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Messages - Celer

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Other Ambient (and related) Music / Re: Where is Tetsu Inoue?
« on: October 03, 2013, 08:56:07 PM »
Maybe he just didn't want to be involved in the music business anymore? Or, he has more important things going on than music. I think those things are more likely than death.

Most of the FAX label releases are almost $20 from iTunes.. a bit high for just plain MP3s..

Other Ambient (and related) Music / Re: Any Hakobune enthusiasts?
« on: November 30, 2012, 07:56:48 AM »
He's doing a lot lately. Shows in Tokyo every week, and lots of tapes coming out.

What about his 12" vinyl that he released recently? It's really nice..

Check Meditations.. they have a lot of his stuff always.

Other Ambient (and related) Music / Re: Kompakt label: Recommendations?
« on: November 30, 2012, 07:53:57 AM »
Ulf Lohnmann - On Frozen Fields
Andrew Thomas - Fearsome Jewel

@Julio Di Benedetto

Hi Will.....I realize you are at the mercy so to speak of the label, but does there come a point where you take control yourself when the labels release standards are not what you want.  I don't intend to make this sound egotistical because label interest in an artist is a beautiful thing regardless of the end product.   The financial & PR responsibility of doing it yourself become much greater, and I can see this would be a deterrent.   Mind you I can't say how each label works regarding who pays for production cost  A Celer release is exciting for itself not because of the label that releases it. IF you choose to release a limited edition rubber stamped Verbatim CDR, your listers will buy it because of the music not the packaging which was a point well made by APK.

Thank you for your thoughts, I appreciate it. It's true that a lot of people to buy things just for the music, but presentation is important to me too. A lot of labels also think that they can get a bigger name artist to release something on their label, package it poorly and cheaply, and sell it out immediately for the same price as a regular CD. This is just them profiteering off the artist and customers.

It is true that as an artist when you see things like this happening, you have to make a stand and do things yourself. I try to do that also, but I can't afford the costs of doing much more than one at a time. Unfortunately money doesn't always match output..

And working with labels, when labels approach you, it's hard to know whether they'll do what they say or not, you just have to take a chance or not. I try to give people the benefit of the doubt, and in those situations guide them along as best as possible. Yet some still don't come through, and that's just the risk. It's just as bad for small artists as it is big artists when that happens.

Not wishing to hijack this thread and considering that the CD / CD-R issue has been discussed to death here, but I feel I should comment on the following:

'CDRs are barely worth publishing' and that they are 'pitiful and cheap'

Neither statements are true in my view, The CD-Rs I've had made up aren't cheap to make at all. More to the point.

It's purely a matter of opinion. Music is of course first and foremost the message, but as an artist, you should also care about the presentation. I don't think ALL CDRs are pitiful and cheap, but a lot of them are. It's all how they're presented. Some people put a lot of effort into it to make it unique and special, and others don't.

@mgriffin Nobody should blame an artist for a limited edition selling out if it was the label's decision to release a quantity too small to satisfy immediate demand.

Also, listeners/customers should realize that it's much easier for artists like Steve Roach and Robert Rich to keep everything in print, because they sell a lot more copies, thus a repressing of 500 or 1,000 CDs is much easier decision to make.

I think the best thing for the artist, the label and the customer is when editions are made available that "fit" with the artist and label's ability to sell a given quantity over a reasonable period of time. Most people understand that sometimes there isn't sufficient demand to justify a re-pressing of something that's out of print... at least not immediately.

The problem comes up when labels make the decision to press a too-small quantity in order to generate a frenzy of short-term buying, and everyone who missed out on that initial window of availability is screwed. This harms the artist too, because there are people who want to hear the music and can't, and I would argue it even harms the label itself --  because if they had planned better, they could have sold more copies and made more money. Clearly it hurts the listener, unless they're poised to buy the moment the release comes out.


I don't know that I agree that a download-only release is better than a CDR release.

Just for me personally a CDR (sometimes) is better than a download. For me, downloads, while they good for archival and for keeping a permanent copy of something to listen to, I don't feel any attachment to it. Having some kind of physical object is almost always better.

Unfortunately though, most CDRs come in packages that are cheap too.. so I don't know if it's really better or not.

@APK A CDR sounds the same

Yes, of course. But a high-quality download sounds the same, too. I agree that it can empower artists, but only on a certain scale. For example, CDRs are great, because it allows anyone to create small editions of their music at home to share with others. It isn't possible for just anyone to press 500 or even 300 CDs, so for that is is good. What is bad is when labels or artists are purposefully cheap, when they could (or should) be pressing CDs, and instead press CDRs, with cheap packaging.

Another benefit about home-making CDRs, is that you can be creative with packaging as well. I see a lot of CDR releases that have really uncreative packaging. Maybe digipaks and jewel cases that come with regular CDs aren't always interesting (design-wise), but at least the quality of the printing is even.

@ffcal I agree with this too. Special/odd packaging and for more creative homemade designs, this is okay for CDRs. For example you mentioned my release Sieline, which would have been impossible in any other way. Firstly the actual package itself would only fit a 3" CDR, and 3" CDRs at the time were not available (to my knowledge) as silver CDs, or there would have been a quantity minimum. So for 4 of them that would be a ridiculous price.. obviously the only way for that. And the package, custom with a die-cut and painted, for me it was much more special being able to make something unique like that.

Also a good example is American Tapes. Their releases are always limited, and rather obscure, sometimes even very cheaply made, but there is character in that garage-made crusty style. It's one of the few CDR-prone labels I still buy from.

What is bad about CDRs and packaging, is when labels stamp the band name on a Verbatim CDR, use a cardboard package with no original design or unique character, and label it as an album release, selling it as the same price of a normal, factory pressed CD.

I thought I would come back to the forum (I forgot I had an account) and respond to this thread, because it applies to me in a lot of ways too, as a customer and artist.

As a customer, I would prefer not to pre-order something. Though I realize it is unavoidable a lot of the time, because people need the money to produce it, and I do it sometimes.

However, I think pre-orders should not be done strictly because it is a limited edition. It makes it seem exclusive (which it is), typically depending on your speed to order or available money as the answer to whether you get a copy or not. If you can make it a bigger edition, you should. These days it isn't so expensive to get 300 CDs pressed.

As a artist, sometimes pre-orders are necessary, unfortunately. When publishing myself, I try to only do it when there is no other way possible, for editions that are expensive to produce that few people buy (like vinyl).

Working with labels, however, the artist usually has no say in this matter whatsoever, which is part of the problem, because when customers are upset about limited editions being quickly sold out, the quality of the packaging, or the slow production time, usually it is not the artists' fault, yet they receive some of the blame as well. As an artist you just have to do your best and hope that it comes out well.

Another thing is about the 'why release on CDRs' question. Of course none of us want to release on CDR. It is the cheapest format (even more than tape, because there's no nostalgia associated), and the quickest to die or decay. These are the only reasons I ever release on CDR:

1) If you produce a lot of music, the options, if you can't release on vinyl or CD, are to #1 release it digitally #2 release on a CDR, or #3 not release it and hope an opportunity comes up eventually. Of the 3, obviously actually having a physical edition (even though pitiful and cheap) is still (sometimes) better than just digital, and better than nothing at all. Also you have the problem with #3 that no chance of a release will ever come up, or that so much time passes that you're more interested in your current music, and just forget it altogether.

Some people may say that with that result, it is probably better to not publish it at all. That may be fine for some people, but personally I think that all music has an important time and place. It's not always going to be perfect or your best album, but it represents something special that you do believe in, so it's important even if many people think you're already doing too much. You just have to follow what you think is right.

So in all, even though CDRs are barely worth publishing, sometimes it's doing the best (as in only) thing you can do.

I always try to print the maximum number, but I have tiny editions happen all the time too. You can't win all the time.

In response to some other people:

@Julio Di Benedetto @mgriffin Also, if you're the kind of artist who can quickly sell 200-300 discs, why not do pressed CDs instead of CDRs?

If the label won't press a CD and will only do a CDR, the artist doesn't have much choice. It's the labels' decision. My way or the highway sortof approach. It's tough enough just finding labels to release something period.

@drone on You know what I'd love to see?  Somebody release a limited edition of ONE COPY

@| broken harbour | That's actually what I love about Steve Roach, he keeps nearly all his albums in print

Reissuing albums is one of the most difficult things to get labels to do, maybe not for Steve Roach, but for most everybody else lower than that

Now Playing / Re: Currently listening, part 1
« on: March 08, 2010, 06:58:43 PM »
FERN: I thought I was into obscure...never heard of about 80% of the stuff you list.  How do you find the time??? Always a fun read, though...

....for example did you see the new release from Celer "Rags Of Discontentment"....Digitalis removed it from the website within hours as they sold out...see what I sucks becuase good ears loose in the end sometimes.


If you'd still like a copy of that, Mimaroglu bought 50 copies for their store, and haven't yet listed them for sale.

If anyone is interested in being updated as soon as possible for Celer-related things, the best way is getting on the mailing list, as I try to update things as soon as possible. Just pm me about that, happy to help.

Thank you for the interest, it is special.

Thanks for including Celer in the podcast Brian! :)

Other Ambient (and related) Music / Re: Slow Flow
« on: November 23, 2009, 12:51:54 PM »
new release:

‘In Escaping Lakes’ is the sequel to ‘Cursory Asperses’, previously released on Slow Flow. Where ‘Cursory Asperses’ focused on the slow movement primarily of streams, and other field recordings, ‘In Escaping Lakes’ continues this pathway to expand into a deeper subject, of lakes and their surroundings. Inspired by a painting by Anthony Feyer, ‘In Escaping Lakes’ was made to demonstrate enclosure, depth, and closeness in still places.

Will & Danielle: Piano, Strings, Gong, Tingshas, Voice, Electronics, Hydrophone, Flute

distribution link

Now Playing / Re: Currently listening, part 1
« on: November 16, 2009, 06:08:03 PM »
That certainly makes sense, since Spybey was a member of Download. Don't know if he was on that disc or not though. Great stuff though!

I just realized what disc 1 of Piss Frond reminded me of.

Eyes of Stanley Pain by Download.

Now Playing / Re: Currently listening, part 1
« on: November 16, 2009, 05:32:26 PM »
'Shap' is a really good one too. I got the whole collection when Invisible was offering up a box set with everything in it. Was $50 or so for about 8 CDs, quite neat.

Dead Voices on Air - Piss Frond
Two disc album of assorted weirdness, including a first disc of industrial-flavored experiments in churning layers, and a second disc I can only call "ambient."  Really intriguing and strange.

Thanks Jim!

'Pockets of Wheat' should be out mid-November, I think.

Thanks always for your support-

my order has been shipped already :-)
the MP3's sound very promising..

now waiting for Pockets of Wheat..


Press release:

The duo of Celer is comprised of husband and wife Will Long and Danielle Baquet- Long. Using processed strings, pianos, regional field recordings, and electronics, Celer has composed a masterpiece of sentimental experiences and realism; the sound of raw emotion..

Tender and touching, yet poignant and stirring, Close Proximity and the Unhindered Care-all is composed of 3 parts that encapsulate over an hour of music, and on-location field recordings. Part 1 creeps quietly through your room until its presence is felt, fading, and field recordings are bringing back distant memories. Part 2 starts on a melancholy note and ends in a sea of stunning ambience, drifing, and fizzling out. Part 3 embraces and carries you off to a distant, but strangely comforting world where it shares its secrets with you, and yet disappears at the peak of discovery.

It is an honor for SRA to be able to share with you this masterpiece of sound art by Dani and Will, and we hope it brings comfort to a world where things are often taken for granted and then forgotten. When listening to such a heart-rending album, itʼs hard not to feel somehow connected with the glowing love Dani and Will undoubtedly have shared, and Celer will always be remembered, and cherished in this way.

Packaged in a 8 panel classic digipack with a matte UV finish, the artwork consists of poetry by Dani, and layout, design, and cover photography by Johnny Utterback.


Now Playing / Re: Currently listening, part 1
« on: October 19, 2009, 12:06:48 AM »
You should try to track down Hosomi's 'Open Silence' if you can.. or if you haven't already. Its one member of Maju, comes with a nice DVD too.

Sadly Commune Disc is a tough label to crack, very hard releases to find, but they're totally worth it.

Maju - Volume 3 - Extreme - CD
(To those who like ambient with texture and abrupt little glitches...I always found this artist to be very underated.  Imagine Tetsu Inoue releasing something for Touch...I would have to say that Ben Frost and Lawrence English sound like this artist..not the other way yourself a favor and buy all five albums while they are available)

Now Playing / Re: Currently listening, part 1
« on: August 11, 2009, 09:23:57 PM »
quite old, too. 2006 maybe? sad something happens with them only now.

Remixed by Celer (a 3" CDR of 2 Celer remixes of pieces by Thee Moths; somewhat hypnotic, a little too short (13'); spare but interesting handmade package held together by velcro, ltd to only 10(!))

Now Playing / Re: Currently listening, part 1
« on: June 24, 2009, 01:18:43 AM »
Very true, I agree on that point.

Yes, clearly you're biased! <grin> Anyway, regardless of the relative merits or otherwise of Koyashiki's release, I have to disagree about recent Raster Noton. In 2008-9 there have been great releases by Alva Noto (Xerrox vol.1 and vol. 2) and Kangding Ray (Automne Fold), to name but three. These have had a more 'harmonised' quality than standard issue R-N - another dimension to some of their earlier stick-figure glitch-funk designs. In the more beat-driven area, the last releases by Byetone and Alva Noto were also very good, and, arguably, R-N has actually developed its sound in the last couple of years to one which is at once more texturally and harmonically rich and more rhythmically visceral - somehow less premised on that whole sort of labcoat-technician-meets-graphic-designer aesthetic on which it made its name initially, while not relinquishing the spirit/ethos of what it stands for.

Now Playing / Re: Currently listening, part 1
« on: June 23, 2009, 10:28:06 PM »
I may be biased, but personally I enjoy this far more than anything I've heard from Raster Noton in quite some time.

While I do enjoy some of their releases, such as NHK, Sakamoto & Noto, Pixel, Ikeda, and Coh, they don't have the repeated listens that mAtter discs have so far, even after only two releases.

Looking forward to Andy Graydon's new release on mAtter as well.

Maybe its just the underdog in me, too.

I have a feeling Mr Koyashiki has listened to some Raster-Noton along the way. I'm not sure he's bringing much else to the table.

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