Plaid's 808 for sale

That's what i thought. Gets this forum moving a little too. ;-]

in that Future music interveiw they openly stated that they get little or any use out of any of their analogue gear anymore. if you are not using then get rid. Simple as that. It's not going to change any of their later and upcoming output as they have not been used on any.

  On 8/14/2013 at 5:01 AM, LimpyLoo said:

 

  On 8/14/2013 at 4:47 AM, apriorion said:

that kinda depressing interview from a few weeks ago

 

Which one? Could you provide a link?

 

Sorry, I didn't check back until just now. Yeah, it's the one JoshuaTX posted. The part of I find most depressing is that they're not getting paid for their work, and it sounds like they're not happy with Warp. It even sounded like he wasn't confident that Warp would release the next album that they plan on submitting, which I find weird (because they're plaid). Also, I sensed a weird undercurrent in his answer about Autechre, like they're enemies or something. Maybe I was reading too much into his remarks there, but I find that sort of thing (especially when I like all the parties involved) depressing.

But back to the not-getting-paid-for-their-work thing, Christ. (former BOC member) just posted a little rant about this on his Facebook page the other day. He even shared some of the sales numbers of his most recent album, and it's very sad. The worst part about it is that some people replied to his comment in defense of their piracy of his music, claiming things like "You shouldn't be doing it for the money; you should do it for the love of making music." It's fucking terrible, the attitude some people have.

  On 8/14/2013 at 4:10 PM, apriorion said:

 

  On 8/14/2013 at 5:01 AM, LimpyLoo said:

 

  On 8/14/2013 at 4:47 AM, apriorion said:

that kinda depressing interview from a few weeks ago

 

Which one? Could you provide a link?

 

Sorry, I didn't check back until just now. Yeah, it's the one JoshuaTX posted. The part of I find most depressing is that they're not getting paid for their work, and it sounds like they're not happy with Warp. It even sounded like he wasn't confident that Warp would release the next album that they plan on submitting, which I find weird (because they're plaid). Also, I sensed a weird undercurrent in his answer about Autechre, like they're enemies or something. Maybe I was reading too much into his remarks there, but I find that sort of thing (especially when I like all the parties involved) depressing.

 

 

But back to the not-getting-paid-for-their-work thing, Christ. (former BOC member) just posted a little rant about this on his Facebook page the other day. He even shared some of the sales numbers of his most recent album, and it's very sad. The worst part about it is that some people replied to his comment in defense of their piracy of his music, claiming things like "You shouldn't be doing it for the money; you should do it for the love of making music." It's fucking terrible, the attitude some people have.

 

What I have gleaned from interviews and speculation, the BOC had day jobs and other sources of income, or at least did for parts of their career. I can imagine 8 years was spent not just travelling and spending time with family, but also perhaps getting finances squared away.

It's really not odd at all, I just think they're being honest. I empathize with them greatly and applaud their steadfast output considering their situation. Besides commercially successful DJs who have steady festival gigs and corporate endorsements and deals, I have no idea who makes a comfortable career out of solo electronic music.

The only featured artist I'd safely say can remain financially stable off of existing work is RDJ, based off continued licensing revenue and paid gigs. The other featured artists continue to release music and tour. Mike P runs a label. I don't even know if the other big names - Squarepusher and Autechre in particular, are actually making sufficient money off sales alone. So many other producers have semi-retired to focus on other things. Look at once truly underground workaholic producers like Skream and Diplo - they both embraced making their music more commercially appealing in recent years. Loads of well-respected IDM and experimental artists semi-retired and apply their talent to things like programming, VGM, graphic design, studio work, etc. Plaid is extremely niche - they are known and respected but they don't have the rabid fanbase or BoC, the infamy of AFX, or the live performance resume of Squarepusher, Ceephax, or even Autechre. They are talented musicians who have been dealt the biggest blow in the current climate (as have Cylob and other peers). The days healthy advances for things like remix work are in the past.

Here's the thing, people either live gig-to-gig or are literally starving artists who maintain a steady output via bandcamp or indie labels. I've noticed more and more "successful" producers, guys like Washed Out and Forest Swords, have actually moved out to the country instead of Berlin or London. Hell, someone lesser known and less acclaimed than Plaid is likely going to buy the 808 and 303, or it's going to an anonymous studio that can afford to house it. Such producers, including "trending" ones like say, Addison Groove (the 808 is at the heart of his productions) - well I highly doubt beyond DJ gigs and a decent vinyl run that they too are making any more than Plaid. In fact, there's such a false wealth to all but very few musicians out there, and most have literally compromised something to do so or been lucky enough to sell a song to a major advertiser. Labels, distributors, and copyright owners (those rich fuckers that sign away music to their own name so they can bank on future sales and reissues, i.e. the core of the recording industry) are the only people becoming wealthy off music. Everyone else is has to find other ways to make money or are in debt (or both). This is exactly why all but the most steadfast do gigs for Red Bull and Scion and attend festivals like SXSW. I'm reminded of what is pointed out in this bit, especially around 6:30.

http://vimeo.com/55069014

I rarely mention my own private plans to make and release music, but I won't lie, I have very much pushed aside to focus on work and paying bills and unfortunately that will be the case in the future. That's the case for practically all of us here. The people with a shitty and childish attitude toward piracy and music don't actually care about music 100%. If they did they'd actually find some way to support their favorite musicians or at least express solidarity. This is why I hope things like bandcamp and DIY efforts like cassette labels trudge on, because the current state of social media and music journalism is simply supporting the bullshit I mentioned above. Chris Ott, the guy in the video above, said something along the lines of this - the only two people who have an easier time making it as musicians are those who don't have to worry about income or those who who have nothing else to lose, i.e. trust-baby college students living off their parents money in NYC or artists from the most disenfranchised pockets of society. Likewise, they make the majority of hyped music. It's those with 9-5 jobs who really have to work hard to make and release their music, because they can't focus their life on it.

Josh, thanks for the post.

  Quote

Plaid is extremely niche - they are known and respected but they don't have the rabid fanbase or BoC, the infamy of AFX, or the live performance resume of Squarepusher, Ceephax, or even Autechre. They are talented musicians who have been dealt the biggest blow in the current climate (as have Cylob and other peers). The days healthy advances for things like remix work are in the past.

Plaid extremely niche? As in, more niche than the other artists you mention? They made remixes for lots of artists, they toured with bjork, they made soundtracks for movies, they know how to put on a good show. I'm not sure why you think they're more niche than those other artists. The amount of plays on spotify?

Ceephax and Squarepusher are definitely more niche than Plaid, but it is true Plaid have less fans than BoC and Autechre. Surely their soundtrack work must've netted them some money, though?

Either way the music industry isn't working at all, not for the consumers and not for the musicians themselves.

the middle men are gorging themselves in every sector of society from the banks to comic books. The internet was meant to bypass that. We'll get there eventually.

Yes.

yes.

*starts a blog*

Event till this day I'm surprised how less known they are compared to there contemporaries. They're the only ones that can make these swirling, magical tracks that are just layered with harmonies and melodies. It's beautiful shit. And I love the Plaid sound, it's unique and transports me to this awesome fictional world. (I find a lot of their tracks to fit mangas I read, like New Family -> Dogs: Bullets & Carnage)

Well whoever gets it, I hope they use it and have fun.

interesting read, thanks, gonna see them live this month actually, excited

That's a very nice post, harsh, but seems totally realistic.

Imo Plaid should be living like kings (i.e. being able to cultivate their craft as much as they'd like to)

  On 8/15/2013 at 6:01 AM, joshuatx said:

 

  On 8/14/2013 at 4:10 PM, apriorion said:

 

  On 8/14/2013 at 5:01 AM, LimpyLoo said:

 

  On 8/14/2013 at 4:47 AM, apriorion said:

that kinda depressing interview from a few weeks ago

 

Which one? Could you provide a link?

 

Sorry, I didn't check back until just now. Yeah, it's the one JoshuaTX posted. The part of I find most depressing is that they're not getting paid for their work, and it sounds like they're not happy with Warp. It even sounded like he wasn't confident that Warp would release the next album that they plan on submitting, which I find weird (because they're plaid). Also, I sensed a weird undercurrent in his answer about Autechre, like they're enemies or something. Maybe I was reading too much into his remarks there, but I find that sort of thing (especially when I like all the parties involved) depressing.

 

 

But back to the not-getting-paid-for-their-work thing, Christ. (former BOC member) just posted a little rant about this on his Facebook page the other day. He even shared some of the sales numbers of his most recent album, and it's very sad. The worst part about it is that some people replied to his comment in defense of their piracy of his music, claiming things like "You shouldn't be doing it for the money; you should do it for the love of making music." It's fucking terrible, the attitude some people have.

 

 

What I have gleaned from interviews and speculation, the BOC had day jobs and other sources of income, or at least did for parts of their career. I can imagine 8 years was spent not just travelling and spending time with family, but also perhaps getting finances squared away.

 

It's really not odd at all, I just think they're being honest. I empathize with them greatly and applaud their steadfast output considering their situation. Besides commercially successful DJs who have steady festival gigs and corporate endorsements and deals, I have no idea who makes a comfortable career out of solo electronic music.

 

The only featured artist I'd safely say can remain financially stable off of existing work is RDJ, based off continued licensing revenue and paid gigs. The other featured artists continue to release music and tour. Mike P runs a label. I don't even know if the other big names - Squarepusher and Autechre in particular, are actually making sufficient money off sales alone. So many other producers have semi-retired to focus on other things. Look at once truly underground workaholic producers like Skream and Diplo - they both embraced making their music more commercially appealing in recent years. Loads of well-respected IDM and experimental artists semi-retired and apply their talent to things like programming, VGM, graphic design, studio work, etc. Plaid is extremely niche - they are known and respected but they don't have the rabid fanbase or BoC, the infamy of AFX, or the live performance resume of Squarepusher, Ceephax, or even Autechre. They are talented musicians who have been dealt the biggest blow in the current climate (as have Cylob and other peers). The days healthy advances for things like remix work are in the past.

 

Here's the thing, people either live gig-to-gig or are literally starving artists who maintain a steady output via bandcamp or indie labels. I've noticed more and more "successful" producers, guys like Washed Out and Forest Swords, have actually moved out to the country instead of Berlin or London. Hell, someone lesser known and less acclaimed than Plaid is likely going to buy the 808 and 303, or it's going to an anonymous studio that can afford to house it. Such producers, including "trending" ones like say, Addison Groove (the 808 is at the heart of his productions) - well I highly doubt beyond DJ gigs and a decent vinyl run that they too are making any more than Plaid. In fact, there's such a false wealth to all but very few musicians out there, and most have literally compromised something to do so or been lucky enough to sell a song to a major advertiser. Labels, distributors, and copyright owners (those rich fuckers that sign away music to their own name so they can bank on future sales and reissues, i.e. the core of the recording industry) are the only people becoming wealthy off music. Everyone else is has to find other ways to make money or are in debt (or both). This is exactly why all but the most steadfast do gigs for Red Bull and Scion and attend festivals like SXSW. I'm reminded of what is pointed out in this bit, especially around 6:30.

 

http://vimeo.com/55069014

 

I rarely mention my own private plans to make and release music, but I won't lie, I have very much pushed aside to focus on work and paying bills and unfortunately that will be the case in the future. That's the case for practically all of us here. The people with a shitty and childish attitude toward piracy and music don't actually care about music 100%. If they did they'd actually find some way to support their favorite musicians or at least express solidarity. This is why I hope things like bandcamp and DIY efforts like cassette labels trudge on, because the current state of social media and music journalism is simply supporting the bullshit I mentioned above. Chris Ott, the guy in the video above, said something along the lines of this - the only two people who have an easier time making it as musicians are those who don't have to worry about income or those who who have nothing else to lose, i.e. trust-baby college students living off their parents money in NYC or artists from the most disenfranchised pockets of society. Likewise, they make the majority of hyped music. It's those with 9-5 jobs who really have to work hard to make and release their music, because they can't focus their life on it.

 

Sounds like they're answering to this thread eheh