse where 1980s rockers Journey used to practice, the band that calls itself The M Machine is building, well, an M machine.
It’s a giant light wall in the shape of an M that flashes different colors and syncs with the band’s music. The sophisticated stage prop, constructed on the cheap, figures prominently in the storyline of The M Machine‘s new EP, Metropolis Pt. 1. It also symbolizes the three-piece band’s DIY approach to art and music.
“The whole M Machine thing has been about taking a project that’s been at the ground level and seeing how legit and big you can create it before you even launch,” said the band’s singer/composer/producer Ben “Swardy” Swardlick. “It’s got a lot to do with the idea of, ‘Well, fuck it, let’s build a light wall. Fuck it let’s make an album.’ Everything has been about, ‘Now that we have the space to do it, let’s see how big we can build it before we release anything.’”
Inside The M Machine’s airplane-hangar-like warehouse in San Francisco’s Dogpatch neighborhood, it becomes clear that what the band members have created in this open space goes far beyond an EP and a light-dancing M. Inside the historic building, they’ve essentially built an old-school artist collective where M Machine’s musicians-cum-tech-geeks live alongside painters, young professionals and other hip types who have found an affordable place to live in a neighborhood that’s quickly losing ground to condos.
The band’s cover artist works not too far from the recording studio and what everyone calls “the Garcia Room,” named after the Grateful Dead leader who enjoyed hanging out there. “I can guarantee you [Jerry] spent a lot of time here,” Swardlick told Wired, giving a tour of the tie-dye-covered room, which formerly served as the studio’s control room. (See the Garcia Room and other highlights of the warehouse in the gallery above.)
San Francisco artist Casey Gray also lives in the sprawling complex — he’s the one responsible for the skate ramp on the other side of the warehouse. He’s been living here since the M Machine moved in during fall 2009. About eight or nine people live in the warehouse at any given time, with rent running about $600 per month each. (Skrillex, whose label OWSLA is home to M Machine, has crashed here as well.)
For Gray, who works with spray paint (among other mediums), the environment is ideal: He can have a studio in the warehouse’s former garage/loading area. He’s also got another studio and a woodshop.
“I’ve got a lot of real estate in this place,” Gray said. “When it came time to move in here I was like, ‘Wait there’s two roll-up doors? Holy shit, I could have a studio in there!”
Visual artist Chris Blackstock, who used to live here with the members of the M Machine, maintains a studio on the building’s second level. He created the sleek, vibrant-yet-industrial album cover forMetropolis Pt. 1, released Tuesday.
“When I was sleeping here was pretty much when they were making the first half of the album, so I was hearing the same eight beats over and over,” Blackwell said, adding that the experience didn’t stop him from wanting to contribute to the album’s story.
Building on Fritz Lang’s Metropolis
The Metropolis Pt. 1 narrative is a little like what you’d expect — Fritz Lang’s Metropolis is the main influence and the M machine idea comes from the power source in the 1927 sci-fi film. But the story, detailed in the album’s liner notes, goes deeper into a people’s struggle. Certainly it goes further in terms of narrative than the average electronic music album.
“Since it’s all just MIDI and since it’s all time-synchronized with the stuff we’re playing, we could do whatever we wanted to [live],” Coenen told Wired while demonstrating the baby it took him nearly a year to build and program. “Swardy has a lot of samples attached to his MIDI controller, so every time he triggers one of those samples, the corresponding light stuff gets sent to the light wall.”
It’s the kind of giant project that can only come to fruition in an oversize location like the M Machine’s workspace, which is co-owned by the stepfather of band member Eric Luttrell. Bad Habit Recordings‘ Gordon Brislawn, who used to record in the warehouse, still stores his equipment on the premises. The building’s de facto historian, Brislawn says there’s a spirit to the massive concrete-and-steel structure that allows creative magic to happen — from Journey and Jerry to Skrillex and spray paint.
“This is basically sacred ground for the arts in San Francisco,” Brislawn told Wired.
But it’s holy land that is always in jeopardy, waterfront property in a city with very limited real estate. Brislawn says the threat of the space being demolished to make way for lofts has been in the air for years, but the neighborhood has sidestepped total overhaul thus far. Still, new construction has been creeping in, and the America’s Cup yachting competition will begin right outside in 2013.
The building’s luck may not hold out forever.
“This whole area is turning into condos, so eventually it will get torn down,” Swardlick said. “But until they feel like the economy is squared away and they want to start building a new condo building, we get to rent it. It’s tragic.”