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Taking shape

Sleeparchive was excellent last month at The Cavern, and this month we’ve got another special guest at our tiny but beautiful club. Redshape is techno's very own mystery man in the red mask and we’ve secured his services to make his Irish live debut at the Cavern, Dublin on Saturday, June 23rd. Anyone with even a passing interest in techno will be aware of Mr Shape’s string of deep, hypnotic techno and house releases on labels like Delsin, Music Man and Styrax. If you’re in any doubt about his ability to shake The Cavern’s walls, then check out this live set, recorded somewhere in Holland as a taster. Support comes from myself, Jay Galligan and Dan McElligott.
The club opens at 10pm and admission is an underground-friendly 12 euro. As spaces are very limited (200 in total) for this show, I’ll be posting up information about pre-sales to help you avoid the queues over the next week.

The Hard Sell

For my sins, I was a ‘lurker’ on a recent message board discussion, and part of that thread centred on the popularity of electronic music now compared to ten years ago. Different distributors work different territories and more importantly, the advent of digital distribution means that it is difficult to put an accurate figure on what the big labels of 2006/2007 sell, but it is almost certain that they are not as popular (in sales terms) as labels that were popular ten years ago. A number of label owners have told me that back in 1996/1997, at the very peak of the ‘golden age’ of techno, the average EP sold about 20,000 units on vinyl, while the more popular releases, say Mills’s Purposemaker series, could be expected to sell 40,000 units plus. Those kinds of figures are unheard of nowadays - only the very biggest releases, the ‘Rejs’ and ‘Body Languages’ of this world - could be expected to shift 20,000, let alone double that, on vinyl. Indeed, in-demand labels like Poker Flat shift about 5,000 vinyl units per release (a respectable amount all the same), with smaller labels and artists very lucky to shift 1,000-2,000. We can’t forget about digital distribution, which has provided a much-needed financial shot in the arm for the smaller operations and boosted the sales and profile of the more established acts and imprints.
However, this is where things get interesting: the figures from digital sales aren’t as yet big enough to make up the shortfall between current vinyl sales and vinyl sales of ten years ago. Put simply, and I am open to correction on this from Beatport or one of their competitors, no one is selling 15,000 digital units.
Further evidence that the figures don’t stack up was provided to me last year by one of the biggest acts to emerge in electronic music over the past five years (I’d rather not say who I mean, we’ll leave that open to guesswork), who claimed that in 2006, they had been the best selling act on a leading digital distribution site, clocking up 7,500 sales or thereabouts.
This suggests to me that a few things are happening: a) people aren’t buying as much electronic music as they used to at the moment, but are instead waiting until they feel that the digital services available have reached critical mass in terms of availability (this isn’t a criticism of Beatport et al, more recognition of the fact that a number of well-known labels haven’t ‘gone digital’ yet); b) people are buying exactly as much or possible even more electronic music  as they did ten years ago, but that the pattern of consumption is divided between far more labels -  40 labels selling 2,000 units as opposed to two selling 40,000 units – and formats, digital and vinyl; (c or finally that people aren’t buying as much electronic music as they did in the past because, well, it just isn’t as popular or indeed cost-effective as it used to be from a consumer’s point of view. A lot of the casual listeners who would buy an EP every week find the cost too prohibitive nowadays to buy the same EP online – all their local record stores have shut down – and don’t want to invest in CD decks or a set-up like Seratto because they are going to buy the odd MP3. These casual buyers are now far more likely to access free mixes online and save their money for festivals – and that’s why there are so many on in every country across Europe. I’d welcome any comments on this post (apart from abusive ones!) but could it be that the evolution of technology has played a part in killing techno or will techno (and when I say techno, I mean electronic music generally) make a resurgence to enjoy the same popularity it had ten years ago? Let the debate begin…

Only K By Name

Yours truly on Sebo K, a very diligent young man who would rather spend his time studying than frequenting after-parties. Seriously though, the mix is rather excellent, but just one question: how come there are so few tracks on it? Seems to be a German thing -  Michael Mayer and Anja Schneider’s recent mixes have had very short track listings. Maybe they take ‘minimal’ a bit too seriously…

Fail To Change

I don’t usually write about politics, but I am still coming to terms with the result of the general election result. In spite of the past 10 years of incompetence, mismanagement and administrative recklessness, it looks almost certain that Fianna Fail will be in charge for the next five years. Allegations that Bertie Ahern, our Taoiseach (prime minister), was corrupt only served to increase Fianna Fail’s support in the last poll before the election. It seems that most of the ‘swing’ voters were convinced to vote for the current lot on the basis of their stewardship of the economy. This is an argument that doesn’t wash with me: sure, the Republic has experienced the strongest growth in its short history over the past 10 years and most of the ‘floaters’ decided that it would be preferable to let the ‘devil you know’ rather than the ‘devil you don’t know’ (the alliance for change – opposition parties Fine Gael and Labour) preside over the economy for the next five years. Fianna Fail didn’t run a very coherent campaign, but they consistently - and far more skillfully that their outright negative-campaigning Government partners, the Progressive Democrats, who were decimated on election day – reiterated the point that under the alternative coalition, Ireland’s new-found affluence would be endangered.
This tactic worked, and those people who have become accustomed to owning two cars and going to far-flung places on holiday a few times a year turned out in their droves for Fianna Fail. Of course, scratch beneath the political spin and the reality is a little different. Despite being the second richest country in Europe, we have the highest poverty rate and child illiteracy rate in Europe. Fianna Fail have also mismanaged the economy, overspending by a few hundred million euro on infrastructure projects like Luas, the tram system for Dublin, and the port tunnel, throwing billions at the crumbling health service without any improvement in services and green-lighting the worst examples of urban sprawl without providing basic facilities like shops, schools and green spaces.
These are just a few examples of FF’s incompetence and inability to provide strong economic leadership, something that the alternative coalition should made a greater play of. Unfortunately, when it came down to the wire, those who live in the commuter belt around Dublin, the people who are affected negatively by this poor, myopic administration, voiced support for the current leadership.
The age-old maxim that a country gets the government that it deserves is depressingly true, but for those anti-Fianna Failers like myself, there is one upside to the result: there are indicators that the economy is about to dip in the next few years: the property market is cooling and a recent survey by the American Chamber of Commerce showed that nearly half of the US multinationals located here are considering either seriously scaling down or moving their operations entirely from this jurisdiction.
For this reason alone, it’s better that FF are in power rather than the alternative coalition: if Fianna Fail could make a mess of things during the boom, just imagine the kind of mistakes they’ll be responsible for in the leaner years ahead. They won the election because of ‘the economy, stupid’, now let’s see how they fare when they have to deal with ‘the downturn, dummy’….

Slave to the rhythm

Me on Matt Edwards aka Radio Slave, who is the latest person to put together a ‘Misch Masch’ mix. OK, so it’s for the Ministry of Sound (stop sniggering), but they have given me carte blanche to write features on whoever I want to, so there should be a piece about Sebo K up there soon, vying for attention amid the fluffy boots and CD decks.

Great Weather

In 100 years’ time, when we’re all dead and our grandchildren are fighting for the last drops of the oil, some bookish type will be writing a thesis for their PhD on ‘Andrew Weatherall: indie dance innovator or techno punk poet?’ Ok, well maybe that might never happen, but if the post-Blair regime has any inkling of what really constitutes ‘cool Brittania’, it should being throwing big wads of state cash at Weatherall and Tenniswood - the same grant should apply to Mark E Smith, but on the condition that he does not spend it on jumpers  - and discussing plans to establish the Two Lone Swordsmen Foundation (this should happen posthumously, but that’s not to suggest either of them are about to shuffle off this mortal coil anytime soon).
I’ve been listening to the Swordsmen’s second ‘Wrong Meeting’ album for the past week, and though loath to bandy the term ‘genius’ about – Mark E, Ian Curtis, Juan Atkins and the guy who invented toasted sandwiches deserve it – on three occasions, this new album comes very close to reaching those dizzy heights. The first time is on ‘The Ghosts Of Dragstrip Hollow’, a brassy, booming rockabilly track that uses a raw guitar sequence without sounding too Duane Eddy. It also features the immortal line ‘don’t tailgate, don’t follow we’re the Ghosts of Dragstrip Hollow’. Weatherall is quickly becoming a brilliantly self-deprecating lyricist and I can only assume he’s taking the piss out of his own perceived holier than thou status.
I’m sure that others will disagree, but the other highlights occur as the album ends. ‘Hey Deborah Anne’ sounds like a follow-up to ‘Get Out Of My Kingdom’ on the first ‘Wrong Meeting’, but it’s rawer and catchier, a bluesy guitar riff and a sing-a-long chorus distilled into three perfect pop minutes. Then, just to prove how bloody awkward and unpredictable they are, they end the album with the only vaguely electronic song/track, ‘Lose Control of Yourself’, which has a Krautrock/space rock 70s ‘I don’t know where this is going, but I’m going to enjoy the ride as long as it lasts’ feeling and surely more references to Weatherall’s own antics with the line ‘big white eyes and a chin on the floor’.
Despite admitting that they have a tendency to ‘shoot ourselves in the foot’, could this album finally see the outsiders step inside?

What A Man!

I admit that I’ve been going on a fair bit about the deep house / minimal fusion (or whatever else you want to call it- I’m all genred out at this stage), but I reckon that this remix could also be the sound of this summer. From Bo Diddley to Audion via Aranud Rebotini in two easy steps, does Matthew Dear never sleep? There has been a lot of talk about this remix and for once, I’m convinced that it’s deserved. I’m sure we’ll hear it in every club and party over the coming months. If you’re not in a clubbing mood, can I also recommend a few albums…Dear’s ‘Asa Breed’ is a clever, quirky combination of 80s art school rock (especially Talking Heads, Japan and Eno) with some acoustic ballads(!) and even a decent Ian Curtis from Joy Division impersonation (‘Deserter’). I’ve also been listening a lot to the Efdemin album, which in true Dial style, is sweet, melodic and understated, and is perfect for driving to late at night in a fast, silver car.
I’ve also had a quick listen to Two Lone Swordsmen’s second ‘Wrong Meeting’ -  I see that they have given in to market forces and have made the first instalment available to buy digitally, a pity as they made a great play of the fact that it would only be available in limited edition vinyl format with very snazzy artwork – but I think that deserves a separate post. In the meantime, happy listening, and remember to buy a vinyl/digital copy to support the artists.

Feline Fine

What is it about cats and techno that makes them seem so compatible? Legowelt has one, he releases sometimes as Catnip and Macho Cat Garage and they even adorn some of his artwork. Sleeparchive has a cat called Rephlex, Damian Lazarus is always going on about his and the title of Matthew Dear’s new album, ‘Asa Breed’ is take from a character in a 60s sci-fi novel called ‘Cat’s Cradle’. Let’s not forget about Felix Da Housecat and Kittin either (groan). Could it be that the link between cats and techno is so strong due to The Black Dog’s love of Egyptology? After all, cats had a very important place in ancient Egyptian society, so maybe the pharaohs knew more than they were willing to let on about repetitive music.
Anyway, I have two cats: one of them disappeared the other day and after despairing about his well-being and whereabouts for the best part of 24 hours, I realised that he was probably just as fickle as a scarf-wearing, loft-inhabiting Berlin type, and stopped worrying about his future. Within an hour, he was back, looking for food, a belly rub and a listen to Lawrence’s sublime new album, but I could only offer him a blast of Prins Thomas’ double mix CD. Which goes to show that nine out of ten of the most fickle cats will always chose techno. More serious business soon…

Dear Matthew

Matthew Dear is putting himself about a lot at the moment: apart from EPs as Audion (along with ‘Just Fucking’, ‘Noiser’ is my favourite Audion release so far) and impending pop stardom with the pop/art school rock/techno melange that is ‘Asa Breed’, his new album under his own name, Dear is going to release an album as False for Minus later on this year. Described by Dear as ‘0bpm to 125bpm techno with a dark edge’, it’s preceded by a single, ‘Fed On Youth’, on the same label next month. Remember where you read it first. By the way, thanks to everyone who came down to Sleeparchive on Saturday -  it was a great night and we’re looking forward already to Redshape on June 23rd.

Going deep

Whatever about the weather, it looks like it’s going to be a long, deep summer: apart from Larry Heard’s ‘comeback’ track (I got enough flak for dissing it, so let’s move on!), Kerri Chandler and Dennis Ferrer’s releases are being picked up on by all kinds of DJs, and even arch-minimalists Mobilee are launching a housey sub-label, Leena - which was referred to in the ‘Water Cooler Moments’; props to Romo for revealing who I was talking about. Then there’s the Diynamic label, who look likely to score a big hit with the new Solomun & Stimming release, the ongoing popularity of Redshape, as well as Sebo K’s Lil Louis-like ‘Transit’ due out on Get Physical. In fairness, Sebo has form: a blatant supporter of deepness from the get-go, check his ‘Horizons’ release on Mobilee if you’re not convinced.
This resurgence in all things deep and house-based suggests that either electronic music audiences are fickle in their listening habits, but the more obvious explanation is that, like all forms of music, ‘going deep’ is just a cyclical occurrence. It shouldn’t come as a surprise; my ears can only deal with a finite amount of stripped back techno and I’m not alone: most people are sick of hearing minimal all night, and the some of the best mixes this year  - Jamie Jones, Steve Bug, Loco Dice and Dixon - have been  unashamedly deep affairs. Having recently dug out a ten-year-old Jesper Dahlback EP as The Persuader for re-evaluation, what becomes clear is that the added bonus of this new found love of all things deep is that, combined with modern techno production techniques, it make for a potently seductive soundtrack…