Which is more difficult; getting somebody to listen to your mixes, or pulling out your own teeth? Because if it’s anything like getting people to sit down for a four minute read, even with all my allure of charming witticisms and free music downloads, then I feel your pain. I understand that reading is engaging, requiring your optical attention and focus. The sense of hearing on the other hand, is automatic function. Most people nowadays have preset associations with sounds. Loud crashes mean danger. Low sounds mean ghosts. That guy next to you unnecessarily smacking his lips: COMPLETE ATTENTION! Let’s not blame a causal reader or listener for our trails. Instead, let us do something about it.
Since I started this assignment; I have been getting more and more music to listen to, of which, I’m thankful for. That doesn’t mean I listen to all of it. Or, to clarify; not all the way through. Sending a person an hour long mix is like asking them to read a book. But if you describe what it is composed of properly, without corny catchphrases and with real passion, the first thing they’ll do is run back to you for more suggestions. So don’t call it some flat, overused, post cool slang, like Twerk or Big Room, or Groundbreaking or Epic. Learn your genres properly and a genuine music lover will give you a chance. If you’re not in this for the art, I will not listen to your song for more than a few seconds, long enough to bask in the “awesomeness” of your predictable drop. Also, don’t be the type of person that doesn’t want to describe your music. Even Andy Warhol called his work miscreant scribbles and pompous pieces. In his aloof truth, he brought more people to a show than a humble, silent man would have ever.
When you do send people something, do yourself a favor and don’t ask if they heard your music. Even giant promotional companies, who spend plenty of bank on billboards and Facebook brainwashing, can’t get an album to hit anymore. I’ve learned to stop asking people about my writing. It just comes off as needy and insecure. Do everything in life with a level of bravery. Being weak creates no press. Just make sure you don’t come off like every unsuccessful musician ever. Don’t tell people you’re an international artist, or that people should know who you are. We all know if you have to tell anybody who you are or what you do, then you still need another level of success to achieve. Also, don’t tell people you worked hard for your success. It just looks like you want to get your ass kissed. If you’re not putting out good music now, working with other great musicians, or at least regularly playing, then you don’t merit our attention. Believe in your art and trust that it will find its mark.
Choose the people you send it to wisely. First of all, don’t be one of those types that thinks one Facebook post is going to merit a thousand views. If you do use certain social media, understand that some people pay more attention to their home pages than they do their neglected kids that constantly act out for attention. Never post on the wall of people with constant agendas. Never respond to the unevolved. Just mock them off the cuff about not understanding. Know that they aren’t ready for the awesome you might want to shed on their poor little snapback wearing, dying scene attending, regurgitated playlist listening soul. Be thankful you don’t have to push tapes out of the trunk outside of shows.
I, for one, do not like modern Trance. Yes, I grew up on the traditional Tech, Goa, Acid and other deviations. That doesn’t mean that I didn’t have my fill, or grew out of that genre. In the pre expansion times, most of the shows in my area were Trance. But this was back in the day of real acceptance, because we really had no choice because only a few people owned proper set ups. With everybody looking like Backstreet Boys, we really needed that acceptance. You’d go to a show and the line-up was mismatched. Still it was grand, because you were exposed to three or four separate styles in one night. It mattered only if you had your skills on point. If you did, you would quickly win over the crowd. What we didn’t like was when people tried to push their shitty songs in your face and then argue with you about them afterward. With such a wide spectrum of sounds and styles, you can’t expect everyone to be into what you are. It’s immature to think otherwise.
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This Week In Music: Since you’re probably tired after a semi-serious post. I’ll try to be as funny as possible with my descriptions this week. Yes, still free. And yes, I still love you too.
Vissacoor – Spectral Evidence
Have you ever had a dream where you had sex with a Metropolis style android? (The original, not the anime) Well that’s what this song is. It starts off confusing, with no expected direction. The cusp hits and you’re making out with the metallic darkwave lips of some robotic love. Next thing you know, you’re grinding up on the boombox femur of Hard Tech notes. The lady leaves you with an Industrial taste in your mouth and a sparked oil stain of your sheets.
Doctor Zygote – 36
This week isn’t getting much lighter, is it? If the American Horror Story opening theme song had a baby with a good John Coltrane heroin overdose, this would be the song. The progression is tense, but uncorrupted. It’s almost like listening to a musical score to William S Burroughs’ “Naked Lunch”. Too deep for the causal listener. Too chill for the typical Techno crowd. All of which makes me love it more.
Blocks/Darkside – Greeklight (Blocks Vocal Edit)
I guess the music I listen to, really does influence my writing. Well too bad, kiddos. You’re just going to have to accept a more soulful trope. ‘Sometimes I Get Meaningful’. It’s too Deep to be called Minimal. There’s big hints of Jazz and Ambient Techno influences pouring all over the track. Yet, it never decides to cross any extreme boundaries, and the vocal meshes well, somehow. Blocks is soon to release the “Seance” EP. With the personal touches of remaking the vocals on this track, I look forward to hearing the rest.
Red Hot Chili Peppers – Californication (Gamper & Dadoni Remix)
And now for a high note. You’re going to start hearing this everywhere, so just download it now so you can show it to everybody. It’s going to hit across the board: from teenie boppers who remember this as the old Chili Peppers they heard in grade school, to people like me: who remember this as the other summer song that isn’t “Under the Bridge”. That one would have been more appropriate to my life soundtrack, since I was painting a couple of murals under a freeway, the summer the original “Californication” came out. So this track is stays true to the original. Journeys way into Deep House territory and keeps the infectious nature of the song and the genre. Listen to it. I really don’t want to beat you up about this, but yeah.
When I started this article, like in the formulation, sitting on the toilet phase, it really was about trying to get people to send more singles to me. I’m drowning in a sea of mixes and there usually isn’t a Single lifeboat to grab onto and post. But it turned from something to help me out turned into making something easier for you. But isn’t that how music it. It always says what we can’t.
“After silence, that which comes nearest to expressing the inexpressable is music.” – Aldous Huxley
Raul Chacon is a self-aware douchebag, who only listens to bands you’ve probably never heard of. His years of writing for literary reviews and magazines, lead him to a couple of scholarships for his work, which he quickly squandered by moving to Austin and going to shows six days a week, instead of class. Eventually, he became as a touring security and witnessed hundreds of shows and dozens of festivals firsthand. He would tell you how many shows he’s been too; but there’s too many holes in his brain at this point.
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