Δευτέρα, 22 Οκτωβρίου 2007

shut up and dance

I think there's a real similarity between the music and the economics of it. At one time Detroit was the only place in the world where cars were made in that kind of abundance, like Detroit was the only place that made Techno back in the mid 80s all the way through the 90s but, like with the auto industry, we face more competition now. Obviously it's a more global game and it's the same with the Detroit auto makers. First there were three car companies and now they face really stiff competition from great auto makers from all over the world, just like we face competition from great electronic music producers all over the world. So what used to be your territory only, now is shared by many.
I always challenge some of my friends that sell drugs. They're all like 'man, I'm making money, I'm doing this, I'm doing that', I just hold up my passport, and I tell em 'yeah, you're doing this, and you're doing that, but motherfucker when they come after your ass, you can't even get out of the country, shut the fuck up'. And they see the stamps, and they be like 'damn', it shuts em down. So to the kids, I'm much more powerful than some drug dealer, and to the kids these guys talk to, yeah, they might know the local drug dealer but my man right there he just back from Norway, you ain't even been to Colombia where they make the cocaine. It diminishes their power, and gives someone doing something positive more power. And that's a good thing. So, when these guys bring us over, it's much more than a performance and getting paid, it's an experience.

I don't go in front of the music. I believe that if you put your ego in front of the music, and place it in front of the speaker, then the people trying to listen to the music can't hear your music, they just listen to your ego. So I really ask the people who do have pictures of me to be honourable and just leave me out of it, man. There's been time when I've made music like 'Hi- Tech Jazz'. Man, when I made that track I can't remember anything, it was a two week blur. The spirit was moving through me, and when I got through, it was 'Hi-Tech Jazz'. Many, many times as a musician, if you're really in tune, like you're playing in church... As a keyboard player, or guitar player, or bass player, I'm decent at what I do, but there's times when people in church get into it, and the feeling comes, and the spirit comes, and you can play way beyond your ability. In fact, you know the bass pedal on the organ? I always have trouble with it. I have to look down and play the bass, it's difficult but when the spirit comes you don't have to look down, your foot be moving, so at the point you realise that I ain't really playing this organ. So it's the same with a track. If the spirit come when you make a track, the question then becomes 'Is it really you making the track?' So again, it's difficult to take credit for some of this stuff, some of the time.
μια εξαιρετική συνέντευξη του mike banks [των underground resistance] στον mark fisher, στο wire νοεμβρίου.
το νέο άλμπουμ των underground resistance είναι το electronic warfare 2.0 [my radio station is killing me] και είναι απλά απ' τα άλμπουμ αναφοράς για το 2007 [και μετά μιλάμε για αναγεννήσεις στη ροκ και παλιόλυκους που επιστρέφουν...].
wicked. [για λίγες ώρες, εδώ]