conference
festival
Buma Cultuur
conference
festival
Buma Cultuur
Crisis? What crisis? In the parallel universe where electronic beats rule all, we are more prosperous than ever. That is to say, if you take this year’s ADE as the yardstick. The thirteenth edition turned out to be the most successful one to date. And almost every delegate seems to be very excited about facing the challenges that the music industry currently is up against. Music is, or will at least provide the answer, that is an unshakable truth we all firmly believe in.
In 2007 the organisation was forced to move part of the conference program to the beautiful neighbouring Dylan Hotel due to mildew in some of the Felix Meritis rooms. One year later, the Dylan was used for the second time, now because the ADE has grown again and needed more room for panel discussions and for delegates to do their business.
The panels once more gave us an exclusive and very interesting insight into what the industry in 2008 is all about. Of course the piracy issue was discussed more than once, but it seems like the general attitude towards the illegal downloading monster has shifted from trying to defeat it to finding ways to housebreak and potty train it, for we all know it has become an integral part of our world. Moaning and feeling sorry for ourselves is not the way to cope with it, that’s for sure.
Looking back at all the parties it’s hard to pick a favourite. Maybe Armin van Buuren’s Armada night in Paradiso, that sold out weeks ago and showed the world’s number one in full glory. Or was it our good friend Dave Clarke’s night at The Melkweg the day after, when the skilful techno master showed he is still on top of his game? It might have been the Berlin Innervisions Imprint, doing its live show with an in-house all star team featuring Dixon, Marcus Worgull, Henrik Schwarz, and Âme, also at The Melkweg. Where else did we go? There was the Contakt show at The Sand of course, the Flamingo Records night at Paradiso, Buzzin’ Fly at K-Space and Supperclub, and loads of other parties, ranging from small underground gatherings to massive raves. We’re exhausted, but fully charged with inspiration at the same time. What a ride! See you all next year, the best of luck and don’t forget to enjoy all the amazing music that’s out there!
Photo by Mike Breeuwer
Yes, it’s been 20 years and yes, everything has changed. The internet happened, clubbing went global, vinyl became obsolete (did it?) and downloads ruined it for everyone, except Apple’s marketing manager. Revolution is the buzz word during the 20 Years of House panel. Dave Clarke, Kevin Saundersen, Eddy de Clercq and DJ Pierre – who make up the panel – all use the R-word.
For Dave Clarke, the availability of samplers and computers was the revolution. For Eddy de Clercq, it was discovering - around 1990, 1991- that dance culture had gone global, and he was booked to spin abroad. For Kevin Saunderson, it was a major shock to discover that house and techno music was big overseas – in his native Detroit, it was a strict underground phenomenon. And for DJ Pierre, co-producer of the classic and genre-inspiring Acid Tracks (by Phuture), it was DJ Ron Hardy who had the guts to play the home-produced cassette of the 303-inspired ditty that gave the acid genre its name.
Says Pierre: “Acid is not a marketing product, it was made by the dj’s. Imagine what would not have happened if Ron Hardy decided not to play our track. I wouldn’t be here and acid would never have became a genre. I think the 303 is a real instrument, because it doesn’t reproduce sounds.” Dave Clarke regrets the lack of recognition in the US for Pierre’s innovative productions and asks for a round of applause. The room obliges with a well deserved ovation for DJ Pierre.
Remixing can be fun. And it pays the rent, in particular when you ‘do’ U2 or Elvis Presley. A succesful remix can boost the producer’s profile. For Andy Barlow (of UK duo Lamb), remixing is like cooking: it’s not the recepy that makes the meal, it’s the cook’s magic touch. For Sander Kleinenberg – who remixed everyone, from his neighbour to top-selling pop acts – it al depends on the act you’re remixing.
That Robbie Williams remix? Obviously, it should still be Robbie, not some faceless club tune. “Managers often want you to replicate a mix you’ve done three years go”, say Kleinenberg. “I just can’t do that, my sound has changed in the meantime.” Andy Barlow likes to consult the artist in question, not his or hers manager. “Remixing”, he says, “is about removing the ego and letting the creativity come through.”
Both Barlow and Kleinenberg stress the obvious – and frequently overlooked – fact that producing and deejaying are two separate disciplines. Sander Kleinenberg: “A dj is not a musician and vice versa. The dj works for the ‘Saturday night feeling’.” Andy Barlow adds: “You view your own tracks like its your child; remixing is like babysitting somebody else’s child.”
Photo by Mike Breeuwer
Photo by Mike Breeuwer
Disco legend Tom Moulton made a name for himself in the seventies by remixing radiotracks for use in the clubs. He had the knack to open up a compressed radio record and convert it to something else soundwise, a track that would have maximum impact when played over the club PA. So why do many young producer not even bother to master the MP3’s they put out on their MySpace page or webshops?
Rinus Hooning, representing the Record Industry pressing plant in Haarlem, The Netherlands (the former Sony pressing plant), is a firm believer of analogue mastering. “Less is more”, is his credo. “You can always add extra elements in the process of mastering, give it a bit of a boost. But you can never substract something that’s already prominent in the mix.”
So the most frequent mistake, when it comes to producing, is using all the gear that’s available in the studio. Wrong, Hooning says. Stick to what you need to get the track across, and forget about the rest. UK jock Billy Nasty has a useful hint: make two different masters. A normal one and one with extra bass. Hooning reacts: “That’s exactly the way I work!”
A fashion designer and a dj / producer / label manager are in control of the next panel discussion. Hmm, that should be interesting, especially because we are dealing with two stars in their own right: Jeff Mills (Purpose Maker / Axis) and Lucas Ossendrijver (Lanvin). The issue is: why do you do what you do? “I purposely isolate myself, so I know that the end product is exactly what I felt. I know dj’s and producers that don’t particularly care for people so much, they like to keep their distance. That shapes the way that you make music them. I sometimes put the records far away from the booth to have a moment for myself every once and a while and rethink what I’m doing, if only for a view seconds.” Mr Mills seems to be very interested in the way Ossendrijver works, and the way his personality and world view influence his work. “In order to push things forward, you have to try new things.” “And do you look back a lot?, asks Mills. “No, I try not to.” “Me neither, I don’t listen to the product or watch the dvd after it’s released. I ten not to listen to what a made, because I want it to sound fresh when I play it live. I listen mostly to Steely Dan, Parliament Funkadelic. I want to feel comfortable, and my music does not make people feel comfortable. There have been cases where I got an album to the very edge of release, and retracted it all the same, because I just needed it for inspiration.”
I have gotten to the point that I don’t make music for the people, because people cause limitations. When I see someone who has problems trying to dance to one of my tracks, I might be tempted to go back to the studio and change the track, while it probably was more pure at first.”
Photo by Mike Breeuwer
Photo by Mike Breeuwer
Even though trance icon Ferry Corsten got caught up in traffic on this rainy day in October and Dylan Hermelijn aka 2000 and One called in sick, this panel still features some very interesting people. Former creative director of the Amsterdam club / restaurant / bar / art space Olaf Boswijk is trying to analyse success and break it down to uncover the elements that make or break a career in music. On his right side, we see two familiar faces: Nik Roos (Noisia), member of the biggest Dutch drum ‘n bass ‘kru’ Noisia, and the beloved Steffen Berkhahn from Berlin, also know as Dixon (Innervisions). After twenty minutes Ferry Corsten comes in to share his views on making it in the dance music industry. Berlin was (and still is) the scene where Dixon’s life in music took off: “It was learning by doing. I was always so much connected to Berlin, that was all journalists asked about. And I realised at that time that I was doing something different, something that is maybe defining me. That was the first time I started thinking about what I was doing.” That’s when it becomes complicated: “It’s hard to stay at the top, because at some point you start thinking. I am German, you know? We think too much in general. But to be honest, right now I don’t really give a shit anymore, because I can make a living by doing what I do.” Noisia is based in Groningen: “There was nothing going on in Groningen. If you wanted something, you had to do it yourself. I still like living there. It’s nice and quiet and you can strip away all the bullshit and get focus.” And how do you cope with the pressure from the outside world when you’re successful? Ferry makes it easy on himself: “I am in the studio for fun first. I make tracks that I have to like, while keeping in mind that I have to be able to play the tracks I make in my dj sets. Then you can bring it across in a very natural way, you’re not faking it.” And how about harsh feedback, from magazines, fans, or colleages? “I don’t care about magazine, because it’s the opinion of just one guy who thinks he knows, but he doesn’t. And I read forums, but they are mostly consisting of seventeen year old kids who just got their first pimples. They think they know, but they don’t. The feedback I care about comes from other dj’s who play my records, that is a great compliment!”
Is music still a commodity? Moderator Gary Smith points out that with the new music formats, the whole business has changed radically. What’s more, people are so used to easy available online info and entertainment for free, that they refuse to pay for it, no matter how appealing your online product could be. You can get it for free anyway, one way or another: “When you come across a roadblock, you just move around it.”
Don Diablo is all about handing out freebies on the side to the fans in order to create a strong community and make sure the fans will feel like they closed good deal, even if they pay for the full album when it’s released. “Kids are pretty smart these days and they know where to get free music. Sometimes they already have a track before I finished it and they are giving me tips on how to do the mix down. You should be innovative if you want to play the game.” Together with Sony BMG’s Rick van Schooten (one of the people sitting on the deer that is staring in the headlights, if you ask Francois K), Don is trying to come up with new business models, for instance by releasing an album as a ‘usb mixtape’ with all kinds of cool stuff apart from the fifteen album tracks. “That way people can edit the album, maybe even delete some tracks if they only like six or seven of them. Although in my case, there is no need for doing that. All fifteen tracks I made are brilliant, haha!”
Photo by Mike Breeuwer
Photo by Mike Breeuwer
Ooh, new business? Well, not really… Making music for tv shows, games and adverts is a lucrative but difficult market for producers. And most of the seats around that particular table are pretty much taken. It seems only yesterday, when Junkie XL was being mocked for getting involved with game soundtracks, but now everyone wants a piece of the action. But there’s hope, definitely. People like Sergio Pimentel are always looking for the next big shot to be featured in their various media. “We sometimes just like a track or artist and see if we can come up with a game later on,” he says. “We go to shows regularly to see what’s going on.” Lately, Sergio has hired household names like Kraftwerk, Diplo, Booka Shade and Stanton Warriors to work on the game hit Wipe Out for example. And games mean business in every sense, going as far as recording a huge composition with a complete orchestra to let electronic producers mess around with the outtakes. Clearly it’s not all fun and games…
To see and hear a dance music legend like Francois K speak in an intimate setting is wonderful for anyone who has sold his soul to electronic beats. No wonder Panel Room 3 at the luxurious Dylan Hotel is used to its maximum capacity this afternoon.
But Francois K is not completely happy with the way things are going in the music industry. The lack of flexibility of the majors when it comes to licensing tracks is bothering the Frenchman from New York. The majors are sitting on a huge pile of fantastic releases, but whenever any independent artist hands in a licensing request, the silence on the other side of the line is deafening. And that’s a shame, both from an artistic as from a business point of view. “At the moment, the majors are kind of behaving like a dear in the headlights, they don’t know what to do. And that’s a real shame, because there’s money licensing tracks for remixes: for the label, the remixer and the original artist. We should come up with an automated system for licensing, for instance by paying the original artist 9 cents per sold remix.” Sander Kleinenberg, sitting on the other side of the stage, could not agree more: “Maybe we should develop a system, an intellectual property number for automated licensing and put together a unified database, a catalogue with all the tracks that have ever been put out, available for remix artists. With a certain amount of regulation of course…” One of the questions from the audience is about current financial affairs: “Do you think the economic crisis will affect the music industry?” Sander is not worried at all: “What crisis? We’re not selling music anyway. It’s up to rest of the world to catch up…”
Photo by Mike Breeuwer
Photo by Mike Breeuwer
It’s not easy being green. And this time we’re not talking about either Kermit the Frog or even Dr Lektroluv. No, we get together in Panel Room 2 to change the world permanently and secure a bright future for generations to come. Well, at least we’re giving it a shot with Global Festival Forum’s Robert Hill presiding a panel that consists of Michel Smit (Sustainable Dance Club), Sunbird (Eco-logical Event Solutions) and the colourful and very much socially engaged Tommie Sunshine. And there’s no mistaking his view on the way we are abusing our lovely environment. “The way we behave doesn’t work, it’s proven. It has fucked this planet up (please excuse his French), and changes have to take place. Kids have to be taught to do things the right way, otherwise the will be part of the problem. And I think artists could play an important role as well with all the media attention they get, but all they fucking talk about is themselves! If people like my music, I guess they will listen to what I have to say. I never talk about my music in interviews.” Michel Smit’s Sustainable Dance Club is a proven case. It shows that clubbing and being kind to nature can go hand in hand.
While dance music is big business, there are only a few people and organisations who stand up for people around the world who worry about other things than getting there name on the hottest guest list in town or getting their hands on that exclusive promo that Richie is playing. Dance4Life does take a stand and is dedicated to pushing back HIV and AIDS. And they fight for their cause in a unique way, by involving artists, brands and organisations from the dance music universe. “We set up a label to which tracks are being donated by some of our ambassadors, so we can exploit the music completely. By doing this we can make money for Dance4Life and get people to sympathize with our cause.” For the artists, getting involved with Dance4Life means they can do good and get some free publicity at the same time. “I never hesitated to donate a track to Dance4Life,” says Andre Tanneberger aka ATB. “If you have the opportunity to do something good, you shouldn’t hesitate and just do it!”
Photo by Mike Breeuwer
Photo by Mike Breeuwer
It used to be easy to define what a dj does: it’s (usually) a guy who plays other people’s music . But nowadays, it’s not easy to spot the differences between a dj, a live act and a producer. With all the (easily available) technology around, anyone can manipulate tracks, make edits, bootlegs or complete remixes. What’s more: turntables have become an anachronism, and even cd’s are out of fashion. The world has gone digital, that’s what John Acquaviva, Jonas Tempel, Francois K, Jonas Nordberg, Florian Plenge and Jason Pook are experiencing in their respective businesses. “To keep things interesting, you have to regularly reshuffle your deck of cards,” says Francois K. “I use different kinds of dj-software to avoid being caught in a pattern.” Native Instrument’s Florian Plenge is very excited about the upcoming extreme make-over of the future dj-booth with room and facilities for the digi-dj. And whoever will set the standard owns the proverbial chicken with the golden eggs. To be continued... Soon…
Yes! We’re on! The Amsterdam Dance Event 2008 has officially started. Apparently, adding the pre-ADE Wednesday to the program was not a bad decision for the Felix Merites, the very base of the event, has welcomed a swarm of networking, rave loving, speed dating dance heads already. Everybody is looking fresh and together, something that most definitely will have changed when Monday morning comes.
But we will worry about that later. First it’s time for the thirteenth edition of this exciting event that will inspire us to our very core and wear us down in the process. But that’s how we do in our crazy little dance music world, right?
At 17.00 hours came the moment we have been looking forward to since months: the official opening. The Amsterdam city council showed their sympathy for the ADE by means of some kind words from Carolien Gehrels, the Councillor of Culture. After that, it was time for Krijn van Noordwijk’s finest hour: the presentation of DJ, a coffee table book he and his partners at Maslow have been meticulously working on for the last two years. And the result is stunning! Armin van Buuren, the world’s number one dj was there to recieve the first copy, and added: “What Krijn did here shows that you can achieve anything you want if you believe in it.” If that will turn out to be the ADE’s mantra for this year, we will all leave Amsterdam with a beautiful smile on our faces. To be continued…
Photo by Mike Breeuwer
10-03-2009
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