I was trying to be nice. I didn't think it was bad, just really boring. Contrary to the approach most DJ's seem to take, I don't think the early slot has to be completely uninteresting. For what it's worth, I found Lee's set to be pretty bland too.

Look man, I really didn't want to get off on bashing here. We've all got different tastes and that's cool. It all just started off with looking down on people who are into less refined tastes of dance music, and that irks me. We were all noobs at one point. I started off listening to stuff like LA Style and Best of Techno comps, and if tickets for raves in '93 were $100, I probably would have paid it. Let the kids have their fun. It's a big part of the way the seeds for the next generation of club goers will be sewn.

Last edited by WittyHandle on Apr-20-2012 at 06:51

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Originally posted by WittyHandle The difference between going to an Armin show and listening to what I've heard you play (just once, warming up for Burridge) is that at least with your stuff at least I'd be able to catch up on some sleep

DAMN SON!

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A lot of people say that the kids who are into the nonsense music these days will mature and acquire better tastes, but to be honest I don't think you can really say that for sure. Fact is that cheese today is a lot worse than it was 20 years ago. The kids who have matured to appreciate real quality grew up on different stuff than the kids do today. It's just inherently worse. Anyway I don't disagree with the live and let live mentality, but it's hard not to call bullshit when you see it.

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Originally posted by SYSTEM-J Levels is...decent...damn better than a lot of the shite dominating the charts at the moment. It sounds absolutely nothing like...a billion and one similar tracks in this big-room style. I always had a soft spot.

http://www.ishkur.com/articles/trancecracker.php

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quote:

Originally posted by SYSTEM-J Levels is...decent...damn better than a lot of the shite dominating the charts at the moment. It sounds absolutely nothing like...a billion and one similar tracks in this big-room style. I always had a soft spot.

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Originally posted by Adam420 A lot of people say that the kids who are into the nonsense music these days will mature and acquire better tastes, but to be honest I don't think you can really say that for sure. Fact is that cheese today is a lot worse than it was 20 years ago. The kids who have matured to appreciate real quality grew up on different stuff than the kids do today. It's just inherently worse. Anyway I don't disagree with the live and let live mentality, but it's hard not to call bullshit when you see it.

+1

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quote:

Originally posted by Adam420 http://www.ishkur.com/articles/trancecracker.php

Oh how I miss the days when Ishkur would come on TA and spazz the fuck out!

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Originally posted by WittyHandle I was trying to be nice. I didn't think it was bad, just really boring. Contrary to the approach most DJ's seem to take, I don't think the early slot has to be completely uninteresting. For what it's worth, I found Lee's set to be pretty bland too. Look man, I really didn't want to get off on bashing here. We've all got different tastes and that's cool. It all just started off with looking down on people who are into less refined tastes of dance music, and that irks me. We were all noobs at one point. I started off listening to stuff like LA Style and Best of Techno comps, and if tickets for raves in '93 were $100, I probably would have paid it. Let the kids have their fun. It's a big part of the way the seeds for the next generation of club goers will be sewn.

ok there, sorry i didn't please you that night. i can say some mean things about that mix you posted awhile back but there's no point. the only thing i will say is the fact that you've been into electronic music since '93 makes it a bit embarrassing by posting a set like that.

And yes we were all noobs at one point. That doesn't mean i can't have the opinion that people are suckers for paying 100$+ for a 2 hour DJ set. I never mentioned anything about trance sucking or anything like that, if people like that stuff thats fine. I never bashed the dude for going to an armin show. I just said at that price tag that you're a bit of a sucker, that's it. you clearly don't like that im stating MY opinion and so you resorted to talking shit on me rather then actually keep the conversation on topic. big up

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Last edited by b-ran on Apr-20-2012 at 07:38

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Originally posted by corjay9 When it comes to the price, and this applies to BeB as well.. how much do most people pay to go to concerts at the Bell Center? Madonna tickets are upwards of $300 for an hour and a half to two hours worth of entertainment.. mind you the production value is much greater.. but still. Markus Schulz for $60 for 7-8 hours of dancing and partying of a life time in one of the best clubs in the word? Worth it if thats what you like..

if you saw the production of a madonna show you would understand why the tickets are so expensive. It is a big set up she brings. I'm sure they could be cheaper, but if the demand is there, why bother? Entertainment and leisure is a business. She has a lot of overhead and a lot of people to pay...more than anyone i've ever seen at least.

Rammstein is the same deal. The price reflects the overhead...and if you've ever seen them live, it's all about the showmanship and stage set up...more than the music even. (which is normal considering the lead signer doesn't speak english and can't interact with the crowd like english speaking artists can.)

Nine Inch Nails at Bell Center a few years ago had the most impressive stage setup and visual effects I've seen, Trent isn't known for interacting with thwe crowd that much, and the tickets were 60$. this is the most I've paid for a concert (except festivals like Osheaga or that Metallica concert in 2003). I understand the ticket prices vs costs, but I think it gets all covered and than some when the price is around 60-80$. Anything over that is pure profit, but people are ready to pay..

That being said, like Erika pointes out, 60$ for 6h, 10$ an hour is reasonable for a big name like that.. and the CLR night is worth that price, IMO.

quote:

Originally posted by b-ran

Right on. I got a lot of positive feedback on the mix I put together, and I love it myself. It's what I'm into, and I don't feel embarrassed at all lol. The fact that you know what's on the Beatport tech-house top 100 and I've never even checked is funny though. I know a lot of people care for the sound you're into more than I am and that's cool, it just puts me to sleep. Maybe if I heard it in a different environment I'd get into it more. Context makes a big difference imo.

quote:

Originally posted by Adam420 A lot of people say that the kids who are into the nonsense music these days will mature and acquire better tastes, but to be honest I don't think you can really say that for sure. Fact is that cheese today is a lot worse than it was 20 years ago. The kids who have matured to appreciate real quality grew up on different stuff than the kids do today. It's just inherently worse. Anyway I don't disagree with the live and let live mentality, but it's hard not to call bullshit when you see it.

I don't think the majority of the fans of that stuff will carry on to refine their tastes. I think for most of them it will be a party phase and they'll drop it altogether after a couple of years. A subset of them will pursue it more in depth, but a fraction of that large a number of fans being added to the culture we care about is a decent bump.

And just for reference about what the cheese 20 years ago sounded like

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Originally posted by b-ran That doesn't mean i can't have the opinion that people are suckers for paying 100$+ for a 2 hour DJ set.

would you pay that much to see the 3 guys (raresh, pedro & rhadoo) from a:rpia:r play a 2 hour set?

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Afterhours is a state of mind, but significantly, it's more a state of 'I don't mind'. A determined continuation, contentment and relief that 'it ain't over yet!' An injection of music into attitude and occasion which creates an emotional wave forth that isolates globally, a ringing harmonic, a signal to a like-minded collective that 'we are only us'.