You can read the bio, posted here: XDB
Wednesday, October 28, 2009
XDB Bio for Wave Music
Writing band biographies was something I grew to love as a publicist. After a long period of dormancy in that field, I recently rewrote Lo-Fi-Fnk's bio and realized how much I'd missed the task. Now on the team at Forward Management, I've also been working with my company to rewrite a few bios for Wave Music artists. So far, it's been an absolute blast, and the only reason why I haven't been doing it more and more is the general lack of its presence in my routine. It's something I'd very much like to change in the near future.
Thursday, October 1, 2009
The Afterlife Of My Memories
I started writing a simple post for my blog, Onward Charles, and the plan was a brief run-down of Maura's birthday wishes to CD player on Idolator. My personal and assigned writing has been short, with everything from journal entries to record reviews being 250 words or under.
But today it was different. It was much more personal, and as I reached the end of my final sentence, I decided it was more fitting to post here - in a place where my published opinion and career as a member of the music industry are followed.
27 years ago today, the CD player was born. I vaguely remember them being a considerable amount of money, but my memory tells me that my family didn't get one until about 1992.
Can that be right? I remember tapes and tapes and even 8-tracks (my parents were never that big on vinyl, though there's an interesting but modest collection in their den), but did CDs fit into my 80s experience? I honestly cannot remember. That also begs the question: do people still have dens? My parents' house has a den and a living room. Are those the same now?
In any case, my first CD was Green Day's Dookie (with the banned Ernie puppet on the back cover). Shortly after that, Garbage's self-titled debut, Smashing Pumpkin's Mellon Collie & The Infinite Sadness, Nirvana's Nevermind and Michael Jackson's HIStory came as birthday and Christmas gifts. I remember how special I felt, after inheriting my sister's first compact stereo system. I used that machine for years. Nine Inch Nail's Downward Spiral would go on to be both one of my all-time favorite albums as well as one that I wouldn't buy, in CD form, until I'd graduated college. I spent my high school years constantly re-playing the dubbed cassette I'd made from my bio lab partner's CD, and the same holds true for Marilyn Manson's Anti-Christ Superstar.
I fell in love with Led Zeppelin through a cassette tape that a boy made me when I was 14. I listened to it the morning he moved away for college and cried in my bed. I had made him a Tori Amos "best of" in return. During college, a guy communicated a break-up through cassette tape. There were hundreds of miles between us and I sneer at the thought of him still. My ego was cracked harder than my heart, but I still remember the songs on the tape, which only took up about 15 minutes of plastic, polyester film.
And Tori Amos...she was my hero in high school. If I remember correctly, I own about 80 of her CDs: albums, singles and bootlegs. Back then the UK import singles came in two parts, and I would dilligently buy both from Tower Records in Huntington, NY (now out of business) whenever I laid eyes on them. For months I found the same goddamn issue of Caught A Lite Sneeze, and was thrilled when I got my hands on the UK version. It had a different cover - taken from the Boys For Pele photo shoot - and B-sides I'd never known about. Still, I wanted it all. I wanted the German version, and would gladly pay over $9.99 to get it. The funny thing is that it was the same artwork as the US version. It also contained two of four B-sides already on the domestic...but there was a third. It was called "Hungarian Wedding Song," and clocked in at exactly 60 seconds. It was childish and nonsensical but when I walked into Tower Records on one of my Saturday visits...there it was.
And it was all mine.
There were no waffles.fm or what.cd accounts. I don't even think Napster existed at the time, and I wouldn't get the internet until sometime in 1997. It was my moment...my music, my format and my money. I can still hear the click of the magnet in the top corner of my stereo cabinet. Push in...click...release. A wall of glass glided towards me and the modest facade of my CD/cassette/radio system with detached speakers was before me like the monolith in 2001. It was beautiful.
With all that said, the New York Times published a much talked about story about Downtown 161 records this week, and the point I took from it was this: people cling to vinyl and continue to cultivate an unavoidable digital music library. That's all. Cassettes receive affectionate attempts of ressurrection because of the endearing nostalgia of "the mix tape," but CDs and 8-tracks dont's have that. For the commercial consumer, the latter was never possible and the prior is just too cold, plastic and lifeless. Example: a music fiend can look at a vinyl record - just look at it - and remember key moments in their longtime affair with music. I truly don't believe that catharsis can come to life with a CD until after the play button has been triggered.
I'm not old enough to start prefacing my anecdotes with "When I was your age" to anyone, but college graduation is a distant memory and the woes of car insurance, 401k's and mutual funds are as staple as morning coffee. I'm part of the last generation that saw ghettoblasters as a top-selling model, and not kitsch factor. I remember when the mp3 came out. Reading about the birth of the CD during its death or journalists referring to the domino-like shutdown of brick & mortar record stores like a pandemonium of the past finds me sitting here thinking about the music collector. If we don't have a tangible format, will those private, bedroom moments still exist for future generations? While you can still stick the title tape that you carefully removed from the top spine of your new CD on the dashboard of your car in the record store's parking lot, it's just not the same. I cherish my relationship with music as equally material as I do metaphysical, but as I find more and more of my library existing in my iTunes...what will be lost?
But today it was different. It was much more personal, and as I reached the end of my final sentence, I decided it was more fitting to post here - in a place where my published opinion and career as a member of the music industry are followed.
+++
27 years ago today, the CD player was born. I vaguely remember them being a considerable amount of money, but my memory tells me that my family didn't get one until about 1992.
Can that be right? I remember tapes and tapes and even 8-tracks (my parents were never that big on vinyl, though there's an interesting but modest collection in their den), but did CDs fit into my 80s experience? I honestly cannot remember. That also begs the question: do people still have dens? My parents' house has a den and a living room. Are those the same now?
In any case, my first CD was Green Day's Dookie (with the banned Ernie puppet on the back cover). Shortly after that, Garbage's self-titled debut, Smashing Pumpkin's Mellon Collie & The Infinite Sadness, Nirvana's Nevermind and Michael Jackson's HIStory came as birthday and Christmas gifts. I remember how special I felt, after inheriting my sister's first compact stereo system. I used that machine for years. Nine Inch Nail's Downward Spiral would go on to be both one of my all-time favorite albums as well as one that I wouldn't buy, in CD form, until I'd graduated college. I spent my high school years constantly re-playing the dubbed cassette I'd made from my bio lab partner's CD, and the same holds true for Marilyn Manson's Anti-Christ Superstar.
I fell in love with Led Zeppelin through a cassette tape that a boy made me when I was 14. I listened to it the morning he moved away for college and cried in my bed. I had made him a Tori Amos "best of" in return. During college, a guy communicated a break-up through cassette tape. There were hundreds of miles between us and I sneer at the thought of him still. My ego was cracked harder than my heart, but I still remember the songs on the tape, which only took up about 15 minutes of plastic, polyester film.
And Tori Amos...she was my hero in high school. If I remember correctly, I own about 80 of her CDs: albums, singles and bootlegs. Back then the UK import singles came in two parts, and I would dilligently buy both from Tower Records in Huntington, NY (now out of business) whenever I laid eyes on them. For months I found the same goddamn issue of Caught A Lite Sneeze, and was thrilled when I got my hands on the UK version. It had a different cover - taken from the Boys For Pele photo shoot - and B-sides I'd never known about. Still, I wanted it all. I wanted the German version, and would gladly pay over $9.99 to get it. The funny thing is that it was the same artwork as the US version. It also contained two of four B-sides already on the domestic...but there was a third. It was called "Hungarian Wedding Song," and clocked in at exactly 60 seconds. It was childish and nonsensical but when I walked into Tower Records on one of my Saturday visits...there it was.
And it was all mine.
There were no waffles.fm or what.cd accounts. I don't even think Napster existed at the time, and I wouldn't get the internet until sometime in 1997. It was my moment...my music, my format and my money. I can still hear the click of the magnet in the top corner of my stereo cabinet. Push in...click...release. A wall of glass glided towards me and the modest facade of my CD/cassette/radio system with detached speakers was before me like the monolith in 2001. It was beautiful.
With all that said, the New York Times published a much talked about story about Downtown 161 records this week, and the point I took from it was this: people cling to vinyl and continue to cultivate an unavoidable digital music library. That's all. Cassettes receive affectionate attempts of ressurrection because of the endearing nostalgia of "the mix tape," but CDs and 8-tracks dont's have that. For the commercial consumer, the latter was never possible and the prior is just too cold, plastic and lifeless. Example: a music fiend can look at a vinyl record - just look at it - and remember key moments in their longtime affair with music. I truly don't believe that catharsis can come to life with a CD until after the play button has been triggered.
I'm not old enough to start prefacing my anecdotes with "When I was your age" to anyone, but college graduation is a distant memory and the woes of car insurance, 401k's and mutual funds are as staple as morning coffee. I'm part of the last generation that saw ghettoblasters as a top-selling model, and not kitsch factor. I remember when the mp3 came out. Reading about the birth of the CD during its death or journalists referring to the domino-like shutdown of brick & mortar record stores like a pandemonium of the past finds me sitting here thinking about the music collector. If we don't have a tangible format, will those private, bedroom moments still exist for future generations? While you can still stick the title tape that you carefully removed from the top spine of your new CD on the dashboard of your car in the record store's parking lot, it's just not the same. I cherish my relationship with music as equally material as I do metaphysical, but as I find more and more of my library existing in my iTunes...what will be lost?
Thursday, September 24, 2009
The Actual Update
I had promised a substantial update after vanishing for the second half of the summer. It should come as no surprise that I've been too busy to update this site, but that's also unfair as lowering the level of urgency to update this "portfolio in progress" goes against its purpose.
The spring was difficult. I held together a worthwhile amount of freelance writing jobs, but the constant struggle to find steady work was taking its toll on me. I was eventually offered a job in fine dining food service on Fire Island, and I couldn't find a reason to say no. The idea of surrounding myself in a routine of manual labor seemed like an incredible break for my spirit and mental health, which were being constantly dragged down by the respective rise and fall of desirable interviews and reluctant rejections. I think everyone hated saying no because it was such a hard time for all of us - the economy, in my opinion, was at its absolute worst and while most of America remained or grew in its unemployment, the relationship between the music industry and the concept of job security was in shambles.
While the experience may not have been exact for everyone, this certainly describes the scenario for myself and many other hardworking artists that I have a personal connection to: editors, DJ/producers, label owners, publicists and [definitely, definitely] writers. By the time my birthday came around in mid-July, I went on official hiatus (if I could even call it that), and ceased to write for about two months.
Terrified of what the freelance world was going to be like when I returned, I am beyond grateful and thrilled to hold two great positions. One is a more involved writing position with NoiseCreep - AOL's metal blog that has been growing like a teenager on steroids - which requires me to be increasingly attached to the happenings in the metal world. Additionally, a very good friend connected me with Forward Management - a booking and management firm that was started by François K and his Wave Music business partner, Aurelie Brambilla. I'm now working part-time alongside Aurelie to book the artists on Forward's roster, which I'm also excited about. Electronic music - like most large and thriving genres - is full of a copious amount of crap, and it's an honor to have the opportunity to work with a particular company that has history, taste and integrity. The few people I've met who are a part of the project are truly genuine, and as far as gut feelings go the green light has been brighter than ever.
There are a few other projects, hopes and ideas on the horizon. I am still writing for Resident Advisor and already have my eye on outlets that I have been waiting for the right time to approach. The time is now!
(P.S. To fellow friends: I discovered the beauty that is Texas Hold 'em this summer, and if you feel like losing some money then bring it on.)
The spring was difficult. I held together a worthwhile amount of freelance writing jobs, but the constant struggle to find steady work was taking its toll on me. I was eventually offered a job in fine dining food service on Fire Island, and I couldn't find a reason to say no. The idea of surrounding myself in a routine of manual labor seemed like an incredible break for my spirit and mental health, which were being constantly dragged down by the respective rise and fall of desirable interviews and reluctant rejections. I think everyone hated saying no because it was such a hard time for all of us - the economy, in my opinion, was at its absolute worst and while most of America remained or grew in its unemployment, the relationship between the music industry and the concept of job security was in shambles.
While the experience may not have been exact for everyone, this certainly describes the scenario for myself and many other hardworking artists that I have a personal connection to: editors, DJ/producers, label owners, publicists and [definitely, definitely] writers. By the time my birthday came around in mid-July, I went on official hiatus (if I could even call it that), and ceased to write for about two months.
Terrified of what the freelance world was going to be like when I returned, I am beyond grateful and thrilled to hold two great positions. One is a more involved writing position with NoiseCreep - AOL's metal blog that has been growing like a teenager on steroids - which requires me to be increasingly attached to the happenings in the metal world. Additionally, a very good friend connected me with Forward Management - a booking and management firm that was started by François K and his Wave Music business partner, Aurelie Brambilla. I'm now working part-time alongside Aurelie to book the artists on Forward's roster, which I'm also excited about. Electronic music - like most large and thriving genres - is full of a copious amount of crap, and it's an honor to have the opportunity to work with a particular company that has history, taste and integrity. The few people I've met who are a part of the project are truly genuine, and as far as gut feelings go the green light has been brighter than ever.
There are a few other projects, hopes and ideas on the horizon. I am still writing for Resident Advisor and already have my eye on outlets that I have been waiting for the right time to approach. The time is now!
(P.S. To fellow friends: I discovered the beauty that is Texas Hold 'em this summer, and if you feel like losing some money then bring it on.)
Thursday, July 9, 2009
Jeff Mills for Resident Advisor & Fuck The Facts for NoiseCreep
One of my highest priorities is to post my writings right about the time they're published, but from time to time it's difficult to stay on point. I'm still living on a fantasy summer island, but have been keeping myself plugged into my two favorite genres: metal and techno. Before I left for Fire Island, I spent my final, epic weekend with a string of memorable nights. On Wednesday, my friend Mattis and I drove up to Boston for a RBMA Thomas Oberheim workshop and Le Loup at Midweek Techno. Thursday was Raster-Noton at Make It New, and Friday - the day the up button broke on my car stereo's volume - we drove back to Brooklyn with a full car for Bunker, which featured R-N and Insideout (I think Grant is my new hero) and an epic 6hour tagteam between Jan Krueger and Derek Plaslaiko. The following night was Jeff Mills at the Sullivan Room, topped with a Cadenza party on the Bar 13 rooftop the following afternoon. Easily one of the best (and longest) weekends of my life. My review of Mills was a feat - making sense of one night amongst all of that can be difficult when you consider how much one event will blend into another. It was truly a weekend of loving life, and Mills' set (especially when he played "The Bells") was the opposite of a heartbreak.
True love?
Secondly, I'm on the verge of digging into new metal, and I have big plans with NoiseCreep that hit on a very personal level in the near future. Still, we wanted to know what Fuck The Facts couldn't leave home without - aside from, of course, instruments and merch - because they are just an awesome band. Please go see them if they're coming to your town.
You can read the reviews, posted here:
Jeff Mills @ Sullivan Room for Resident Advisor
Fuck the Facts Hit the Road With Five Essential Items
True love?
Secondly, I'm on the verge of digging into new metal, and I have big plans with NoiseCreep that hit on a very personal level in the near future. Still, we wanted to know what Fuck The Facts couldn't leave home without - aside from, of course, instruments and merch - because they are just an awesome band. Please go see them if they're coming to your town.
You can read the reviews, posted here:
Jeff Mills @ Sullivan Room for Resident Advisor
Fuck the Facts Hit the Road With Five Essential Items
Thursday, June 11, 2009
Movement 2009 In Review for Resident Advisor
I've already mentioned several times here how Detroit was an incredibly enriching experience for me. In fact, I called it before I even went, but it was a bit of a give-in. Myself and a handful of other Resident Advisor contributors covered most of the festival, and I was lucky enough to be assigned all of my favorite highlights. I'm most thrilled that Monty Luke was pleased with the Mothership review, as he and everyone else from the San Francisco-based community conscious label had a blast that night. The other major point for me was Cassy, a female DJ who's come blasting through the doors and taken a seat at the table of my favorite DJs. I'd seen her before, but her set at House 'n Home at Oslo is the first thing I've been mentioning when people ask me what I liked the most. I can only hope that dubbing her "the Sophia Loren of DJs" goes viral and she gets properly appointed. Damian Lazarus wins Breakthrough Artist in my own personal awards ceremony, and I still watch YouTube videos of Adam Beyer's set on a regular basis. Viva la Beatport stage!
You can read the review, posted here: Movement 2009 in review
You can read the review, posted here: Movement 2009 in review
Saturday, May 23, 2009
Voodeux - "The Paranormal" for Resident Advisor
This was an exceptionally challenging review for me. While I've been writing about music for a long time, I can't say that writing about techno is one of my older trades. Facing any genre is difficult, but while I've spent many years as a lover of electronic music I've only been personally invested - and fairly dedicated - to techno for about two years. There's so much more at risk, much like a romantic relationship you truly stand behind because you believe in it.
Mothership is one of my favorite record labels. Resident Advisor is one of my favorite sources of music journalism. Tanner Ross, who comprises one half of Voodeux, is a producer and DJ from the Boston scene, and I've had the pleasure to watch this particular project cook slowly. The end result is the forthcoming release of The Paranormal and Voo's debut live performance, which just kicked off my DEMF experience at the C-Pop Gallery in Detroit. You can imagine there was a lot riding on this - it only helped that after several sit-down meals of ingesting the entirety of the album I found a copious amount of positive reflections to put in order.
I'd only be repeating myself to say more, but I'm particularly proud of this, so I hope you enjoy it. Purchasing the Voodeux album is highly recommended, and they have a pretty sweet deal going on.
You can read the review, posted here: Voodeux - The Paranormal
Mothership is one of my favorite record labels. Resident Advisor is one of my favorite sources of music journalism. Tanner Ross, who comprises one half of Voodeux, is a producer and DJ from the Boston scene, and I've had the pleasure to watch this particular project cook slowly. The end result is the forthcoming release of The Paranormal and Voo's debut live performance, which just kicked off my DEMF experience at the C-Pop Gallery in Detroit. You can imagine there was a lot riding on this - it only helped that after several sit-down meals of ingesting the entirety of the album I found a copious amount of positive reflections to put in order.
I'd only be repeating myself to say more, but I'm particularly proud of this, so I hope you enjoy it. Purchasing the Voodeux album is highly recommended, and they have a pretty sweet deal going on.
You can read the review, posted here: Voodeux - The Paranormal
Friday, May 15, 2009
Blue October for NoiseCreep
I'm genuinely pleased with this video and song. When I worked as a publicist at Planetary, the radio department did a great deal of work with Blue October. There, I was first exposed to them, but something didn't exactly click. Two things this song reminded me of were slam poetry and Placebo, and yet this band isn't directly associated with either. Something about these two bits, which are near and dear to my heart, were prevalent throughout the whole video, which goes just under four minutes. While Rolling Stone gave their album two stars, I have to say this particular single is really goddamn good.
You can read the review, posted here: Blue October 'Say It' -- Video
You can read the review, posted here: Blue October 'Say It' -- Video
Thursday, May 14, 2009
Saving Abel for NoiseCreep
I really mean it about NASCAR becoming a big part of alternative culture. At first it was ironic when my most hipster of Williamsburg-residing friends got into it for the sheer "redneck chic" factor. It was also a great reason to have a BBQ! The fanaticism has magnetized a small handful of them, and it's safe to say that I officially have friends that are into NASCAR. It's bold enough that I love the Red Sox and might watch a Celtics or Knicks game or two, but there are some sports that I haven't had much exposure to. Or at all. I couldn't even begin to fathom if I would make a good NASCAR fan. First off, I'm vegan - how would I fair with the concession stand?
You can read the review, posted here: Saving Abel 'Drowning (Face Down)' -- Video
You can read the review, posted here: Saving Abel 'Drowning (Face Down)' -- Video
Monday, May 4, 2009
Slipknot Video for NoiseCreep
When I was in high school, my town (Deer Park, Long Island) didn't have a record store, book store or really anything outside a plethora of fast food chains. While I can't recall the name I remember the small, strip mall-embedded record shop that opened for a solid year or two near my house. I spent more allowance and work money there than any other Tower or Sam Goody to keep that place afloat, and I remember the day my friend Paul pulled out the Slipknot self-titled album and said, "Vicki, you have to buy this. Trust me. Just do it."
I listened, and I'm glad to have done so because the record was a jigsaw puzzle in the growing relationship between metal and mainstream, but Slipknot stayed on the outskirts of the nu-metal phenomenon (thank god). Slipknot's metal sound is so far from what I listen to on a daily basis that I was hoping a write-up for their latest efforts would plunge me back into the memory pool of the late 90s. Also notable was the art installation in Des Moines, Iowa - their hometown - from where they got the inspiration for the "Sulfur" video. Good for them for still being around - even if they're not your cup of tea, their tracks are a cut above most of what is out there today, seeing as they've been at it for so long.
You can read the review, posted here: Joey Jordison Comments on Slipknot 'Sulfur' Video
I listened, and I'm glad to have done so because the record was a jigsaw puzzle in the growing relationship between metal and mainstream, but Slipknot stayed on the outskirts of the nu-metal phenomenon (thank god). Slipknot's metal sound is so far from what I listen to on a daily basis that I was hoping a write-up for their latest efforts would plunge me back into the memory pool of the late 90s. Also notable was the art installation in Des Moines, Iowa - their hometown - from where they got the inspiration for the "Sulfur" video. Good for them for still being around - even if they're not your cup of tea, their tracks are a cut above most of what is out there today, seeing as they've been at it for so long.
You can read the review, posted here: Joey Jordison Comments on Slipknot 'Sulfur' Video
Friday, May 1, 2009
A New England Recharge + Upcoming Projects
I'm happy to announce that since the review of DJ Hell in Brooklyn went live on Resident Advisor, Hell himself released Teufelswerk on his own International Deejay Gigolos label as of this week. Furthermore, his website got a complete makeover, and the overall design moved away from the N. Y. Muscle theme to something more suited for the new record. The RA review is featured on the front page, and you can imagine the audible gasp of joy when I saw my own name in large font on his website. No matter how long I do this, that sort of recognition never gets old. The man is a legend, and this album just happens to be contending for my favorite of the year. Succinctly put, it's an honor.
In other news, I traveled to Boston last weekend for the first time in quite a while. I saw sQuare Production's Speaking In Code documentary in a proper theater, heard some of my favorite local DJs at Make It New, Solid!, Circus, Bassic and the Basstown monthly residency, which featured Lazer Sword. On the dubstep front, Clouds' DJ Tommy did a beautiful set on Sunday, but I was most impressed by Moldy - a Portland DJ I'd heard about in my time living with Pandai'a as one of the best East coast producers of the genre. It's absolutely true. His presence and his mixing and some of the original tracks he dropped were just perfect. All of the elements were in place, and with the Good Life's soundsystem I left with proper cerebral vibrations.
Being back in my old haunts encouraged all of us at Basstown to light a mighty flame under our collective asses with the website. For weeks, we've been doing a great job of keeping it up to date, but my personal goal is to have more community involvement, more mp3's & album reviews and more news that would be useful to both DJs and intrigued techno lovers. In three weeks, I'll be headed to Detroit with Volvox for our first foray into DEMF and all that Detroit - the closest I can get to Berlin - has to offer, and Resident Advisor will be the outlet for all of my reactions and musings.
Lastly, the wheels are picking up at NoiseCreep, where I'm thrilled to have joined on. You can expect to see more of my words there in the coming weeks, and I hope that everyone enjoys my rambles on metal as much as they do techno. Cheers!
In other news, I traveled to Boston last weekend for the first time in quite a while. I saw sQuare Production's Speaking In Code documentary in a proper theater, heard some of my favorite local DJs at Make It New, Solid!, Circus, Bassic and the Basstown monthly residency, which featured Lazer Sword. On the dubstep front, Clouds' DJ Tommy did a beautiful set on Sunday, but I was most impressed by Moldy - a Portland DJ I'd heard about in my time living with Pandai'a as one of the best East coast producers of the genre. It's absolutely true. His presence and his mixing and some of the original tracks he dropped were just perfect. All of the elements were in place, and with the Good Life's soundsystem I left with proper cerebral vibrations.
Being back in my old haunts encouraged all of us at Basstown to light a mighty flame under our collective asses with the website. For weeks, we've been doing a great job of keeping it up to date, but my personal goal is to have more community involvement, more mp3's & album reviews and more news that would be useful to both DJs and intrigued techno lovers. In three weeks, I'll be headed to Detroit with Volvox for our first foray into DEMF and all that Detroit - the closest I can get to Berlin - has to offer, and Resident Advisor will be the outlet for all of my reactions and musings.
Lastly, the wheels are picking up at NoiseCreep, where I'm thrilled to have joined on. You can expect to see more of my words there in the coming weeks, and I hope that everyone enjoys my rambles on metal as much as they do techno. Cheers!
Monday, April 13, 2009
Kode 9 Interview For Boston's Weekly Dig
Continuing my recent words on dubstep, I also had the pleasure of speaking with Steve Goodman, who is better known as Kode 9 in the music world. His credits include: DJ, producer, college professor, academic writer and record label owner. In most of these fields, he is renowned for his ability to carve a unique niche, and establishing himself as a creative artist whose art - be it music or the written word - stands out on its own.
Bassic, the dubstep night in Boston, which I've seen grow and grow over the last year, celebrates another month of projected success by booking Kode 9 at the Good Life this Wednesday. One of its resident DJs, Pandai'a - the first female to play Dub War (NYC) and a fierce personality for the burgeoning presence of women in dubstep - also commented on the healthy community in New England, and reflects on how the subculture has rapidly expanded over the last year or so.
Last but not least is the Weekly Dig, an independently owned alternative weekly newspaper for which I still have a very great affinity. I've had the pleasure of working there, and can vouch for the passionate staff that run the operation. Perhaps one of my most missed facets of being a former Bostonian, I'm happy to remain a contributor to their weekly pages.
You can read the interview in this week's issue, or posted here: Kode 9 Interview For Boston's Weekly Dig
Bassic, the dubstep night in Boston, which I've seen grow and grow over the last year, celebrates another month of projected success by booking Kode 9 at the Good Life this Wednesday. One of its resident DJs, Pandai'a - the first female to play Dub War (NYC) and a fierce personality for the burgeoning presence of women in dubstep - also commented on the healthy community in New England, and reflects on how the subculture has rapidly expanded over the last year or so.
Last but not least is the Weekly Dig, an independently owned alternative weekly newspaper for which I still have a very great affinity. I've had the pleasure of working there, and can vouch for the passionate staff that run the operation. Perhaps one of my most missed facets of being a former Bostonian, I'm happy to remain a contributor to their weekly pages.
You can read the interview in this week's issue, or posted here: Kode 9 Interview For Boston's Weekly Dig
Sunday, April 5, 2009
Square Pegs In A Round Hole Kind Of World
I had a recent discussion with one of my editors about the amount of personal insertion one should have in their pieces. Depending on the format and subject, the acceptable etiquette may vary, and often more than not do event reviews contain personal anecdotes and visceral reactions. We're both writers and lovers of electronic music, but agree that there is a lack of discipline in writing about it. Club music culture is not like rock n' roll, who quickly adapted the developing necessity for music criticism and journalism from the classical era. A particular comment I made was that, in my opinion, the real bible of electronic music journalism was Mark Prendergast's The Ambient Century: From Mahler to Trance. It's not world-renown, not every techno disciple owns it, and I don't recall a major fuss being made when it was actually published in 2001. It is, however, the most complete and encyclopedic collection of electronic music in one substantially thick book. It's a thorough introduction to anyone that is new and curious towards EDM in general, but also fills in many of the historical gaps for long-time fans that haven't reflected on its many minor details.
Now that the book is nearly 10 years old, there are certain missing elements that have developed over the last decade. The first thing that comes to mind is dubstep, a genre that claims to be anything but that. It's a conglomerate of so many previous club subcultures, such as grime and dancehall in the UK and rave, jungle and even hip-hop in the US. Every dubstep DJ I've ever met has undeniably vast tastes in music, and while everything they spin might be sub-bass heavy and 140bpm, they are drawing from a wide spectrum; from the revolutionary music culture of Jamaica's ragga movement to top40 pop. A respected music writer, Philip Sherburne, recently interviewed Steve Goodman a.k.a. Kode 9, and their conversation touched upon all of this and more.
This sounds unavoidably condescending, but I feel sorry for people who are unable to appreciate electronic music. Growing up in the hardcore/punk culture of Long Island, I honestly don't see a great amount of distance between A and B. The modern techno scenes that I know and love in both Boston and New York are comprised of hard-working, passionate DJs, promoters and music lovers that have really found that niche for themselves. They are often smart, eclectic and have a very strong sense of individuality. Hardcore punk was a home for the lost, changing dramatically over the course over the last 30 years, but at the core it has always been centered around getting to some state of nirvana - be it a mosh pit or a crowded dance floor - and being a square peg in a round hole kind of world.
With all that said, I've been literally between Boston and New York, transitioning slowly as I try to rebuild my life in Brooklyn without enough income to afford an apartment there. It's been easy to long for the family I left behind when Ben Klock comes to town and there aren't thirty close friends coming along. This weekend, I took a chance and went in blind; alone and curious to see how an all-night party would turn out with my own company. I found the same sort of solace that one would find in any alternative culture, and ended up having one of my most memorable New York nights to date. Much of good music is about taking chances, as are investing in promotional/booking collectives for a variety of non-mainstream crews. It's a faithful reminder that life, very similarly, is much about taking chances.
Now that the book is nearly 10 years old, there are certain missing elements that have developed over the last decade. The first thing that comes to mind is dubstep, a genre that claims to be anything but that. It's a conglomerate of so many previous club subcultures, such as grime and dancehall in the UK and rave, jungle and even hip-hop in the US. Every dubstep DJ I've ever met has undeniably vast tastes in music, and while everything they spin might be sub-bass heavy and 140bpm, they are drawing from a wide spectrum; from the revolutionary music culture of Jamaica's ragga movement to top40 pop. A respected music writer, Philip Sherburne, recently interviewed Steve Goodman a.k.a. Kode 9, and their conversation touched upon all of this and more.
This sounds unavoidably condescending, but I feel sorry for people who are unable to appreciate electronic music. Growing up in the hardcore/punk culture of Long Island, I honestly don't see a great amount of distance between A and B. The modern techno scenes that I know and love in both Boston and New York are comprised of hard-working, passionate DJs, promoters and music lovers that have really found that niche for themselves. They are often smart, eclectic and have a very strong sense of individuality. Hardcore punk was a home for the lost, changing dramatically over the course over the last 30 years, but at the core it has always been centered around getting to some state of nirvana - be it a mosh pit or a crowded dance floor - and being a square peg in a round hole kind of world.
With all that said, I've been literally between Boston and New York, transitioning slowly as I try to rebuild my life in Brooklyn without enough income to afford an apartment there. It's been easy to long for the family I left behind when Ben Klock comes to town and there aren't thirty close friends coming along. This weekend, I took a chance and went in blind; alone and curious to see how an all-night party would turn out with my own company. I found the same sort of solace that one would find in any alternative culture, and ended up having one of my most memorable New York nights to date. Much of good music is about taking chances, as are investing in promotional/booking collectives for a variety of non-mainstream crews. It's a faithful reminder that life, very similarly, is much about taking chances.
Monday, March 30, 2009
Herein Lies the Personality
Hello All,
After several weeks of toying with WordPress, I returned to Blogger to put this long-needed site together. While it'd be nice to make this as aesthetically pleasing as possible, my focus is the content. Nearly every writer or freelancer that I know has their own site, so this is my official conglomerate. After all, a resume can only say so much about who has put me on their payroll and where I got my start(s). Herein lies the personality. There won't be any relationship rants or personal dramas, but when you're a writer it's natural for the wide variety of events in your life to converge.
Music - the business of it - has been my life for so long. I've grown up and around so many brilliant local and popular musicians that have dedicated their life to composition and performance, and it's always been an inspiration to someone like myself; someone who has been standing proud backstage making sure things run smoothly. The camaraderie I've developed with some of the most inspiring music writers of the last ten years have taught me so much about myself, and without that I couldn't have grown beyond my borders and into various other writing fields and career opportunities.
I remember when I was a publicist - one of the best careers I've had to date - I finally saw "the fence." By that time I'd been a solid music writer for about four or five years, and hadn't actually dealt with publicists too much after my college graduation. Much of that communication was taken up with my editors and then passed on to me. In any case, here I was standing on the other side of this see-through barrier, and more and more were editors telling me that it was a huge conflict of interest to balance freelance writing and a salaried publicity position within the same industry. Looking back, I don't believe this to be entirely true, but it takes a certain kind of mental dichotomy that simply can't exist within the realm of music fandom. There's too much personal investment and self-motivated drive needed to succeed on either side, let alone both.
To be a good publicist, you should believe in your product(s), and there are simply so many people that carry out this job with little passion. To be a writer, you have to believe in yourself, and knowing that your opinion is worth being paid for, read and considered by countless fans who choose not to write about music is key. Over the years, and throwing in many other projects and experiences into the mix, I've come to feel that a person who can play either side of the fence is better off committing to one, but the reward of having resided on both sides at some point is invaluable.
So with all this said, I ultimately welcome you and hope that you check this site often. Predetermined formats and categories might make things a little easier, but my life has never ever had such a helping hand so you're along for the ride. Thank you!
VGS
After several weeks of toying with WordPress, I returned to Blogger to put this long-needed site together. While it'd be nice to make this as aesthetically pleasing as possible, my focus is the content. Nearly every writer or freelancer that I know has their own site, so this is my official conglomerate. After all, a resume can only say so much about who has put me on their payroll and where I got my start(s). Herein lies the personality. There won't be any relationship rants or personal dramas, but when you're a writer it's natural for the wide variety of events in your life to converge.
Music - the business of it - has been my life for so long. I've grown up and around so many brilliant local and popular musicians that have dedicated their life to composition and performance, and it's always been an inspiration to someone like myself; someone who has been standing proud backstage making sure things run smoothly. The camaraderie I've developed with some of the most inspiring music writers of the last ten years have taught me so much about myself, and without that I couldn't have grown beyond my borders and into various other writing fields and career opportunities.
I remember when I was a publicist - one of the best careers I've had to date - I finally saw "the fence." By that time I'd been a solid music writer for about four or five years, and hadn't actually dealt with publicists too much after my college graduation. Much of that communication was taken up with my editors and then passed on to me. In any case, here I was standing on the other side of this see-through barrier, and more and more were editors telling me that it was a huge conflict of interest to balance freelance writing and a salaried publicity position within the same industry. Looking back, I don't believe this to be entirely true, but it takes a certain kind of mental dichotomy that simply can't exist within the realm of music fandom. There's too much personal investment and self-motivated drive needed to succeed on either side, let alone both.
To be a good publicist, you should believe in your product(s), and there are simply so many people that carry out this job with little passion. To be a writer, you have to believe in yourself, and knowing that your opinion is worth being paid for, read and considered by countless fans who choose not to write about music is key. Over the years, and throwing in many other projects and experiences into the mix, I've come to feel that a person who can play either side of the fence is better off committing to one, but the reward of having resided on both sides at some point is invaluable.
So with all this said, I ultimately welcome you and hope that you check this site often. Predetermined formats and categories might make things a little easier, but my life has never ever had such a helping hand so you're along for the ride. Thank you!
VGS
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