…well, without wanting to sound like (too much) of an asshole, one might jump to the conclusion that this is exactly the reason you hated the album!

e.g.

“when I can see consensus forming about a record I just want to turn and run”

Although I reckon it has more to living in gloomy-ass dublin. I was listening to the album in Bali at the weekend and it sounded great!

*One ‘kids want techno’ tshirt in Singapore

Just kidding, a lot of people like this record and think it’s great.

As regards RA, well, I know there are good people working for RA and they’re working hard to ring in changes at the moment, it’d be great if the site itself matched the quality and ambition of the podcasts.

I do agree with alot of things said about the field’s album here. I don’t like the way people have to wait until a groups LP is nicely packaged for them to listen to it.

The Field is rather good though if you put aside all the crap surrounding it.

will check that goldmann

as regards Resident Advisor…I don’t really know anyone who reads it, even though the podcast is popular, but maybe I don’t know enough people!

on another note i wanna tip you all about the stefan goldmann macro remix on freerange. more info here:
http://www.discogs.com/release/891663
nice one!

off to donk!

I guess I agree, if so. One thing which strikes me in a big way is that with so many platforms for discussion around, having heard and expressed an opinion on a record first is actually treated like something to be proud of! Maybe I’m guilty of this myself too, but it seems a little amusing.

Increasingly I’ve been thinking that people actually like communication tools like blogger/myspace/internet forums JUST AS MUCH as music itself, hence the way technology seems to be a bigger driving force behind youth culture than music nowadays. I mean…when was the last “new thing” in music…the net seems to have totally replaced it in terms of buzz and innovation…(might be worth a discussion in itself, or an article, tho I tried yesterday, a blog post might be best!)

I guess it’s actually true that with so many voices around having heard something first can distinguish one writer from another, but its a little odd, music as news or something! Means there seems to be even less thoughtful dialogue around (though I am not so deluded as to think I could keep a regularly updated blog with long theoretical and general ruminations on music, I’m just not that good a writer)

Do you still work for P’fork Chris?

I can honestly say in my limited experience they are actually very open to the idea of doing dance 12s, however all track reviews at the moment are required to have streams accompanying the tracks…which is limiting enough in a sort of bureaucratic way as you have to go and ask the labels for this everytime you do a review.

This is why after a couple of reviews in January, it’s taken me so long to do 3 or 4 more techno reviews.

But at no stage has anyone said “hmm this isn’t something we want”, it’s been quite trusting really and really good like that.

However the more “systems” like “we need a stream for every track” are in existence, the more difficult it is to integrate techno 12s into them. It’s not a system that’s quite built for them, eg they want full streams when I reckon most people would be pleased with 2 minute samples…(but then would curious non techno people want the whole track…don’t know, i doubt it)

Sometimes, especially in the last week, I think I should just set up a dance website…I know the people from the labels and I get the promos already, and there are plenty of good writers out there. It’s just…could I make money from it, and if not, wouldn’t have the time!

Pitchfork is a decidedly digital audience, and a band’s lucky if their buzz crosses over to the generation above, who have the disposable income to buy CDs and for whom doing so is actually a time savings. 12″s and white labels and all that, you know the whole scene - this particular strain we’re talking about - is pacifist and inclusive *if you reach out to it*. I think there’s a strong element of insularity, control, and a rejection of consumerism that makes the whole sugar rush novelty culture Pitchfork’s aggregating an uncomfortable presence.