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Messages - Julio Di Benedetto

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1
I answered my own question.....just bought 2 Stev...Roa...cds from Projekt. Dont want to mention the full name because all hell my break loose  :o  ::)  again

I feel its is important to support the label & artist because the label is the PR side of the equation and that is powerful when pushed with the right energy.  Artist usually are terrible at it not because they cant do it but because they are or should be busy being artists.   I can support both the music and the word.

 

2
Question...if a label releases an artist music and the artist releases his/her own music of the same title who or what do you support?....the label / artist relationship or the artist directly.  Is the label /artist something worth supporting.

3
Heres so more thoughts from Sam from todays news letter.....I enjoy projekt releases and a few forum members release their music through projekt :)  There are other good ambient electronic labels, obviously Hypnos for one.  Any "news" about this genre is interesting but I dont come across much and as a great deal of music is self released I find it interesting to see what a traditional label is up to and Sam is quite vocal theses days.

"It's become obvious to me: over the last few years Projekt has become a (primarily) electronic/ambient label.

For clarity, I do not mean the EDM/dance style of electronic & ambient music. I mean floating, drifting meditative ambient, or adventurous drone / space-music electronics. For simplicity, I will refer to this side of Projekt's sound as "electronic."

I began Projekt 31 years ago, releasing a few compilation cassettes, and a whole bunch of my own solo-electronic music. In 1986, I released the first album from my band, Black Tape For A Blue Girl; the label's sound began an evolution toward a goth / ethereal / darkwave perspective. Projekt really came to people's attention in the early 90s, with the success of the rock-side-of-the-label acts Black Tape For A Blue Girl, Lycia, and Love Spirals Downwards. Fans and writers called Projekt "the American 4AD." But I wasn't soley focused on one sound; at the same time as the darkwave heydey, I was releasing electronic music. In fact, the fourth band on the label was O Yuki Conjugate, with their tribal ambient masterpiece, Peyote. In late 1995, I released the first Steve Roach album on Projekt, his double-CD collaboration with vidnaObmana, Well of Souls. Parallel to the darkwave sound, the electronic side continued to grow.

I dug into the numbers, to see if my hunch was right about the direction the label has taken. I tallied up the last 12 month's royalty payments, and sorted the artists into electronic or darkwave.

On royalties paid to the label's top-25 acts, 69% went to the electronic artists, 31% to the darkwave artists. Yes, 69%! A big chunk of the 69% goes to Steve Roach, while on the darkwave side much of that 31% goes to Voltaire. If you pull those two artists, and compare the rest of the acts, the ratio skews slightly more darkwave, yet remains nearly the same: 64% electronic / 36% darkwave.

My hunch was correct.

Now, part of this shift can be attributed to the lack of releases from my band, Black Tape For A Blue Girl. We were a big part of those sales in the 90s, but as the label grew busier I've taken less and less time to work on my own music. With Lycia and Love Spirals Downwards and Mira gone, the bands that contributed the bulk of the rest of the darkwave side are no longer here to keep up the tradition.

You might have noticed that Projekt's CD output reflects this switch, with many more electronic releases in the last two years. I still love the darkwave bands, of course. But I want to focus on what you are interested in."/i]

4
Crossing the Threshold.....this would be a good opportunity to take part.  Express your opinion on what you hear in the music sample Tomas supplied.

"Gold plated wall power sockets"....thats really funny ;D :)


6
So Tomas...a week has passed......what was the purpose of this?  Did it answer anything for you?

7
Thanks.....clouds are really interesting.  Look down to change a lens and by the time my head is up what I saw is gone, that fast.  It could  evolve into something better but usually not. Clouds seem so still.  Hence the.....Chasing Clouds.

8
I think everyone missed the big point here: Julio offered to buy everyone a pint of beer.  ;)

Yep...first rounds on me.  ;D


9
Gentleman...its your tone and honestly you provoked Tomas's to the point response, As well as mine. You know it is so, so dont be so surprised. Your perspective has great value and is well worth discussing but if you come across as you just have then you will be held accountable by forum members who release wonderful ambient music and who do not take to other ambient musicians production skills being questioned especially when the music is so damn "low volume" it seems ridiculous to even question overly extended bass. 

You want to have a go at it...then do so with respect and everyone will listen!  Of course sitting around a table discussing this with a pint of beer and things would be so much better understood.

Love & Peace 

10
On a side note:

Ive noticed the most complains about technical issues of other music is coming from members clearly being newbie (with no references at all in music business). Of course, having enough money in today allows anyone to own the "right and respected gear" but unfortunately it needs a bit more than just owning or talking theoretical about it  ;D

Well put Tomas.....Im open to all sorts of opinions, hopefully they are humble especially online where you need to back off a fair bit compared to normal one on one dialogue. 

Gear means absolutely nothing when in the hands of a master.   Shall I bring up the master Samurai story with and inferior Katana sword in his hand and the poorly trainer opponent standing before him.  The sword does not matter. The picture is clear.

Im somewhat embarrassed that I have become involved in this silly bass debate, though it is good to see ambient musicians and ambient music lovers (thats pretty sexy) coming together in a single though diverse thread.




11
A Deeper Silence
Immersion 4
Structures for Silence


http://smg.photobucket.com/user/lnerell/media/Steve%20Roach/PICT0017.jpg.html

to mix bass on these speakers are probably not a good idea..I hope that it is not his mixing monitors..



Those monitors look like original Mackie HR824.....a very respected monitor.  As to the bass issue I have never heard what is being described. 


12
Everything and Nothing / The funniest Man that ever lived is Gone!
« on: August 12, 2014, 04:44:22 PM »
Im sure this sad news of Robin Williams passing is coming through to most by now....In my life he was the funniest because he could be the most serious as well.  Perhaps comedy enabled Robin Williams to plummet the depths of the human psyche....I dont know, yet he could swing the emotional pendulum to such extremes that I would say no other actor has  been able in quite the same way to make me laugh and cry as he did.

The candle that burns twice as bright.....

R.I.P...or better yet, come on back real soon!
 

13
Now Playing / Re: Currently listening, part 1
« on: August 12, 2014, 04:15:30 PM »
I've been enjoying the full immersion treatment with Loren Dent's Anthropology Vols. 1, 2 and 3 and his Extras from vol. 1 that we're originally available on a separate memory stick release.  Majestic symphonic drone with occasional hints of Stars of the Lid. 

Forrest

Thanks for the heads up on this Forrest....Ive been streaming on Bandcamp.  Love it!  Will buy the cd.  Beautiful artwork on as well.

14
As I have my photography portfolio site up and running I thought I would make a formal thread for it to share projects as they evolve for those interested .  There is a blog that will go into more details about projects. The site is in just getting going and currently there are now 2 galleries of selected images to view. The homepage is a slideshow and a nice mix of pictures but does move so if you wish to take time with specific images go to the gallery page and click on whatever may interest you.

Homepage...http://juliodibenedetto.zenfolio.com

Chasing Clouds Gallery....http://juliodibenedetto.zenfolio.com/p71887036

Driftwood Gallery....http://juliodibenedetto.zenfolio.com/p309497644

Thanks & Enjoy.

Just rearranged  the heading...reads better.

15
Now Playing / Re: Currently listening, part 1
« on: August 12, 2014, 03:14:49 PM »
Recently setup my living room music system with a laptop and have been enjoying Pandora.  Never used the service before.  Its a communal system so ambient is not always piped in but when it is Im really enjoying a shuffle between Steve Roach and Brian Eno.  Im discovering artist I have never heard of and some I know by name but not their music.   8)

16
Quote
People often tell me that in order to keep Projekt alive, I have to get with the times: I have to run a label based on the modern way the record industry works.

That seems odd. I've always thought of Projekt is being one of the most visible examples of how a label can be old school (i.e., nurturing a specific image and advocating for the artists) while also pushing the boundaries of modern technology and distribution platforms. Projekt, at various points in time, for example, has made albums available on Spotify, releases digitally on Bandcamp and iTunes, and, of course, sells CDs via good ole' fashioned mail order. I'm not sure I understand what Sam's critics are advising him to do.

I think Sam says what your suggesting in the continued sentence according to his vision...


" This is usually said by people who don't realize I have been keeping up with the times; I am aware of the industry trends. It doesn't mean I agree with all of them, or want to follow all of them. It doesn't mean that all of the trends apply to the music Projekt releases.
"/i]

My take on this was more of a belief system, or principles that he goes with running Projekt.  Thats how I read it.  YMMV.  :)

17
Fortunately for you he does.  ;)

18
This is a part of todays thoughts from Sam Rosenthal

"People often tell me that in order to keep Projekt alive, I have to get with the times: I have to run a label based on the modern way the record industry works. This is usually said by people who don't realize I have been keeping up with the times; I am aware of the industry trends. It doesn't mean I agree with all of them, or want to follow all of them. It doesn't mean that all of the trends apply to the music Projekt releases.

Projekt is still here; I run the label for the people who follow the label. Projekt still functions in the world of selling stuff, and money earned off albums that artists have recorded.

The music business today is about giving music away for free to gain "exposure," to enable touring and merchandising - this is where the big artists make their money. The Stones or U2 or Lady Gaga earn hundreds of millions of dollars touring. The biggest source of income is no longer the recorded album.

Which is sad. Because there are so many classic albums that mean so much to me. Fripp & Eno's No Pussyfooting never would have existed, if 1973 was only about playing live or singles. Sad.

And yet I am still thinking about albums, and concept albums, and my friends recording in their home studios. That's what I do, that's the way I work. The nice thing is that there are fans out there who appreciate the recorded work of Projekt artists. When I check the stats, about 66% of Projekt's digital income comes from full-album downloads. And physically, the label is almost entirely full-albums.

Projekt's not a hit-song label. Voltaire is the exception. He has tracks that are massively downloaded individually, rather than as part of an album. But when somebody is interested in Steve Roach or Erik Wollo or Unto Ashes, they generally want the whole album. They want to dive into the work. I think that's  a legacy of the 60s and 70s perspective on music.

I am told that's yesterday's news, and I should get over it. But come on! I love that world.

I'm a rock-n-roller. I want to listen to an artist's vision: 40 or 60 minutes of their work. I rarely put on single songs. I listen to albums. I know it's archaic of me; yet it's the way music exists for me. As a listener and as an artist."/i]

19
Everything and Nothing / Re: Any other photography people out there ?
« on: August 10, 2014, 08:09:46 AM »
Thanks Pete!

I photograph capturing both Raw DNG colour and black and white jpeg.  In Adobe camera raw I convert to greyscale open the file in photoshop and do minimum correction work which amounts to enlarging to 200% to remove dust or fibers that were on the sensor at exposure....there is always dust of some sort.  It often goes unnoticed in a busy pictures but not on smooth even tones like sky.

The only technical aspect is I use a digital camera in complete manual mode...old school, so knowledge of combining aperture settings, depth of field and shutter speeds is useful, but other than that its basically point and shoot so to speak.

I started taking pictures back in the film and darkroom days where you had to get 90% if not 100% right in camera.  Your only safety net was taking polaroids so you knew as you went everything was good, this is in commercial photography.  Today with Photoshop, Lightroom and Aperture in the computer it is very different.  I still do everything I can to make the photograph right in camera and that includes cropping which I only do if really necessary to save the picture.

20
Everything and Nothing / Re: Any other photography people out there ?
« on: August 09, 2014, 04:15:38 PM »
I have my photography site up and running......http://juliodibenedetto.zenfolio.com

The site is still in its infancy as I work with content & design etc....still Im pleased with this first offering....."Driftwood".  The images were made in the summer of 2013 in Costa Rica during a surf trip.

Just let the sildeshow run on the home page will give you a good sense......if you what to spend any time with an image go to photography and click on Driftwood.

Enjoy.


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