Evian Christ signs to Warp

They should just give Nicolas Jaar unlimited money to do whatever he wants

Welp I'm actually more into Evian Christ than into HudMo and Rustie. But I don't like that "weird 808 hip hop" trend or something they're going for with these guys and Future Brown. Fuck it's gross.

Also this

Oh man I had completely forgotten about Future Brown, that shit was awful... Still don't like Rustie either.

  On 6/18/2015 at 3:15 AM, Ascdi said:

 

  On 6/18/2015 at 2:09 AM, John Ehrlichman said:

oddly Arca and this new Warp signing just got into a twitter debate about why electronic musicians don't criticize the Red Bull Music Academy. Pretty fascinating that no one has really had a public discussion like this (at least not that i've seen). I know a lot of people talk about it privately and there are already 'camps' within electronic music producing scenes of people who knee jerk defend it.

 

Let’s have a public discussion now! Personally I think it’s pretty lame to see RED BULL plastered all over otherwise great interviews and videos, but it doesn’t make me want to buy Red Bull at all. And as for the artists, I assume they do it because it’s better than like, McDonald’s or Law & Order: SVU or something (“cred”-wise), and in a larger overall sense it’s basically impossible to be a professional independent musician nowadays and make actual money, so turning down any cash or opportunity at all probably feels completely irrational and insane.

 

i've brought up before a lot on this forum and i even brought it up on TV, of course if i was offered some kind of RBMA radio gig or chance to be interviewed I would take it and if they offered me money I would take it. I think the problem is that it sets a strange kind of precedent that it's acceptable in cutting edge/electronic music/artist circles to transpose a brandname on top of something in a similar way to a sports arena. Of course electronic music hasn't become that corporatized yet but my argument is why just sort of let it happen and knee jerk defend it because 'people need to get paid' of course we understand that, but its missing the point. I think people tend to not be very critical of the concept because it does put out good shit and sponsors a lot of great music. RBMA even featured a slot on their German branch for Sote's music (found below in my sig). That's not what i would call typical hipster music, so people working there obviously have good taste and aren't just following trends. If RBMA wanted to live up to its concept, they should do a fireside chat where they discuss this very issue with an outfit like Arca or Holly Herndon. Electronic musicians who actually have interesting opinions on things like the intersection between corporate money and experimental culture.

  On 6/18/2015 at 5:53 AM, o00o said:

I still don't like rustie and hudmo

  On 6/18/2015 at 9:37 AM, John Ehrlichman said:

 

  On 6/18/2015 at 3:15 AM, Ascdi said:

 

  On 6/18/2015 at 2:09 AM, John Ehrlichman said:

oddly Arca and this new Warp signing just got into a twitter debate about why electronic musicians don't criticize the Red Bull Music Academy. Pretty fascinating that no one has really had a public discussion like this (at least not that i've seen). I know a lot of people talk about it privately and there are already 'camps' within electronic music producing scenes of people who knee jerk defend it.

 

Let’s have a public discussion now! Personally I think it’s pretty lame to see RED BULL plastered all over otherwise great interviews and videos, but it doesn’t make me want to buy Red Bull at all. And as for the artists, I assume they do it because it’s better than like, McDonald’s or Law & Order: SVU or something (“cred”-wise), and in a larger overall sense it’s basically impossible to be a professional independent musician nowadays and make actual money, so turning down any cash or opportunity at all probably feels completely irrational and insane.

 

i've brought up before a lot on this forum and i even brought it up on TV, of course if i was offered some kind of RBMA radio gig or chance to be interviewed I would take it and if they offered me money I would take it. I think the problem is that it sets a strange kind of precedent that it's acceptable in cutting edge/electronic music/artist circles to transpose a brandname on top of something in a similar way to a sports arena. Of course electronic music hasn't become that corporatized yet but my argument is why just sort of let it happen and knee jerk defend it because 'people need to get paid' of course we understand that, but its missing the point. I think people tend to not be very critical of the concept because it does put out good shit and sponsors a lot of great music. RBMA even featured a slot on their German branch for Sote's music (found below in my sig). That's not what i would call typical hipster music, so people working there obviously have good taste and aren't just following trends. If RBMA wanted to live up to its concept, they should do a fireside chat where they discuss this very issue with an outfit like Arca or Holly Herndon. Electronic musicians who actually have interesting opinions on things like the intersection between corporate money and experimental culture.

 

That was refreshing to see them discuss RBMA and entities like that in general. You really hit the nail on the head on why RBMA is so hard to criticize (tbh I'm pretty on the fence about them as an outlet, I sorta of agree with this but a huge fan of their output) though the more troubling, and far harder to criticize obstacle is the tastemaker sites, who are the iffy PR gatekeepers more than independent journalists...hell they are even more iffy that payola-tinged music journalists. No one wants to burn that bridge yet, and the few that do come off as assholes (ex. Whirr) or put behind their grievances (ex. This guy has best new music and huge feature 3 years later). I suppose the only sincere option to get bigger acclaim/attention is plugging along within niche scenes, distro, and press and hoping you can get feelers out organically to outlets like pfork. Otherwise it's still a ticket to Brooklyn or LA and down the bullshit networking road for many. Many seem content to not bother.

Anyway...Red Bull is a strange sponsor when you think about it. I can't think of any other group that's done something similar. And RBMA is such a different animal than all of their racing teams or even their music label (which I had no idea existed until now). Maybe Virgin?

His signing probably has a lot to do with personal connections to begin with.

Evian Christ is the new Future Brown. Warp's losing it's soul as it chases hipster trends.

I just laugh at anyone who thinks going to energy drink DJ school is going to teach them how to make something heartfelt & original.

  On 6/18/2015 at 6:38 PM, Schlitze said:

Evian Christ is the new Future Brown. Warp's losing it's soul as it chases hipster trends.

when is the last time they signed an electronic musician that was relatively obscure or brand new? Clark?

seems odd to me for a label that broke so much ground in the past would be content plucking hot zeitgeist of the moment bands off other people's labels.

  On 6/18/2015 at 6:43 PM, John Ehrlichman said:

 

  On 6/18/2015 at 6:38 PM, Schlitze said:

Evian Christ is the new Future Brown. Warp's losing it's soul as it chases hipster trends.

when is the last time they signed an electronic musician that was relatively obscure or brand new? Clark?

seems odd to me for a label that broke so much ground in the past would be content plucking hot zeitgeist of the moment bands off other people's labels.

 

This exactly.

  On 6/18/2015 at 5:53 AM, o00o said:

I still don't like rustie and hudmo

Yep they're still bad.

Yeah, it was Clark. Prefuse 73 was good too with those early albums. Didn't mind !!! either but then it went downhill. They signed the innovators back in the day then really lost their way with some flash in the pan artists in the 2000's but now it's getting worse. There doesn't seem to be any quality control with the new stuff, it seems like a hipster has infiltrated the place and is pulling all the strings. They're credible only because they still release all the stuff by their cornerstone artists, but with the new signings they are heading in the wrong direction. It's poo.

What if Warp A&R are sincerely feeling the shit artists they've signed since Ned left and the office moved?

I feel... That would be okay. There seems to be an underlying assumption that Warp has been sacrificing musical integrity for sales, but maybe they really like their shit ball signings...

Early dubstep and footwork seemed like bandwagon efforts for Planet Mu, but at the same time, "we all know" that Mike P has personal taste and signs only artists he believes in. Because of his humanity, any "bad releases" are treated like: "Well, I guess Mike P is feelin' some other shit... I just won't buy it. No need to insult the release..."

It seemed obvious that Warp made a lot of wallet-guided choices in the past 10 years, but maybe that was a false assumption. Maybe Warp still cares? Maybe they have humans with heart for A&R, who just have different tastes than a lot of us?

Or..... OR-- Warp is totally sellout shit who no longer give a fuck about integrity or sincere taste, and they're milking classic Warp artists for whatever they can; wholly responsible for Daft Punk Helmet Pusher, and maybe they asked Aphex Twin to get dreadlocks, which is currently under negotiations.

I just dunno...

The reason why Warp has stopped signing innovative artists, is because they stopped officially accepting unsolicited demos.

  On 6/18/2015 at 6:59 PM, peace 7 said:

There seems to be an underlying assumption that Warp has been sacrificing musical integrity for sales, but maybe they really like their shit ball signings...

 

Yeah, that's possible. But it's more likely they're putting their money behind some trends, which is as risky as supporting unknown electronica back in the day. But the ears don't lie.

that gonjasufi album was the last great move from warp imo and his ep was also total tits

i love WARP and i really don't care what they do as long as they keep releasing flyinglol, afx and autechre albums

I was going to say OPN was the last great signing but considering he runs his own label and puts EPs out elsewhere I suppose it doesn't count.

  On 6/18/2015 at 6:59 PM, peace 7 said:

Early dubstep and footwork seemed like bandwagon efforts for Planet Mu, but at the same time, "we all know" that Mike P has personal taste and signs only artists he believes in. Because of his humanity, any "bad releases" are treated like: "Well, I guess Mike P is feelin' some other shit... I just won't buy it. No need to insult the release..."

This is an interesting point, iconic labels of the past are often very tied to the subjective taste of the people running them. I was watching a doc about Slowdive and it was interesting hearing Alan McGee talk very bluntly about how much he'd give a thumbs up and thumbs down on material the band was working on, and that he factored in how much he liked the band with whether they'd sell records. There was the music press sure, but the speed of new scenes and artists emerging and disappearing was nothing compared to the state of things now.

WARP is in the weird position of Ninja Tune where they are both are bigger than a lot of other electronic labels (like Planet Mu or Rephlex) and both never quite shook off their past associations with genres like IDM and trip-hop, both of which became fairly "unfashionable" in the mid-00s or so. Just a look at their 10th and 20th anniversary comps is a huge indicator of much their rosters have turned over.

  On 6/18/2015 at 6:43 PM, John Ehrlichman said:

 

  On 6/18/2015 at 6:38 PM, Schlitze said:

Evian Christ is the new Future Brown. Warp's losing it's soul as it chases hipster trends.

when is the last time they signed an electronic musician that was relatively obscure or brand new? Clark?

seems odd to me for a label that broke so much ground in the past would be content plucking hot zeitgeist of the moment bands off other people's labels.

 

AFAIC:

broke so much ground = 1990

content plucking hot zeitgeist of the moment bands off other people's labels = 1992 onwards

  On 6/18/2015 at 6:43 PM, John Ehrlichman said:

 

  On 6/18/2015 at 6:38 PM, Schlitze said:

Evian Christ is the new Future Brown. Warp's losing it's soul as it chases hipster trends.

when is the last time they signed an electronic musician that was relatively obscure or brand new? Clark?

seems odd to me for a label that broke so much ground in the past would be content plucking hot zeitgeist of the moment bands off other people's labels.

 

i quite like patten but even that sits in with the trend sound a bit (altho i can see how it deviates a bit with its murky woshy textures).

i was going to post a youtube link to my fav track but none are available.

i understand that warp are super protective of their music being shared, which works well enough for aphex twin and the bigger artists, but for smaller artist like patten i think it's probably doing more damage than good!! >:|

  On 6/18/2015 at 10:54 PM, joshuatx said:

I was going to say OPN was the last great signing but considering he runs his own label and puts EPs out elsewhere I suppose it doesn't count.

 

  On 6/18/2015 at 6:59 PM, peace 7 said:

Early dubstep and footwork seemed like bandwagon efforts for Planet Mu, but at the same time, "we all know" that Mike P has personal taste and signs only artists he believes in. Because of his humanity, any "bad releases" are treated like: "Well, I guess Mike P is feelin' some other shit... I just won't buy it. No need to insult the release..."

 

This is an interesting point, iconic labels of the past are often very tied to the subjective taste of the people running them. I was watching a doc about Slowdive and it was interesting hearing Alan McGee talk very bluntly about how much he'd give a thumbs up and thumbs down on material the band was working on, and that he factored in how much he liked the band with whether they'd sell records. There was the music press sure, but the speed of new scenes and artists emerging and disappearing was nothing compared to the state of things now.

 

WARP is in the weird position of Ninja Tune where they are both are bigger than a lot of other electronic labels (like Planet Mu or Rephlex) and both never quite shook off their past associations with genres like IDM and trip-hop, both of which became fairly "unfashionable" in the mid-00s or so. Just a look at their 10th and 20th anniversary comps is a huge indicator of much their rosters have turned over.

nawww OPN totally counts, regardless of the fact he has own label + releasing prior to warp.

  On 6/18/2015 at 11:55 PM, bitroast said:

 

  On 6/18/2015 at 6:43 PM, John Ehrlichman said:

 

  On 6/18/2015 at 6:38 PM, Schlitze said:

Evian Christ is the new Future Brown. Warp's losing it's soul as it chases hipster trends.

when is the last time they signed an electronic musician that was relatively obscure or brand new? Clark?

seems odd to me for a label that broke so much ground in the past would be content plucking hot zeitgeist of the moment bands off other people's labels.

 

 

i quite like patten but even that sits in with the trend sound a bit (altho i can see how it deviates a bit with its murky woshy textures).

 

i was going to post a youtube link to my fav track but none are available.

i understand that warp are super protective of their music being shared, which works well enough for aphex twin and the bigger artists, but for smaller artist like patten i think it's probably doing more damage than good!! >:|

 

 

  Reveal hidden contents

 

here's a track anyway tho

 

 

 

Nice track. Hadn't heard any Patten before this.

ooh dig this patten stuff

Totally forgot patten, I need to revisit ESTOILE NAIANT

patten is good stuff, probably the recent warp signing i've been abe to get into most...

Pretty shit. And I still don't like Rustie or HudMo.