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so you're either #1 in the charts or working in mcdonalds?

Me and my mate have made a disclousrue rip off trak and I hope its going to get me a barrow full of gash. I wanna be on that stage doing nothing

get puff monsta to spit bars on it

Surely you're alienating the audience who would likely stick with you in the long term if you play shows that have zero value to those people though and therefore making it more likely that this won't be a long lasting musical career for them.

yh is normal to act their way, i don´t really care for what they do but they aren´t going to get any respect for me and is a shame because they have 3 o 4 good tunes and is a nice music for dancing,anyway i was talking about what would i do in their situation and I would definitely be a tru rocker

imami wrote:so you're either #1 in the charts or working in mcdonalds?

no middle ground

imami wrote:get puff monsta to spit bars on it

MA BOI MERK DA RIDDIM

imami wrote:so you're either #1 in the charts or working in mcdonalds?

what you did there... i see it.

imami wrote:so you're either #1 in the charts or working in mcdonalds?

well no, but i mean this "pop" group thing, its a huge financial opportunity, but they are relying on their managers etc, if they make it difficult for them and start getting demanding/difficult they could quickly drop to obscurity - i doubt the (i'm guessing quite fickle) 'fans' would give a fuck in 6 months if they were no longer pushed.

i was making 3k a show a year ago.

not anymore. soo yeah. fans are fickle.

parson wrote:i was making 3k a show a year ago.

not anymore. soo yeah. fans are fickle.

Well it seems especially to be even more a pop thing, there are a shitload of fans to be had, but they will move on pretty quickly when the 'next big thing' comes along.

Wasn't that Wolf's point though? They're alienating those people that could've provided them with a more sustainable income for a longer period at the expense of a quick buck now?

People like Aphex were pretty popular mainstream-wise at one point, but afaik, he didn't pull any of this shit, kept a relatively big fan-base and I bet he's got more dough than Disclosure will have.

garethom wrote:People like Aphex were pretty popular mainstream-wise at one point, but afaik, he didn't pull any of this shit, kept a relatively big fan-base and I
bet he's got more dough than Disclosure will have.

It was easier to make money off less 'mainstream' genres back then though, labels threw money at artists. Look at DnB - Source Direct with their BMW M3s, Photek with his Lotus, someone else (can't remember who) getting a Ferrari as part of his signing deal?

Up until the Internet/Social Media really took hold and everything devalued, 'dance music' was the easy life. Fischerspooner got something like £1m for signing a one album (which was shit) deal with Ministry. There was an interview with one of So Solid Crew a while back saying how the label gave them so much money that a load of them went out and bought Audi TTs paid in cash.

Artists didn't have to make necessarily mainstream music to see the big money.

garethom wrote:Wasn't that Wolf's point though? They're alienating those people that could've provided them with a more sustainable income for a longer period at the expense of a quick buck now?

People like Aphex were pretty popular mainstream-wise at one point, but afaik, he didn't pull any of this shit, kept a relatively big fan-base and I bet he's got more dough than Disclosure will have.

Aphex is a bit unique compared to modern performers in the fact that he got an old fashioned cast iron contract for several records with some fairly big money attached. As well as making ridiculously wonderful music, he did actually spend a fair bit of time trying to alienate as much of his "pop" audience as he could... turning up to gigs and playing entire sets sitting in a Wendy House rubbing sandpaper over a stylus, for example.

It wouldn't surprise me if he's a little bit of the reason that record companies don't invest long term in many electronic artists anymore - give the unreliable fuckers a deal for the music they've already made and pay them one gig in advance or they might end up making a laughing stock of the people that invested.

magma wrote:

garethom wrote:Wasn't that Wolf's point though? They're alienating those people that could've provided them with a more sustainable income for a longer period at the expense of a quick buck now?

People like Aphex were pretty popular mainstream-wise at one point, but afaik, he didn't pull any of this shit, kept a relatively big fan-base and I bet he's got more dough than Disclosure will have.

Aphex is a bit unique compared to modern performers in the fact that he got an old fashioned cast iron contract for several records with some fairly big money attached. As well as making ridiculously wonderful music, he did actually spend a fair bit of time trying to alienate as much of his "pop" audience as he could... turning up to gigs and playing entire sets sitting in a Wendy House rubbing sandpaper over a stylus, for example.

The marketplace (and tastes) have changed. If Aphex came out today, would Windowlicker get to #16 in the charts?

magma wrote:It wouldn't surprise me if he's a little bit of the reason that record companies don't invest long term in many electronic artists anymore - give the unreliable fuckers a deal for the music they've already made and pay them one gig in advance or they might end up making a laughing stock of the people that invested.

As an aside, saw Aphex play a live set at Wireless in 2011 and it was insanely good

Consider me corrected! Still though, the original point stands, that was just a poor example on my part.

Its not that kind of music that could pick up long term record collecting type fans (imo). Its music for the itunes store mandem.

So the only people they are going to piss off are people who aren't into their music in the first place.

Lye Form wrote:Its not that kind of music that could pick up long term record collecting type fans (imo). Its music for the itunes store mandem.

It was at one point though wasn't it? Bare people on here (including me) like their earlier releases, like Tenderly/Flow, stuff that was less straight forward/generic than they are now.

tenderly is a tune.

garethom wrote:

Lye Form wrote:Its not that kind of music that could pick up long term record collecting type fans (imo). Its music for the itunes store mandem.

It was at one point though wasn't it? Bare people on here (including me) like their earlier releases, like Tenderly/Flow, stuff that was less straight forward/generic than they are now.

Well i assume they could have gone down the route of making less commercial music and sign their music to a label like swamp, but the decision to make their music as accessible as possible for $$$ was made way way way before pretending to DJ.

I'm not even sure if i'm defending them or just saying that they blatantly don't give a fuck what people like DSF posters (the type of people who care about these fake DJ things) think of them.