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Messages - ffcal

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81
Roedelius has also done some nice experimental work with Tim Story and with Story and Dwight Ashley under the name, "A.R.S."  Roedelius and Story's "Inlandish" is an especially nice one--pleasant but with a bit of an edge.

Forrest

82
Artist can be so indifferent to the works they create. They are often plagued with doubt and uncertainties.....regardless if the work is brilliant it will never see the light of day unless nurtured.  Not a candidate I would recommend for any PR department.  No personal experience in the legal field but I for one would not represent myself in a court of law.

Julio, I think you've really hit the nail on the head.  I think there is a period of doubt and scrutiny and maybe even insecurity that should be part and parcel of any act of creation.  Particularly in the ambient genre, it is difficult to tell whether a piece is truly done or can or should be refined further.  If we are truly honest with ourselves, it is rare that piece comes out fully and perfectly formed out of the womb.  This sensibility can be at odds with the promotion/marketing side that an artist is expected to pursue, which is to convince the prospective listener that your latest work is the greatest thing since sliced bread and of course better than anything else you've done before.  There is also the issue of whether the artist has enough distance from his own work or enough perspective to objectively assess it for others.  I'd rather leave that heavy lifting for reviewers or listeners, who are likely to see things I am not in a position to see because I am too close to the work.

I also think we as listeners need to constantly revisit the question of whether "more" is better when it comes to the glut of music now available and the bloated size of digital libraries, but best to save that for another day.

Forrest

83
Chris and Anthony,

I think the danger with assuming that promotion is easier in the net age ignores the market realities that necessitate being heard over the static.  The flipside of marginalizing the old model is that you have fewer traditional labels willing or able to curate and a lot of subpar music being rushed to market before it is ready.  This has going on for some time since the dawn of Napster and the likes of Rapidshare, torrents and Megaupload over the years making music "free" have only made this problem worse.  I think it is also problematic to ignore the economic implications of this.  I think the current model discourages a lot of serious musicians who see barely any compensation for their work in favor of weekend hobbyists.  I think a case could be made that artists would generally release higher quality music if they had more "skin" in the game that they would stand to lose if their latest masterpiece stiffed.

Of course, I had to do a lot of "promotion" in the old days of distribution that included sending out promos and getting the attention of distributors, but I don't like the new version of self-promotion much better.

Forrest

84
Quote
What I missed most about having a label wasn’t the monetary investment, but the right to be quiet, the insulation provided from incessant self-promotion. I was a singer, not a saleswoman. Not everyone wants to be an entrepreneur.

Interesting read. It isn't always clear what point she really wanted to make, but the essay was thought provoking nonetheless.

The irony is that she is quite good at self-promotion.

Hi Chris,

What I get out of it is that she makes a careful separation between creative act and the promotion of it afterwards.  It might blurred sometimes, but being skillful at one doesn't equate to a skill at the other.  I think that the rise of social media has raised the expectation that artists be fully accessible and engaged with their audience most if all of the time.  For those of us not fortunate enough to be doing this full-time, this is not really feasible.  For many of the bedroom musician-types in our genre, touring and live performance may not be a practical solution to replace falling revenue from the gradual decline of paid music.  From my perspective, since a lot of what I do involves layering different instruments and takes, a "live" performance for me isn't such an exciting prospect, as it might easily devolve into a "music-minus-one" sort of thing.

I would give the author more credit--she is clearly not promoting her own music.  Even her calling as a writer is not really the focus of her opinion piece.  I think she is understandably concerned about how the web age's emphasis on self-promotion might leave a lot of quiet but talented musicians in the dust.  I am, too.

Forrest

85
Thought this editorial (and the responding comments) in the NY Times about "forced entrepreneurship" in the music business was fascinating.  As one who places promotional activities slightly above a trip to the dentist, I can especially relate to the author's distaste for having to engage in self-promotion.

http://opinionator.blogs.nytimes.com/2013/09/25/the-end-of-quiet-music/?hp&_r=0

Forrest

86
Other Ambient (and related) Music / Re: Closing the Eternity
« on: September 23, 2013, 11:44:33 AM »
"LeX: hogweed aerophone..."

Sounds like an early Genesis fan!

Forrest

87
Forum Member Projects News and Promotion / Re: Forrest Fang news
« on: September 13, 2013, 10:01:40 PM »
Sorry to make this a last minute thing, but Archie Patterson of Eurock fame is now running a show on KUSF in Exile from 10 pm to 11 pm tonight that features music from me, Robert Rich, Tim Story and Blue Tofu.

Forrest

http://savekusf.org

88
Now Playing / Re: Currently listening, part 1
« on: September 04, 2013, 06:26:53 PM »
Any classical music fans (still) here?  Between a backlog of stuff I picked up from Amoeba, I've started making some headway into a monster 60 CD box set featuring RCA's "Living Stereo" recordings from late 50s and early 60s (including a generous dose of Heifetz, along with Rubinstein, Van Cliburn, and other biggies of that era).  Mostly core repertoire from that era, but done especially well.  The sound is really spectacular, especially when cranked up!

http://www.amazon.com/Living-Stereo-Collection-Ludwig-Beethoven/dp/B009J3K4MI/ref=tmm_acd_title_1

Forrest

89
Enjoyed your collab track with Soriah, Nathan.  Has more than a little Jorge Reyes vibe to it...:)  Particularly nice to see new tracks from Larry Fast/Synergy  (!) and Jeff Pearce (in his space guitar mode).

Forrest

90
What I thought was cool about Acoustic Mirror was the use of impulses from the acoustics of actual spaces like Chicago's Navy Pier.  I saw a series of concerts in that pier, and it was fun comparing my memory of that space with the plugin.

Forrest

91
Hi Tomas,

From the description, it sounds like might similar to Acoustic Mirror for Sound Forge.

Forrest

92
I am listening to this album at this very moment... it is truly an excellent one!

Yes, it's a nice album.  A bit of a sleeper.

Forrest

93
Forum Member Projects News and Promotion / Re: Forrest Fang news
« on: August 26, 2013, 01:19:11 PM »
HI Chris,

Thanks for your feedback.  No need for you to feel any reluctance in your comments.  You're right, Migration is more spartan than Wolf.  My sound on Migration was dominated by a minimalist approach not only in structure but in instrumentation.  I also made a conscious effort to (mostly) avoid violin on that release, though it's my main instrument.  The sound on Wolf is much fuller because I had better equipment and more channels to work with, I had started acquiring more instruments, and I had just added my first two real electronic polyphonic keyboards to my sound--a Korg DSS-1 sampler and a cheap Casio digital synth (the CZ-101).  I think of Wolf as a transition album--some elements of space music, some of a world progressive sound, but I was still working it out.  If Wolf was the egg, then Migration was the embryo.  Years ago I had been planning to reissue Wolf because I would periodically get requests for it but never seemed to get around to it.  When it finally happened, I thought it would be a good opportunity for me to add in Migration, since that was a vinyl only release.  Since the music is over 20 years old, I'm not surprised that some of it has aged better (or worse) than other parts, but hopefully, you found enough in it to find it worth the trouble.

I'm especially pleased that you enjoyed Unbound.  That release is a bit of a departure from my other releases on Projekt, in that is more hardcore ambient soundscape.  I know it may not be as appealing to those who prefer my world progressive style, but it's something I wanted to do.

Regards,
Forrest

94
Forum Member Projects News and Promotion / Re: Loren Nerell news
« on: August 14, 2013, 05:11:33 PM »
Sounds like fun, Loren.  Good luck with it.

Maybe you should dedicate a track to Mark Prendergast;)...

Forrest

95
Seems to me if I were a electro ambient journalist/critic/fan with published writings and I was invited to another country to talk to a gathering of serious ambient fan and a handful of some of the best names in the genre hosted by probably the longest running radio show of electronic ambient music dare say it in the world,  I would do some home work.  I find it hard to believe Roach & Rich have not crossed the Atlantic with enough force to show up on this man's radar.  There was a history of american avant garde being openly excepted and support by cites in European countries.....Paris comes to mind.  Times may have changed over the years.

My guess would be that Pendergrast wasn't exposed to ambient musicians from this hemisphere because it wasn't covered in academia.   Unlike, say DJ Spooky, this stuff comes without a lot of pretension and doesn't have a toehold in the NY downtown school.

Forrest

96
I'll third that one.  Congratulations, Pete!

Forrest

97
Other Ambient (and related) Music / Re: Where is Tetsu Inoue?
« on: August 05, 2013, 10:19:40 AM »
Regarding Tetsu, seems nobody cared (except you and me).  Maybe that's why he's in hiding or whatever.   ;D

This was raised on the Hyperreal ambient list a few months ago.  I don't there was much info there, either.

Forrest

98
I'm not a big fan or Prendergast, David Toop and others of his ilk, either.  They seem to think that all or most electronic ambient started in the mid-90s.  And then pretend that most American ambient musicians (or at least the ones prior to 1995) simply don't exist.  Good luck with that.;)

Forrest

99
Forum Member Projects News and Promotion / Re: Forrest Fang news
« on: July 30, 2013, 11:38:13 PM »
Thanks, guys.  Almost forgot to mention that my second album, "Some Brighter Stars," will be also available digitally for the first time in mid-August via Projekt (probably through Bandcamp).  Robert Rich remastered this one as well.  I released this in the early 80s (scary to think how long ago that was), and used tape delay ("Frippertronics") on it extensively, but with synths and acoustic instruments instead of guitars.  (The original vinyl is going for a ridiculous price on Amazon (almost 200 bucks)--makes me wish I had made more of them.)

Forrest

100
Now Playing / Re: Currently listening, part 1
« on: July 29, 2013, 11:08:02 PM »
Hey Anthony, the intro to that Loscil track sounded like you!  I initially thought the sample skipping midway through that track was a problem with my buffering.

Lately, I've been enjoying:
Boards of Canada - Tomorrow's Harvest (the CD, not the .wav file;)..)
Adam Pacione - Delayed Vols. 1 and 2 (glad to have finally tracked this down.  more keyboardy than I was expecting.  Whatever happened to his subscription series?)
House of Love - She Paints Words In Red

Forrest

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