Justice are living up to their name.

I give credit where it’s due and Justice and the Ed Banger crew created something new in electronic music and I respect that. The massive club hits they create are a bit like crack cocaine though. They are awesome the first time you hear them then a few weeks later your not tapping your feet quite as hard. Still, I always press play when I see a new song or remix of anything that has the gold cross logo on it.

The French duo got some bad press this week when they were called out by residentadvisor.net for using unlicensed samples in their work. Remember Crystal Castles was also accused of similar action last May: click here. Honestly, both bands just should just claim Fair Use. Does anyone care if they take pieces of other music and make something new out of it? Isn’t that a good thing? I guess it all depends if they rock the house or not!

During a conversation regarding their production techniques, Justice’s Xavier de Rosnay had the audacity to tell the interviewer, “Say we use the In Da Club hand clap — not even 50 Cent would notice.” You might have thought that he would stop at this theoretical point, but then went on to explain that “if you listen to ‘Genesis,’ the first track (on †), there are samples of Slipknot, Queen and 50 Cent, but they are such short samples no one can recognise them. The ones from Slipknot, for example, are just tiny bits of the voice.” – residentadvisor.net

Now for a far more hilarious “I got ya!”. Check out the photo of Justice playing above. Um I didn’t know the MPD 24 worked without power. But again really people… it’s the show you go to see not some dork with his face planted deep into Ableton pressing little triangles. As long as the club is packed, everyone is moving and chicks are happy to chat thats all that matters. Never forget that.

via Synthtopia, Elite Force and Resident Advisor

This entry was written by Oliver Chesler, posted on November 19, 2008 at 1:08 am, filed under political and tagged , . Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.



Genre jumping can be a good strategy.

I don’t let the press pigeon hole my music career into any specific genre. I’ve created all sorts of electronic music ranging all the way from minimal to hardcore. About 90% of my music has my own vocals on it and I like to feel I have my own style whatever the tempo or loudness of the kick drum. In fact, if you’ve been making electronic dance records for more than five years it’s almost certain you also genre jumped to stay relevant. Some people think its a difficult thing to get accepted in a new group or scene but I know the trick: Make great music!

Another good reason to learn how to make a song that fits in another genre is you that become a better producer. Many genre’s rely on certain production techniques or styles. For minimal you better know how to use swing effectively. For EBM get a hardware sequencer and set it to 6 steps. You want to make Ed Banger style tracks? You better learn how to sidechain. Trance? An arpeggiator is your best friend. As time goes on you will use all these techniques together. I would go as far as saying that when new technology is released to the masses new music genres are formed around them.

So besides learning new things you also open yourself up to more people. If your only making swedish black metal your fan base will maybe only ever be 10,000. You also get to work with more producers. My latest release Gigabytes Numbers was remixed by Tony Rohr. He’s a top producer who I would have never met if I didn’t let Miro convince me to try out some minimal stuff. I want to be the band that sounds like The Horrorist.

This entry was written by Oliver Chesler, posted on May 30, 2008 at 10:15 am, filed under political, song writing and tagged , , , , , . Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.