Music sales from 1973 to 2019 in a Graph

Taken from: https://public.tableau.com/profile/luisa6565#!/vizhome/MakeoverMonday2020W21-MusicIndustrySales/Dashboard2

Numbers are adjusted for inflaction, they are USD, and I am not even sure it is worldwide or just Usa. 🙁

But Some consideration

  1. The Tape age lasted long but was never really leading the sales, which is interesting coz it ‘s challenging my perception.
  2. People who sold CDs from mid 90 to mid 00 made a LOT of money
  3. You don’t earn from selling music
  4. Streaming is getting larger and larger… but that is bad, bit for our planet (the C02 footprint of streming is already as bad as CD production)
  5. Vynil still have their small niche of buyers
  6. Streaming is really the right way to monetize or there is better way? (hint: check the following video)

 

 

Pete Namlooks: Essential Tracks

In a group I am following (and loving) there was this question: “(about Pete Namlocks)What’s your recommendations on a good album or series to start with?”

The replies were incredible, and of coz they were not only “album to start with”  but they were covering any nuance of “essential”.

Brief History

Pete Namlook (1960 – 2012)  was an ambient and electronic-music producer. In 1992, he founded the German record label FAX +49-69/450464, which he oversaw. Namlook had released over 1 hunderd albums: he released many solo albums, as well as collaboration albums with notable artists such as Klaus Schulze, Bill Laswell, Geir Jenssen (alias Biosphere), Gaudi, Atom Heart, Richie Hawtin, Tetsu Inoue, Atom, and Tying Tiffany.

“Namlook” is “Koolman”, a phonetic rendering of his real name (Kuhlmann), spelled backwards.

He died on 8 November 2012 after suffering a heart attack but his legagy will be forever.

Here it’s what came out: Pete Namlooks essential Albums

The X2 X3 mean how many time an album has been quoted.

  • From Within X3
  • Air X3
  • Silence x 3
  • Fires of Ork X2
  • Silence II X2
  • Air II  X2
  • Sultan, his work with Burhan Ocal   X2
  • 2350 Broadway w/Tetsu Inoue X2
  • Dreamfish
  • Namlook’s 4 Seasons
  • The Definitive Ambient Collection I & II
  • Alien Community I and II

I can vouche for “From Within”, too

On my Facebook page (Facebook.com/RotelloPresents ) Krzysztof S. suggested also

  • Pete Namlook & Gabriel Le Mar – Acid Flow

Let’s listen to them

Pete Namlook & Richie Hawtin – From Within 1,2,3 [full albums]

Pete Namlook – Air [full album]

Pete Namlook – Air II (Full Album) [1994]

Pete Namlook – Silence I+II [full album]

Pete Namlook & Geir Jenssen – The Fires Of Ork (Full Album) [1993]

Sultan — Osman. Bir Çalgiyim Gögsüne Yaslanmis (Full album/1998) – Ambient/Tribal/Ethnics

Pete Namlook & Tetsu Inoue – 2350 Broadway [full album]

Pete Namlook & Mixmaster Morris – Dreamfish [full album]

The Definitive Ambient Collection 2 – Pete Namlook -1994

Pete Namlook & Jonah Sharp – Interdimensional Communication (Alien Community)

Pete Namlook & Jonah Sharp – A Long And Perilous Voyage (Alien Community 2)

Personally I really appreciated the

Klaus Schulze & Pete Namlook –  The Dark Side Of The Moog serie.

Suggested on my Facebook page

Pete Namlook & Gabriel Le Mar – Acid Flow

 

Bonus Tribute Mix

Pete Namlock Tribute mix

 

Links:

Discussion is here:

Does Scooter really sux? Do they really deserve your hate?

Little premise: I ve been born and raised in italy and thus my definition of pop “techno” music is different from most of yours.

I was not in Netherlands when the happycore came with low quality stuff and destroyed all, so i was able to appreciate the party animals, Lownoise & Theo and many others.

I was not in Germany when pop-rave stuff came out, so I was not able to hate happy rave act like Dune (which i love), Scooter… damn I also bough end enjoyed a Blumchen CD!

I was in Italy, where the standars was so called “underground music”, basically slow chicago house with sample from 70s track. I hated it then and I hate it now and at time anything that provided a good basedrum and was uplifting was a great new for me.

So when I was able to have my first parties in Germany (Love Parade 97) my friends (hi Ralf, Hi Olaf) were not believing that I really liked Scooter. Actually I loved them.

Was I wrong? Let’s find out.

Hopefully we will all learn something.

The Rick! The Ferris and The HP!!! A little bit of history:

Hp Baxxter (the blond guy who scream) and Rick Jordan formed a synthpop band in 89 and then started a remix  project called the loop (kinda famous by itself).

 

Their HUGE success is not a casuality

Rick Jordan is a great producer, musician and sound designer – it was the quintessential “trance dj” of early 90s. now he is in another band i am very curious to listen to his stuff

F Bueller has also the hands in other huge project like Sunbeam

Essential Scooter’ Gems (B sides)

 Scooter ‎– Vallée De Larmes (1993)

Let me copypasta a comment on discogs: “ Forget the weak and limp Vallée De Larmes and head straight to Cosmos. Pure trance bliss in the typical ’94 German style (Sunbeam, Jeyênne, Luxor etc).

the Valle De Larmes is a ok cover of a so so track but Cosmos on B-side is really good. Really good and it’s basically their first original track. and it was 1993.

Scooter ‎– Move Your Ass! (1994)

The title track is super famous and I must say i loved it back then, but again is the side B that really shine:

in this version (thank you Mr tube!) we can see how good is Rick Jordan playing live Back in Time,

https://www.youtube.com/watch?v=MWnKFBfxo1o

Scooter – Rhapsody In E (1994)

Again this is a side B, this time of the mega hit, Hypa hypa, and in my opinion is one of the best trance track of the 90s and by definition, ever.

 

 

Small Bonus

Yahel, one of the few trance producers still worth listening to, did a great remix of Rhapsody in E. It’s an incredible track by itself.

 

Merging Websites

In march 2020 I decided to Merge the main website and the shop. There might be some broken link here and there.

I ll correct them over time ( i m keeping a log for them and fix weekly): meanwhile bear some errors here and there.

RTE #1 Manuel Sanada vs Axel Asher just released

RTE is a label that Axel Asher and I planned something aroung 2002 to host our IDM / Downtempo releases. Then the Vynil market crushed and so we had some track to release.

Axel Asher kept producing quality stuff ( i love.love.love “the traveller”)

So we decided to release RTE #1 // Genkisound 1004 on the 01.01.2020

Download Here: https://genkisound.com/shop/downloads/genkisound-1004-rte-01-ultra-thin/

 

Add to CART

Genkisound 1002 Honest review by Furryz Fornicate

Occulkot – The Gate is Opening EP Review

Favorite Track: The Key and the Gate

Before listening to the EP I gave the cover artwork and song names a look over. The cover was pretty interesting. I liked the greyscale octopus and how Occulkot’s logo was designed. Based on the album artwork and song titles I guessed that the songs would be of a dark speedcore sound. I liked how both the first and last track kept with the gate theme. I always enjoys themed EPs and albums. It makes the EP/Album feel like a journey.

My only experience with Occulkot before was a remix he did of A-Mor so I was interested to hear more of his music as I really enjoyed his remix.

The first track on the EP, Gate is Opening, was pretty interesting. I liked how rapid the synths were. It made the track feel extremely fast and magical.The synths and melody were definitely the strong point of this track. However I felt the kicks were a bit too weak for the track and would have been better with a more bass driven kicks. At parts the kicks weren’t too bad. They just could have been better. Perhaps the thing that bothered me the most was that the drums sounded like they didn’t belong and they had just been pulled from a sample pack and thrown on the track. Overall I liked the track and it’s fancy synths.

The second track, Tunnels of Ininite Darkness, started off catching my attention. It started with a synth that reminded me vaguely of a 303 acid bassline. The synthline gave off a very psychedelic feel to it. I really enjoyed this psychedelic synth as I am a huge fan of Psytrance. However, once again I felt that the kick did not match the song. I feel like this song would actually benefit from a lighter more quick kick with less bass to go with the psychedelic synths. The addition of screaming was interesting. I think it was cool, but could have been done without. The addition of reverb to the vocals was a nice touch. Overall I liked this track but I wouldn’t say it was really great. It was decent.

The third track, Blood Fire Death Destruction, was similar to the first two tracks. It starts off with the synth then lets the kick in. Like the first two tracks I enjoyed the synths, but disliked the kick. How the vocals were added in the far background are a nice touch in my opinion. I like how they are there but not overly loud in the mix. When the kicks stopped to have the synths play and the deep bass pad was probably my favorite part. This track had good use of breakdowns to keep things interesting. Not too much breakdown and not too little. The kicks sounded better after listening to them for awhile and overall I’d say this was a decent track as well.

The fourth track, Unknown Kadath, started with this buzzy bassline and this oriental sounding synth. The kick was not very strong, however I felt this weaker kick suited the track better. The use of vocal sampling was also very fitting however I felt the vocal samples were a bit too loud in the mix. The main thing I disliked was the hi hats used. I felt they sounded out of place. I really disliked them. I did like how the track gave off a whimsical feel to the track. The addition of some extratone parts was unexpected but a nice touch. I would have liked if the kicks had been just a notch quieter and the melody louder.

The fifth and final track, The Key and the Gate, started off with some industrial noise and some dark whispering evil vocals. This was more of what I was expecting before I listened to the album. The vocals almost chant in a demonic manner. This track finally got the kicks down right in my opinion. The kicks matched the atmosphere well. The kick patterns were also interesting and nice. I enjoyed how many instruments were not constant but came in here and there. The vocals also felt perfect for this track. Listening to this track made me feel like I was taking part in a satanic ritual surrounded by zombies wanting to eat my flesh. This was definitely my favorite track of the whole EP.

Overall the EP had its own pros and cons. I had higher expectations of this EP as I really liked the A-Mor remix Occulkot had done. The EP was very good at creating synths and melodies for a more melody driven tracks. The use of vocals also for the most part felt perfectly balanced. They were just the right amount. However I feel most of these tracks suffer from an identity crisis in the fact that the kicks and drums often times don’t match the overall sound of the track giving the track a mismatched sound. In my opinion I just don’t like how Occulkot does kicks and drums. But, how he does melody and synths and basically everything else is really amazing. In all honesty I want to remix these tracks by taking the kicks off and replacing them with something I think better suited so I can better enjoy the music.

I would recommend this EP if you are into melodic speedcore, but if you are into more brutal speedcore this is a definite no.

-Furryz Fornicate

Furryz Fornicate reviews Analphabetik 005 – Lord Lloigor The Remixes (Full Album)

I am always looking to get better so I asked Furryz Fornicate (an US born producer) to give me some feeback on Genkisound 1001 // Analphabetik 005 – Lord Lloigor The Remixes (Full Album).

The Unreturn EP Review by Furryz Fornicate.

Favorite Song: Lord Lloigor – A-mor (Occulkot Remix)

I was approached to do an album review from an acquaintance of mine. The album in question was “The Unreturn” by Lord Lloigor on the Analphabetik netlabel. Before this review I had nevered listened to Lord Lloigor so I didn’t know what to expect. I had seen tribute albums to him before, but that was all so I went into this review with a fresh mind. My first impression of this album was based upon the album cover. Before listening I gave the album cover a good look over. I expected to hear something very atmospheric with maybe even a choir based on the heaven theme. I expected some melody and possibly flashcore. I thought that this would be something like Speedcore Front Ost Berlin or Sunhiausa.

Before diving in I gave the tracks a look over. The EP consisted of 6 tracks. 3 original tracks and 3 remixes. I had never heard any of the original 3 tracks. There were 3 remixes by Gabba Front Berlin, Occulkot, and Rotello. I knew of both GFB and Rotello, however I had never listened to Occulkot before. I was surprised to see a GFB as I didn’t know they were still producing. I had not seen anything by them in recent years. I looked forwards to seeing the GFB remix. I also knew of Rotello only recently before this. I had only listened to two or three of his tracks before so listening to more of his stuff would be a good experience for me.

The first track I listened to was A-Mor aka LOVE. The song started off like I expected it to with a soft melody that pulled you in. Minutes went by and I sat waiting for some kind of build up or kick drum to be introduced, however it never came. The song went on for 5 minutes repeating rought the same bar of melody. It was a nice melody with a lot of atmospheric effects going on, yet after awhile it felt repetitive. I felt like while this song has a nice melody and catchy atmosphere it lacked the dynamics and change in order to keep things interesting. I was surprised to hear something more ambient than speedcore as I had always assumed that Lord Lloigor was a speedcore producer. Overall I felt like Love was a partial track. Like something you would send to someone to work as a collaboration. It felt unfinished and incomplete.

The next track I listened to was What Lies Beyond. I thought that maybe this track would be more in the speedcore style as the title sounded darker. The sampling in this track at the beginning was nice, as the track went on I quickly realized this wouldn’t be a core track either. What Lies Beyond reminded me of combination of power noise/rhythmic noise and ambient. The background use of insects chirping was a nice addition. I particularly liked how the crunchy bass sound and background melody and sampling came together. Despite this there was an addition of alien like sounds later on that I believed did not match the rest of the song and felt out of place. If the crunchy bass part was faster it would definitely more closely resemble power noise as a genre. Besides the use of the alien like synth I enjoyed the song.

Next I listened to March of The Green Knights so I could finish all the original tracks by Lord Lloigor before reviewing the remixes. The song started out with some horns, lots of reverb, and background noises of what sounded like a war. It was very atmospheric and built a dark mood. However, the song never progressed. It was 4 minutes of horns, reverb, and war sounds. There was never any change.

Overall the three original tracks by Lord Lloigor felt less like musical pieces to actively listen to and more like background music for a movie or video game. As pieces by themselves they are not too interesting, however I think they would mesh well with visual media like a movie or video game. Ambient and atmospheric songs have never been my interest so that may have something to do with my distaste.

I found the remixes much more interesting. The first remix I listened to was Ray Of Darkness (Gabba Front Berlin Remix). This remix went well with the melody. I felt the kick was a bit weak, however weaker kicks usually go well with more melodic songs. The different kick patterns kept the song interesting and made it feel more complete. The remix somehow incorporated the original and made it sound like an original GFB song. A great remix.

The second remix I listened to was A-mor (Occulkot Remix). This remix had to be my favorite song on the album so far. This remix combined the original melody with nice hard kicks. The same situation with this song was the kick and other elements of the remix made the song feel complete versus the original. It even sounded like they tweaked the original melody to keep things more interesting as well.

The last track I listened to was The Shadow Serpent (rotello remix). The song started off slow with the original melody and atmosphere. The remix felt much more glitchy at the beginning than the original which was a nice touch. I enjoy how it slowly introduced the kicks into the song and it sped up the screaming samples. The sped up samples felt much more in touch than the original. The kick are way harder the original which I love. I feel the vocal samples were used much better in this remix. Glitching the original made the remix feel much darker. It was constantly cutting in and out. I greatly enjoyed this remix as well. While the original was dark this one felt much more evil in execution.

Overall the EP felt like a mixed bag to me. The original songs felt like half finished pieces or pieces meant for background music to establish atmosphere. The remixes however were quite solid. I would not recommend buying this for the original tracks, however the remixes are great and make the ep worth getting.

-Furryz Fornicate

About Furryz Fornicate

Furryz Fornicate is a US Speedcore and Terror producer who has been producing since 2015. Furryz Fornicate is the current owner of Splitterstorm Records along with Aeswa. Furryz Fornicate is a huge fan of all kinds of music in the core scene from mainstream hardcore to extratone.

get in contact with Furryz Fornicate

Download the track

You can get the track with 50% of discount using the code “furryz50

Congrats hardcore dj’s, you have broken Facebook Ads

As you might have read I am the Digital Marketing Manager in a company called TantraMarketing, and so I am used to test random marketing “theories”  three times longer and deeper than most people in the music biz.

I do this coz:

  • I am used to A/ B / C Tests..
  • I don’t trust “I think that” – but i do trust numbers
  • The more knowledge i gather in a niche the better i can find pattern and improve my results
  • the more results I ve the more the clients will pay me

A couple of months ago I started writing a post called “The history of Speedcore”. I had some questions to do, So i decided to invest around 5 $ in promoting it.

The rusult were interesting, and i decided to write this

Congrats hardcore dj’s, you have broken Facebook Ads or: fan number of hardcore facebook page are fake.

More info about the Facebook Ad:

Since it was a test

  • Image was NOT optimized
  • i did not any split test
  • There was a weak Call to action
  • No retargeting list
  • Targeting everyone (from anywhere, any age, any sex) who has some common interest (I targeted 3 Famous dj, which I am not going to mention)

As I expected, the post was blocked in a couple of days (too much text), so at the end I spent 0.86$ (less than a buck)  but got some interesting data, never the less.

Here it’s the print screen

 

What I discovered

the above image is not enough to understand fully what i did.

But you can see that I got a whoppy 9.7% engament, with 35 comments and 9 Pages likes… but only one comment… How is that?

The same post has proved to be interesting to fans (posted on low traffic group it generated a LOT of comment) so it’s kinda odd…

Let’s see who are the fan who liked the post…. look at them and discover a pattern:

 

 

Is it just me, or it looks like it is suspiciously full of Indians, Pakistans and so on?

Don’t take me wrong, It’s not a problem having a lot of fan from those regions, and I would be very happy to know the scene is growing, but the reality is different.

  1. We know that there is no *core scene over there and
  2. we also know that when you buy fan through agencies (low quality agencies, but i disgress), most of the fan are from those country.

Does two clues make a proof?  Well … Yes.

Buying fan to gather music is a bad practice that a LOT of dj are still doing…

The party promoters are still so fucking stupid to believe that the total number of fans is a mirror of the numbers of “engaged” fans…

It’s not.

Much better having 20K true fan than 300K people who don’t care about your music and will NEVER came to your page.

But in Hardcore music this bad practice is so deeply rooted that even the facebook algorithm believe that indians and Pakistans are the largest hardcore fan community! It’s the first time I see this “broken result” thing in such a bad shape.

That is big problem for many reason

the day facebook delete fake account most of Dj will lose 60% of their fandom.

If Facebook is not able to find people that might like your post, the fan base is not going to become larger, even if you pay

Tips Promoters:

If you are so dumb not to be able to read Fb analitcs and thus cannot see the difference between fake and real please book djs who are good with music, you deserve to close.

Ask anyone working in social media to do a quick audit with a couple of hundred dollars you can get wonderful insight

Tips for Musician

I understand that buying fans is quick way to be “someone”,  and I understand quantity is a “quality” in itself…

while I vote against buying them for the long term damage they create, I cannot say that is fully bad if they are created to build momentum.
It s bad when the fake fans are more that 10-15% and very bad when they are more than 30%.

 

Music taster week 25 2018: Basswall by Zatox & Le Shuuk (RawStyle)

This track is not so recent but it felt i had to speak about it here.

I like this track and i think this is a good example how sometime you just need a couple of things well done to have a good track.

What i liked:

  • The video, very simple, but effective.
  • The Kick and bass part: absolute hammers!

Where i think there is area to improve :

  • the intro (rap and useless synth)
  • the build up
  • the balace of the track

Overally

I liked this track a lot , the Basswall title is totally congruent with the track.

I loved how Zatox took risk to do this kinda stuff the melodic hardstyle was huge. Props to him

What i think is really missing is a better way to fill up the hole between the “basswalls”. I understand that the lower is the normal part the higher it look the peak… but this is too extreme.

Nevertheless a track worth listening.

Music taster week 24 2018: Thor: Ragnarock / Magic Sword – In the Face of Evil (Synthwave)

What can you expect from a OST of a Marvel music? An Epic movie score, and then 40 minutes of the same music re-arranged.

Thor: Ragnarok has been a surprise. Not only the movie itself was much better that expected (I truly enjoyed that), but the trailer music (the immigrant song) was so fitting… and the OST was good, too.

Mostly is Retrowave, Synthwave with a lot of arpeggios. I like that.

Go on youtube and listen to all suggested mix… I am sure you will like it

Listen to Thor: Ragnarock Trailer music / Magic Sword – In the Face of Evil (Synthwave)

17 defining hardstyle tracks by Dj Tatanka

Last week Dj Tatanka was guest on a network italy here in Italy. It was kinda that a radio which usually broadcasts edm, hip hop, 90s dance and house blasts our speakers with Hardbass stuff and speak about hardstyle, hardcore, happycore, underground scene and stuff.
Not only

Records that have been played

https://www.youtube.com/watch?v=MRvuPHs6cPI

How The Sickest Squad has been staying on top of the game for over a decade.

I have been knowing Samuele and Jacopo for like 20 more years now. I remember the long chats with them when Hardstyle was a new thing and we discussed about the coolness of reversed bassdrum, or when the early brostep (dubstep) was coming out and we loved the way the bass was used… (“it makes you the shampoos”), and again every time Aphex Twin has a new release.

I promise I will have a focus article on them sooner or later.

I appreciate their dedication to music, their full commitment to producing Danceable stuff, their manical sound engineering and above all their unique ability to stay in balance between commercial, easy stuff and “awesome” stuff.

Let me explain why The Sickest Squad is a success case you should study if you want success

In the “play it again, the psychology of Follow up” article I wrote  how difficult is keep your mind sane when, after years of producing stuff with only moderate success, you actually hit the jackpot.

You are at a crossroad.

“What should I do?”

“Should I produce the same stuff again and again and again, till the cash cow is dead

or

change style again and keep fighting for the air?”

In the above mentioned post (that you should read) I suggested that the strategy of the 90s of doing a follow up and then change song structure to keep innovating is a good way to cash in here and there without losing fans. The article is nowhere near to the final word, and I am still searching for the equilibrium point.

The Sickest Squad has another interesting strategy, let’s call it The Sicke Squad Model (TSS Model)

The Sickest Squad Model to kick asses for 15 years.

Prerequisite of the Model

  • Prerequisite 1: Being able to produce top quality sound with constancy. If you are not confident in your ability of going beyond a hit and run success, this Model is not for you.
  • Prerequisite 2: Be open to new genres. Listen to other music to appreciate its differences, It does mean two thing basically:
    1. New good stuff come out every year, realize that the raw power lies in innovation and not stagnation
    2. Learn to listen to stuff (older and newer) without pre-conception of the “good vs bad” music.

If you have the two above mentioned qualities you must be able to risk a little bit without anxiety to lose your hardly earn fellowship.

8 Things Sickest Squad do, and you don’t.

  1. Be a little different. A little means enough to sound different from others, but not so much to sound stranger. So, if the world is listening slow hardcore, do something different which will satisfy people left out from the “main” fashion – like… faster stuff.
  2. Try to brand your style of music with your own name. Sickest Squad don’t produce “frenchcore” or “hardcore” or whatever… they do “sickcore” . Basically they can do whatever they want as long as it s *core and it s good.
    This branding thing can be done in other way (name your label with your name, do “concerts”, company name, release “tribution” Ep…)
  3. Produce a lot, and keep producing over time. Quality stuff obviously. You must always have a “new” track coming up ( or just released).
  4. Release music in many similar, adjacent genre (hardcore, frenchcore, mainstyle, uptempo, hard hardtekno in their case). This way you will be at least 6-12 months ahead of the early adopter of the style and you will be identified as a pioneer of the genre. Being a first mover is always a good thing.
  5. Do good tracks, gather enough fans… and only then make a “easy” track (or even a “cheap” one) – old fans will forgive you and you’ll gather a lot of new ones.
  6. Before music become repetitive and it goes to the shithole, and old fans get pissed:
    • release some solid stuff that is 100% your style and
    • release other less “cheap” but still accessible, danceable stuff ( like: The Sickest Squad & Lenny Dee – It’s Just A MF 2018). This will satisfy and educate the new audience you earned with easier stuff done earlier.
  7. When they call you to play give it 120% at the party, even if the location is shitty and there is few people ! The Sickest Squad play like 60+ times a year, and the are always kicking asses. No matter their family issue, their mood, or whatever. The dancefloor is your battle field.
  8. Here and there try with some new direction before the style became famous.
  9. Repeat and dominate, Sickest Squad style.

Is it easy? No,

will be it worthy? Yes, absolutely.

 

Praise to The Sickest Squad

I had this article in the “to do list” for a while, but i decided to write it after hearing their “Blue” track.

It’s a fucking fab – I bet this will be a cornerstone in the core music of 2020’s

and it’s in many ways:

Why The Sickest Squad – Blue will be a cornerstone of the Core music of the 20’s

I am not saying that the track will be a big success and I am not saying it has some unique stuff never heard before. What I am saying is that this track will make school. It will be seminal. In the future people will copy tracks that will be a copy of something which took inspiration for this. I bet it.

Why Blue kick asses?

  • Visual impact. Video is very attractive. low fi, but additive never the less. The guy behind the video are talented
  • Long, breath-taking music that you can rarely in a *core track.
  • Use of the main synth as was done in late 90s dutch trance (now forgotten but still very powerful)
  • Track build up easly but it s still enjoyable. It’s not the usual loooooong build up followed by a shitty drop.
  • Kick and double bass – psy trance style.
  • Kick and single bass to release the tension the above psy trance style didn’t release
  • Emotional, in a sweet, deep way.
  • Other “secrets” I cannot tell you now (I spoke with Jacopo, Samuele and Cri from Art Of Fighter about that…)

Listen to The Sickest Squad – Blue (2018)

 

 

The History of Speedcore

I am writing this coz I don’t like to flame and I ve the greatest respect of Wikipedia, but its page regarding Speedcore is not as good as I would like. I know there are Guidelines to follow, so I am doing my own page, hopefully other will help for their respective country (I can speak for Italy and Switzerland and some Germany).

The Motherfuckin’ History of Speedcore

Speedcore: MY Definition

Let’s start with a proper definition of what is speedcore and what is not.

BPM: The definition of what is speedcore has changed over time, but i feel free to safe that everything above 260 is Speedcore.

270-290 is a wicked bpm range, and few tracks are produced at that speed, probably coz everybody like to start at 300 for psychologial reasons.

At what bpm speedcore end to be speedcore and become “splittercore”?

I’d say something above 450-500 Bpm. As long as the bassdrum is fast and has prominence, in my opinion it s speedcore.

Defining Speedcore

  1.  Speedcore is DANCE music, if the music you listen is only good at home, or when it’s played in a party noone can dance it (headbangin’ is ok, too) it’s NOT speedcore. Call it Experimental, call it IDM, call it whatever but it’s not speedcore in my opinion.
  2. The “dance” and “rapture” factor are two other important thing: if a track lacks them it s basically bad speedcore.
  3. Track must be fast, but have a good bassy kickdrum. Putting a 300 Bpm base under a track that should go 150 does not make it speedcore. It s shitty dance.
    1. As a corollary: It should have not any happy singed part in it (save for the gimmik intro / small part here and there – like komprex did many times). If there is a “singed” part you cannot put enough base on track.
  4. While it s ok to have some broken part here and there, the track should be straight base (see point 1)

About the name

The name Speedcore has been popolarized by D.O.A (in NYC Speedcore) but the name has been already around for some time when they made the track. There is a mix tape by Liza N Eliaz and Jessy James from 1995 named Speedcore Mix. We will speak about them again below, coz the stormed Europe.
On partyflock there are scans of party using the word “speedcore”, too.

Nevertheless Disciples Of Annihilation (and all IS record) have been an huge influence on the producers and brought the name speedcore on the map.

I guess that a lot of people were comparing Hardrock to Hardcore so they named speedcore after speedmetal; for the same reason in the years we have seen the “doomcore” “trashcore” “deathcore” name coming up.

Liza N eliaz Vs Jessy James @ Speedcore Mix 1995

DOA – NYC Speedcore

Speedcore sub-Genres

J-Core.

J-Core / JapanCore. As per definition above (and my ignorance in the matter) it’s difficult to frame where the japan happy speedcore fits.

Is OK to consider a 300 bpm Nightcore track as “Speedcore”? I am not saying that all japanese stuff is fast Nightcore, but a lot is

Dark Melodic Speedcore.

If the producer comes from Black Metal instead of techno, probably he will release Dark melodic Speedcore. Lord Lloigor is the prime example of it, but we also had The Dark Orchestra and many many more.
Short Time line

FlashCore

is kinda new style to me… but track as Neurocore – The Magellan Chronicles hooked me istantly. La Peste and his “Hangars Liquides” label are primary example of this genre, which I am sure will grow bigger in the future.

Short Time line of Flashcore:

  • 2005 La Peste. Alors le doute s’immiscea, Hangars Liquides 26 is probably the first Flashcore track
  • At the moment (2018) Flashcore is departing from its pure speedcore root and is growing with IDM influences.
La Peste -“Magnetique” Une Possibilite
Atomhead – Spiral Field Velocity
Neurocore – The Magellan Chronicles
Kaebin Yield – The Reconfigured Capsid

Other Genres faster Speedcore

First: Let’s look at the following table…

Should we consider Splittercore and Extratone as Speedcore subgenres or as Hardcore Subgenres that starts where speedcore ends?

In the 2000s Splitter and Extratone were so small that I would consider them as speedcore subgenres, but as time pass by they are getting their own dignity, their own producers and such. As I am writing this (end 2010s) I am considering them as different styles.

Let’s dig a little more:

Splittercore

I’ve already mentioned Splittercore ( where the base start to be too fast to bounce, but slow enough to be hearable).
At what bpm speedcore end to be speedcore and become “splittercore”? I d say something above 450-500 Bpm.

Listen to Hassfront vs Pengo to understand what i mean with splittercore

Extratone

Extratone is even faster (bpm above 900). Here the base is basically a single tone… it’s experimental music, not dance music :-). – I know that a lot of people like it and someone also dance it, but it lack – in my opinion the bouncing bass a dance track should have.

I am not dissing Extratone, since i ve produced my fair amount of track in that genre with both my Name and the Extratony nickname since mid 2000.

Rotello – Necrocunnilingus (extratony rmx)

Terrorbunny – extratone part one

History of Speedcore

Early fast hardcore (pre 1995)

1992

in 1992 (!!!!) the canadian (!!!!) Cybersonik released the  Jackhammer Ep which was proper speedcore for present standard, too. noizy, fast, disturbing. well done. I am impressed.

Cybersonik – Jackhammer

1993

Moby (yes that Moby) released the Thousand track. It was standard hardcore. Many label it as first speedcore track, but in my opinionion it lacks the estetic to be “speedcore” and the timestamp to be the first.

Nevertheless, impressive and I remember i wanted it on my Xtreme.core compilation.

Moby – Thousand

1994

The 1994 was a good name of harder hardcore. Nowadays I would label them Gabber / Gabba / industrial / Terror , back then those name were used in a different way.
Oliver Chesler (Temper Tantrum, Dj Skinhead, Horrorist…), Delta 9 and Lenny Dee‘s Industrial Strenght were behind a lot of them.
On this side of the Atlantic we had first Napalm Records and the French Gangstar Toons Industry collective.

Juncalor Record released an Ep By Dj Heaven – another speedcore act no one remember

Dj Heaven – Groove Killer
Dj SkinHead – Extreme Terror I

Explore Toi – Human 1000 BPM De Rebel Va Te Faire Enculer Rubik

Gabba Years (95- 98)

Speedcore youth (99-2003)

 

Speedcore “Explosion” (2005-2008)

The sleepy years

The comeback? (2016 – ??

 

 

Links
Bandcamp about Extratone

In Memoriam: Federico Franchi – Zenith

Last week one of my fave producer ever, Federico Franchi aka Zenith passed away. For me was an hard blow.

Not only because I loved his stuff but also coz he had my age…

With this post I want to say goodbye to him and write, for the sake of new generations, how important was Federico for the development of music. A massive underated artist outside its niches.

Rip Zenith – Rip Federico Franchi. In Memoriam

Industrial Ambient

1989-1995: The hidden Ambient years

I remember I wrote him (and asked live) to release more “Flower of Intelligence” styled music. His reply was: “I ve a load of Old stuff that sound like that and you will probably enjoy”.
It was released only 2007, when the hype was down. I got it on Amazon a couple of year after. it s still Worth it!

Listen to Zenith – Midnight

Trance Beginning

1993: Trance

Zenith ‎– Piper Of Illusion – His first release was a solid early 90 trance. Also Kinda clichè,  and did not get too much attention. But at the time he was 19 years old.

1994: Starting Trance Communication Records

He starts his own label: Trance Communication and I guess most of its early releases have a strong part of Federico’s genius behind.

  • Introspektiv Audiosphere ( Federico Franchi, Gianluigi Di Costanzo) has all the seed of what will become “the sound of Zenith”
  • Pro Digital

Introspektiv Audiosphere – Xperika (Exerph 2)

1995: The first GREAT year for Zenith

It was the first of a series of great year for zenith. Not only he produced some great stuff as Vana Imago & Shadow Dancers, but also release an album with Lukas and Dj Cirillo (two huge name at the time) which has a track called “Trance communication” which is is the seed of his second phase (and probably his peak as producer): Hard trance

  • Zenith ‎– Amenthia
  • Zenith & Valez ‎– Aural
  • Vana Imago – Tesi
    He also release as Vana Imago an Impressive record on his own Trance Communication. 3 Tracks, three super armonic trip to listen to. Released also on Belgian label Diki.
  • Shadow Dancers ‎– Silicium Head
    Side A is a Beautiful track done with Biagio Lana. B side (Hard Nova) is less memorable, but still a good track – Record released also on Bonzai rec.

Vana Imago – Tesi

Vana Imago ‎– AntiTesi

Vana Imago – Sintesi

Shadow Dancers – Silicium Head

 Shadow Dancers – Hard Nova

Hard Trance

1996: Hard Trance God is Revealed

1996 was the year that the world recognized what a fucking Genius Federico Franchi was: His releases on ISR, his Alternative creator Project, and a million other things left a mark, still unbeaten today.

  • Lets start with his master piece: Flower of Intelligence on ISR – I label it hard trance, but it’s clearly wrong. It s “industrial dark hard trance /intelligent ambient Hardcore” – basically a genre he create and he only produced (if there is something similiar I am happy to hear it – post title in the comment section please).
  • Zenith – Human Will is a bit less “complex” than than ISR 17, but is another gem: Trance Communication Remix was often played to open set, and Paradise City is simply a track you love to dance to!
  • Zenith ‎– Psycho Motion is, in my opinion kinda shitty compared to other stuff by him, and i guess that most of the work has been done by other people and Zenith just added his name on it. Probably Ipnotika rec paid some good money to have Zenith on this release. You can listen to it below. For his Hardstyle fans: this is a hardbass / proto-hardstyle track.
  • The Alternative Creators ‎– Sound Creation – Zenith, Prezioso and Mario di Giacomo created this woderful project: Main version for the Radio (Prezioso is a nationa Radio Dj), Hardtrance by Zenith, Hardcore by Stunned guys.
  • The Alternative Creators ‎– The Beast. Second release of the Alternative Creators and this is even harder: no radio version, but two club / rave version. In this release you can hear Federico’s hand in all trackz (but the hardcore, which is very good by itself) – below i ll embed only the pure Zenith mix, but browse for the other versions (on Discogs there are all four)

Listen to Zenith – Flowers Of Intelligence

Listen to zenith – Streets of avalon

Listen to Zenith – A Green Allucinated Mushrooms

Listen to Zenith – Trance Communication Rmx

Listen to Zenith – Paradise City

Listen to Zenith – Psycho Motion E.P.

Listen to The Alternative Creators Sound Creation Hardtrance version

Listen to The Alternative Creators – The Beast (Hardhypno Vrs.)

1997: King of two crowds

This was a strange year. Zenith was enjoying his well deserved status as famous dj, playing a lot around, mixing the Energy Compilation and doing some more easy stuff. On the other side he kept on pushing his darker side.

  • Zenith – Emotion
    Exclusive on the Energy 97 Compilation is a Okish, but has some vocal which sound too much house for my taste.
  • Sonar Impulse aka Zenith & Moratto ‎– The Door To Eternity
    Nice progressive trance track done with a famous italian italo dance producer. It’s produced with the radio in mind (remember how huge was trance in mid 90s?) so it featured a singed part. Never the less I still like it.
    This track has been remixed modified many times, so it’s likely you know it.
  • Remix for Prezioso – Rise your power
    Prezioso is a famous name in euro dance scene. His roots lies in early techno (he used to dress a “mokum” hat), when he wanted hard remix he usually asked to Stunned Guys and Zenith.

Listen to Zenith Elektronic Death

This track was a total dancefloor destroyer. As my Friend Rocco suggested “people wnet so crazy they were able to walk on the mirrors on the ceiling”.
Listen to it… technoish intro and then a main theme that is so Zenith
https://www.youtube.com/watch?v=n_3nuQqU7KE

Sonar Impulse aka Zenith & Moratto ‎– The Door To Eternity

Zenith – Emotion

Audio of Prezioso – Raise Your Power (Hardhypno Vrs. Zenith)

HARDBASS

1998: Cashing The cow

  • Trance Junkies – lost in paradise
    This track was enjoyable but kinda useless

Listen to Trance Junkies – lost in paradise

1999: New Directions

  • Trance Nation ‎– The Future Of House

Hardstyle

Electro House

The history of trance music 1969 – 2005 (long with video)

OK let me be clear. This History of trance post is not going to be short, or perfect. Your comment will help me to improve it.

My definition of trance

Trance is a music genre but is also a feeling. For this very reason I consider trance a lot of “trippy” stuff that are not labelled trance, and not consider  music that don’t give me a trance sensation.

Why only up to 2005?

For the definition above trance music in 2005 has been dead and buried… Yes some stuff came out here and there, but it’s too few and sparse for me to discover it.

Also for the definition above the “dutch wave” (and all that singed songs you like) cannot be considered proper trance, and where possible I keep it out of it.

Pre-Trance Trance

The 60’s

While we can crawl back to prehistory time let’s fix the 60’s as the beginning of trancy stuff. Jean Michel Jarre first record is released in 69 and so is the famous Popcorn song. JMJ worked with Karlheinz Stockhausen, a pioneer of electronic music, but I don’t feel like considering his stuff Trancy.

Tracks to listen to

[one-half-first] Gershon Kingsley – Popcorn

[/one-half-first]
[one-half]Jean Michel Jarre – La Cage.

[/one-half]

 

The 70’s

Kraftwerk,Jean michel Jarre, Mike Oldfield and Giorgio Moroder, Tangerine dreams and Vangelis… those are The big Name in melodic, tech trancy stuff of the 90s. Each of the above can be considered the father of a specific niche in electronic

Tracks to listen to

[one-third-first]Jean Michel Jarre – Oxygene (1976)

[/one-third-first]
[one-third]Jean Michel Jarre – Equinoxe (1978)

[/one-third]
[one-third]Giorgio Moroder – Chase

https://www.youtube.com/watch?v=ViN2bRGrBx8[/one-third]

[clearfix]

[one-third-first]Automat – Droid (1978).

[/one-third-first]
[one-third]Cybotron – Colossus – (1978) – (Australia)

[/one-third]
[one-third]

 Eduard Artemyev – Siberiade theme (1979) – This will be remixed and become PPK –  resurrection

[/one-third]

 [clearfix]

[one-third-first]Gianni Rossi – Star Vehicle

[/one-third-first]
[one-third]Vangelis – Pulstar (1979)

[/one-third]
[one-third]Kraftwerk – Trans-Europe Express (Full Album + Bonus Tracks) (1977)

[/one-third]

 

The 80’s

Te 80s were great for electronic music! New Beat, Space rock and italo-disco were huge on chart and left a mark to future generation. Not only that, but they also see the light of house music and techno, and in UK the Rave scene was moving its first steps.

Trance music as I mean it is the melodic son of techno.

Big names of the decade

 

Notable mentions

  • Doris Norton – Female electronic artist, who is also the mother of Rex Anthony (we will meet him in the 90s)
  • Suck me Plasma Label – has been created in 1989 by  Andreas Tomalla (Talla2xlc) and produced the very fist proper trance record

Listen to 80s trancy stuff:

ZODIAK – Zodiak (Latvian space rock)

Doris Norton Lab (1980)

Laser – Laser (1981)

Jean Michel Jarre – Les Chants Magnétiques / Magnetic Field (1981)

Pink Project – Amama (1982)

Romanelli – Connecting Flight (1982)

 

Meanwhile in India…

Goa in the late 1960s and early 1970s started to grow as an hippie nexus, with a very distinguish genre of rock, italo disco,industrial music and EBM (electronic body music). The Goa music development is a different ecosystem than

The KLF: an Out of Time artifact in trance

The KLF – What Time Is Love? (1988 Pure Trance Original) – feature the name Trance in the title and is already “techno”. Many consider this as the first trance track. Personally i love it, but i can’t feel the trancy feeling. nevertheless, KLF are geniuses and this track is 3-4 years in advance on the world

The KLF – What Time Is Love? (1988 Pure Trance Original)

Trance per Year

The 90s in general

This Decade will be remembered in Eternity. In 10 years the music evolved, spawned, reach to top and fell down hard. For this very reason I ve decided to describe the 90s by year, by Country and by Subgenre (born, dead, transformed)

Dance to trance, Jam and Spoon

1990

Dance 2 Trance is a project by Dag Lerner Dj Dag and Rolf Ellmer  (Jam el Mar / 50% of Jam and Spoon). They use the name Trance, but also dance and in Italy – where i live  – it was mainly considered “dance / House” music, but the time were ripe for the next big wave.

  • Dj Dag:  “DJ DAG” is known as the “Godfather of Trance”, he gave “the child’s name” when he start in 1991 with his Project “Dance 2 Trance”. Since that point, he was his definition of Trance always remained faithful. His sound is unique and its reputation is legendary. Dag’s DJ career began in 1985 in the “Music Hall” in Frankfurt, other important milestones in his career were the “Club UK /Complex” in London, “1015 Folsom” in San Francisco, the legendary Underground Club “Omen”, the “Dorian Gray”, “U60311” and “Cocoon” in Frankfurt. All german attention he gained by his early sets at the “HR3 Clubnight”, he belongs to their resident DJ´s since 1993. His international „breakthrough” came with the track “P.ower of A.merican N.atives” (Gold Record Award), countless other productions and remixes with his projects, “Dance 2 Trance”, “Peyote”, “Crazy Malamute”, “DJ Dag” and many more followed, since he produced with different partners on different labels, worldwide. DAG is currently with his newest project “The Flowmasterz” at his own label “Mato Music” and as “DJ DAG” himself to be present. Planet Bass Records is proud and looks forward to many new joint projects and tracks and a successful cooperation with the “Godfather of Trance”.  Dj Dag Youtube channel

Dance 2 Trance – We Came In Peace (Original)

 

 

[one-third-first]Place your content for the first column here.[/one-third-first]
[one-third]

Techno Bert – Neue Dimensionen 1990

.[/one-third]
[one-third]Place your content for the third column here.[/one-third]

1991

Dance 2 Trance ‎– ¿Where Is Dag?

1992

Universally we can consider

1993

1994

1994

1995

1996

1997

1998

1999

The 90s

Trance is Getting ill

2001

2002

2003

2004

Trance per Country

Germany

France

Italy

Italy – Tuscany

UK

Belgium

Netherlands

USA

Spain

Ibiza

India

Israel

The death of trance

I call it dead in 2004. And Tiesto killed it

Trance after 2004: The 00’s an 10’s

 

EDM

Useful Links:

  • http://www.toucanmusic.co.uk/articles/trance.php
  • What happened to Trance after 2004: http://www.edmtunes.com/2014/01/brief-history-trance/

The Making of Rotello – RotPsycho100

I know there are hundreds of better producers, better trackers, better sound engeenering, better whatever,  but still no one speak about speedcore and its mindset.

I am confident that f you are curious you will enjoy it  (if you can bear my broken english)

and I bet that indipendently to the music style the concept of track as whole / climax vs drop  /  synaesthesia will ring some bells to you, too

It’s 40 minutes long, 10 with music an 30 with my english (geez it really got rusty)

 

Takeaways from the video:

00:00 short intro

01:00 Listen to Rotello – RotPsycho100 (version 0.2 ) with AMV on it so you can get the feeling of my desired output

04:00 Loading v 03… is it an improvement or not?

04:30 – 13 minutes of  Boring speech about the samplez i used (you can skip this 🙂

17:00 – overlap same loop with two different chain of effect to get a cool mechanical groove

19:40 – using the reverse crah to build up a little tension

20:10 – Release vs Climax vs Drop – they are NOT synonymous

21:30 – visualizing the anime and translate it into sound.

22:45 – why I used the same base with (almost) no trick filtering

24:10 – why you can break more patterning rules with speedcore (if you know why you are doing it)

27:50 – silencing part gives more breath to the one remaining

28:15 – trading the order for the groove.

29:00 – claps to fix, too much stuff

31:00 – how much chilling should be the breakdown…

31:30 – waiting a couple of days and  Test it on the dancefloor

32:20 – short bridge/breakdown to reflec the brutality of anime

33:10 – how to make a odd pattern (360 lines) to reflect the anime

34:35 –  if base goes much faster, you can slow down the noise to step up a little much but not too much

35:50 – some NOT ideas on how I will close the track

36:00 – half speed is a good way to plateau at middle way, if you really want to build.

38:00 in the next video  we will go deeper with basses

38:50 – spending time to create the base or to pattern a track?

 

 

 

The making of Rotello – Do gabbers dreams of bald sheeps?

Since I always loved when producers tell the “making of” a track, I decided to do the same in my little and total ineptitute in music making.

Beta Release History

Listen to Final Latest version so far

Here it s the latest version

Updates on V04

between version 0.3 and version 0.4 . i did not listen to the track for some days so i was able to find more error. I was able to track many glitches here they are:

  • ptrn 1 –  volum of bg noize rise too fast
  • ptrn 5 – it does not buil up good
  • ptrn 6 – first part of vocal are covered by the tail of sample from previous pattern
  • ptrn 10 – it does not call the noize as good as it should
  • ptrn 20-22 rise up shittly
  • ptrn 28 noize & bongos now sound too random
  • ptrn29 does not call the upcoming pattern well
  • ptrn 32 vocal are so so
  • ptrn37 – noize is ok
  • ptrn 41 – it s too similir to 37
  • ptrn42 start is ok
  • ptrn46 close better

Updates on V04

version 0.5 has been a huge, ongoing work: deleting, adding, moving. i corrected a lot of issues of V04… i m still looking for some good vocals, but i think the track is now more Energetic . Largest change are:

  • the “bongo” track – now amost disappeared
  • moved (and reduced in space) the “half base” patterns… i liked them but there was no use
  • cleaned track here and there (base sound louder now)
  • added the super famous speech at the end. i distorted enough, and maybe i ll get not problem with copyright 🙂

The History of the Track

Let’s start with the idea.

Step 1: The groove

Lucio Battisti has been one of the top Italian singer of the 70’s. Not only he sold a LOT of record but he was kinda sperimental, too. I love “La canzone della terra” and how its main theme is the groove: Bongos, fencing sound and whip… Listen to it here:

https://www.youtube.com/watch?v=SYCzShZ7mig

I am not able (nor it s useful) to replicate verbatim the drum pattern of the above song, but i loved the idea.  I searched on google “bongo wav”, “sword”, fencing, whip and so on and found a nice series of samplez, played with them and a good enoigh groove came out.

Step 2: Base

The odd numeration is the results of my experimentation with the base. at the end it came out a 288 bpm track, Skull blower style. Basedrum pattern are kinda easy in the first version of the track i ll need to make them better to be congruent with the Build up

v 03: much better progression

Step 3: Vocal samplez

At the beginning v 01, v02 I used a sample of MMA fighter Conor McGregor and me speaking ( I met him and have a chat during a UFC in UK before he was a super star). I then decided that it was too light and fun for a Darkcore track, So i Took it away.

in Mid December the Trailer of Blade Runner 2047 came out, i loved a couple of noize there (see step 6: noize & Bg) and also found a “ok” vocal, which i could use also in the final version.

I had a GREAT sample to start the second part of the track, but again it was not congruent with the general track so i took away ( i ll use it in another track for sure, it s THAT good)

With Version 03 – I added some Blade runner samplez, but i dont like how they are now… i ll need to scout for others…

Step 4: Bridge

I didn’t want to follow the usual way of doing track (base, pause, drop) so the track is a bit random 🙂

basically the Bridge / pause is still with the base but it s half speed, and in my plan should build up to second part.

Step 5: Build up

I really miss the huge build up and release the track of the 90’s had. Nowadays it all about the drop, which… drops instead of peaking 😐

Not easy to build a decent build up in such a noizy track, but i want to do at least one

in V03 i used 2 mini-build up

Step 6: noize & background

I am kinda happy with that. v01 was already good, in v 02 the whole whip & industrial sound were very well melt togheter.

in V03 I added more intro and ending noizes, and  made the second part a bit different from usual, instead of adding stuff to the base, i took it away to have a cleaner baser. I ll have to find a way not to lose too much energy, but it s doable

 

 

 

Play it again, Sam: the psychology of Follow up

I am writing this article which expand the post “What’is an anchor and to benefit form it”.

There I wrote that doing a follow up /clone of a successfull track is an OK idea. But those are words that needed a further development…

Before starting

  • I am not saying that creativ- wise is OK cloning your own music (it’s not)
  • I am not saying that all tracks should have a follow up ( they should not)
  • I am not even saying that it will help the music industry ( it will not: but it stinks anyway 😛 )
  • To say the truth I am also ashamed to publish it in a blog were there are so many way to be creative (and whose mission is to bring creativity to an other level with the use of Sinaestesia.), but again my point is not bring on an hidden agenda, but to make you think about the way you can success.

If you are reading my blog it means you want my insight: and you will get my insight… I am not also claiming that to do this will make you rich: any activities has risks and music is not different.

What do I mean with the concept of follow up?

When i speak about “follow up” in this context I am speaking about taking a piece of your that was successfull (for the groove, the melody, the base and so on ) and “clone it”:

open the project: change some sounds, new EQ here and there, change 3 notes in melody, add a couple of vocals, correct some stuff you feel it should be corrected… and a remix/follow up is done in a fraction of the time.

In popmusic and softer EDM style it s very common and to say the truth soooo boring, abused and useless. in harder EDM styles I guess the follow up could be used with more intellingence.

Let me explain:

Why making a follow up is good?

The main enemies of a “musician/ producer /dj” are (among others):

  • Money (or better, the lack of it).
  • The necessity to have a lot of music people want to listen to  to stay on the top.
  • The constant Pressure of producing good stuff.
  • Once you are more famous The lack of williness to take too much risks and disappoint fans
  • last but not least: TIME. Social network sucks a lot of time and energies, having 60+ gigs a year drain energies.

A single follow up of a big hit solve a lot of these problems

  • Ability to produce a new track in a little fraction of time of the original one.
  • The success of the follow up could be even bigger than the original.
  • It will enlong the life of a track.
  • It will please most of your fans.
  • The time you free can (and MUST) be used to make new stuff.
  • You might start creating your Brand sound.

Basically with a hit track you create a new, Blue Ocean to fish while Others are still in the bloody red ocean.

Trap NOT to fall into

Repeat forever the loop

Let me read into your head: “If the follow up track went so great, let me do it again (and again, and again, and again) ” – at the end it s easy money isn’t it? Yes maybe it s easy money in the short run but you are burning in few months the star staus you have earn in years and/or you are selling your “musician” soul for some money.

And both are bad:

  • In the first case you become the shade of yourself, and unless you really became popular (very very  popular) you need to start from the beginning once again. And probably you don’t have the energy.
  • The second is even worse: you are positively reinforcing your own idea that you cannot produce any longer, making worse production and calling you out from the music.

What you can do.

Lemme repeat: maybe it s not going to work for your particular style… and any operation have a risk. for example

  • If you are already out of ideas this strategies will do bad for you. Read my “Brain” & my “Creativity” sections to improve that area
  • if you are already a Vulcano of ideas and creativity maybe this strategy will slow your creativity

A suggestion could be: If your “record” (read:mp3 release has 4 tracks on it be sure at least one is more experimental… Most peole will not like / understand it but it will be loved but few others and will keep you sane 🙂

 

Real life example

Let’s take the 90s… so no one get offended.

I ll use two example:

  • Robert Miles
  • Rex Anthony

Robert Miles destroyed the dancefloor with his seminal “children” the copy paste follow up “Fable” and then “one and one”.

Rex Anthony to a much lesser extent was able to brand himself in mid-90s… and 20 years after in italy a lot of people still remember him.

Robert Miles

He created a new Blue Ocean of piano trance with children… (a master piece)

he  filled his pocket with Fable (basically the same samples, same tempo, very similiar melody)

And while all other people living in the red Ocean were thinking to move to Blue Ocean he already moved away with an other strong piece of music

https://www.youtube.com/watch?v=a0GjupeREl8

 

Rexanthony.

He is a very prolific producer and his first HUGE hit was a remix of a progressive rock track his father did in the 70’s . Listen to this: you will remember it

Rexanthony – Capturing Matrix

Rexanthony – Polaris dream

Then while the people was still trying to understand what was happening he did a great follow up (again very similiar to original) which had a even bigger success storming the dancefloors here in Italy

Along the way he also produced/ co-produced a million version of Mix and  “Remixes” of capturing Matrix… some with an other name like this Key to universe :-).. in this way he was still earning money from his original track.

 

What is an Anchor (and how a musician can benefit from it)?

In this article, after a short historical introduction about conditioning, I will speak about Anchoring, the many types of anchor you can create and how you can use them in your music and marketing.

Let’s start with a small quiz:

If you read the name Pavlov does it look familiar? it could or not…
but if I ask you if the name Pavlov ring a bell in your head what is your response?  is it more likely now you remember.

Why is that? I leave this loop open for an other time (or ask in the comments 🙂 Let’s start speaking about Anchor / conditioning and then let’s see how you can you for your musical career.

1900: Classical Conditioning

Pavlov Dog & Conditioning

By now you probably remember the story: Pavlov makes a sound before feeding the dogs… Since the dog are excited by the food they start salivating… and after a while dogs didn’t even need the food to salivate. Now the sound is enough for them to salivate.

And we human are not very different from Dogs in this matter.

Whne we hear a sound and we have a feeling, then everytime we hear that sound we re-live that feeling… interesting isn’t it?

Definition of Classical Conditioning

I take this from wikipedia which uses more difficult word to express this simple concept:

“Classical conditioning is a learning process in which an innate response to a potent stimulus comes to be elicited in response to a previously neutral stimulus; this is achieved by repeated pairings of the neutral stimulus with the potent stimulus. The basic facts about classical conditioning were discovered by Ivan Pavlov through his famous experiments with dogs.”Wikipedia on Classical conditioning

Moving forward into the 70s: Neuro-linguistic Programming and the art of Anchoring

Pavlov’s experiments was done at the end of 1800.. since then a lot happened:

  • His studies were accepted by the mainstream “science”
  • His studies sparkled into the basis for the some psychology approach
  • Some stuff those fuckers teaching at school  still use to teach kid: re-inforce “good or bad” behaviour with praise or punishement are a ill formed use of the classical conditioning

In the 70’s In California two guys (Richard Bandler and John Grinder) and their study group (lead by Frank Pucelik) further developed the classical conditioning into a form of art, calling it Anchoring.

Again from wikipedia:

“.. NLP teaches that we constantly make “anchors” (associations) between what we see, hear and feel and our emotional states. While in an emotional state if a person is exposed to a unique stimulus (sight, sound or touch) then a connection is made between the emotion and the unique stimulus. If the unique stimulus occurs again, the emotional state will then be triggered. NLP teaches that anchors (such as a particular touch associated with a memory or state) can be deliberately created and triggered to help people access ‘resourceful’ or other target states.”

These Anchors are created naturally but can be created artificially, like Pavlov did. That’is why when you listen some old song you get that “the old time was sooo good” feeling… and that is why master communicator use recurrent sentences and manierism.

You can learn a lot about Anchoring in the wonderful book by the above mentioned Bandler & Grinder – “Frog into prices” ( you find for few buck on Amazon)

What kind of stimulus and what kind of state?

If Pavlov experiments were done on “sound ” sensory channel.. you can anchor (and be anchored) on touch, smell, taste, words, even on spatial position.

Let’s say that your grand mother cooked a shitty apple pie but you remember that time spent there was great and joyful (= your state is “great and joyful”). It s likely that when you smell the apple pie 20 years after you will feel great or joyful (or you will remember how joyful you were). That happens all the time.

The stronger the state you feel the stronger will be the anchor… the more the anchor will be fired without the context /state, the more it will lose its power. (you are collapsing same anchor to diffrent states)

How to create artificially an anchor?

The term “artificially” is – of course – wrong: we keep anchoring each other, willing or not; only we are not aware. In this case we add the awareness and the williness to create them

read the “Inconscius competence model” article

As you can imagine you can anchor “everything” to “everything”…  you just need to build it:

  1. Find a unique signal (which will became the trigger)
  2. keep your eye open (awareness)
  3. the desire to do it consiusly (the williness)
  4. drill it on yourself before going “public”

How to anchor – in real world

Let s do it on ourself – it s easy and safe.Read the following instruction, close your eye and do it.

  1. The unique signal that will trigger the anchor is a gentle pressure of index finger on your chest (lets say 5 cm above the right nipple)
  2. Think about a time you were very happy and joyful, keep on thinking and feel the sensation of happiness, smile, hear the sound you were hearing, move like you were moving… when you feel the state of happiness is coming smile more, and pump the state as much as you can (without forcing of coz)
  3. when you are expericing happiness, anchor the trigger we decided on step 1
  4. keep the finger on you chest for few seconds and take away before the feeling is fading
  5. now stand up move shake… go back to a “normal” state
  6. Ask yourself: what is my happiness level (from 1 to 10)?
  7. fire the anchor: are you feeling some kind of change inside you?
  8. repeat step 2 to 7 until you can feel “happy” just by touching your chest.

 

Everytime someone has an useful emotinal state keep your sense open.. when you see the peak is reaching make some unique signal (can be something as subtle as a head movement) that will be associated. Sometime once is more than enough, others you need to re-inforce it.

 

When to anchor the trigger to the state.

For many reason I am not to describe here it’s best to anchor a state a little before it reach “the peak” – see the diagram:

best time to anchor

 

Three Example of real life anchoring

  1. Everytime your boss is doing a good business and you can see he is happy about the deal, do something/ say something in an unique way… and next time you are asking a rise… fire that anchor.
  2. A friends of your is crying, sobbing and sad? It s ok to help, but don’t stay in the line of eyes… she could anchor that state to you!
  3. You are feeling great and happy? have you thumb to touch a part of your body. do it everytime you feel like that and in few weeks the touching alone will trigger the greatness and happness

Manipulating, collapsing, stacking

if you see an anchor like a signal-response act… you can image how easy is to manipulate it:

you can add a new trigger to older

So what we have learned so Far?

Before going into next chapter let’s summarize

  • Any stimulus (what you see, touch, heard, smell, taste but also what you remember and position in visual space) trigger a state that was anchored before.
  • More often than not the above mentioned anchor are contextual.
  • To have a clean, strong Stimulus > state you need to “charge” the anchor by repetition or by  association in the right moment to a strong state

Basically we are a walking anchor 🙂

Takeaways

  • If you can make your sound and stick it with something memorable, enough people will love it forever.
  • You can also “steal” sounds from other and enjoy success, but it will probably fall into the cliché, which is usually bad (when this happens usually the music genre is going to collapse in a couple of years)
  • If you have an hit track, do a quick follow up – different enough to have people dance but similiar enough to gain (and reinforce) the anchor. – I speak about this more in this article: Play it again, Sam: the psychology of Follow up

Let’s see one of the reason why you love Big End show at the Festival (and promoters do, too)

Note: with this analysis I don’t want to banalize the incredible work there is behind the organization of a festival, nor i want to mean that is the ONLY reason why they are a great experience. I am not even saying this is the best way to do, nor that all promoters do like this or should use this strategy.

My point here is giving a different read on the way the End Shows are usually executed, and give you a couple of new eyes to see it, too.

Let’s revive the Festival Experience.

During the day you have a roller coster of great emotions: great music (=happiness), a lot of nice looking girls/boys (=sexual arousal – a strong basic state), a lot of people loving the music you love (= sense of being part of tribe – another powerful & basic state), and many other states happen during the day.

You are likely to anchor these states

  • auditorialy (the sound itself)
  • kinestetically ( the feeling of the base in your stomach)
  • visually ( the infinity river of colors and people moving in a party).

in the evening all floors close down and you are invited to the main room for the final show.

And often there is no fucking Dj playing (or they are in a small hole in the wall :-)!

When you arrive in the main floor: you have been standing dancing whole day, you are tired (your defense are “lowered” and more prone to be get bypassed), nevertheless all the people togheter dancing, jumping having fun are able to enlicit in you a “resilence” state and so you dance, jump and have fun. R Resilence is a very powerful state and is very rare to obtain, hence it s more valuable than a normal “joy” state.

10 minutes into the end show: twilight comes and darkness is finally here: it s time to fireworks and light show!

your state – already “high” – is pumped, and pumped and pumped. You are probably re-living all the state and emotions of the day and stacking them all!

and while you are living this Super state where are you looking? the main stage wall with logos!

How do you think this anchor will be? Powerful or weak?

What do you think it will be Anchored? a Dj who played 4 hours before or the show/logo/festival?

After Party Video

For these very reasons an after party Video is very important to do. and it s very important to do them in a timely way. It lost a lot of “emotional value” with time.

If done in a proper way and time the video /sound Logo / brand will be itself an anchor to the emotional state… and should the promoters fire one of the above mentioned anchor when they advertise the next party, it s very probable that the state is evoked, too.

How can a Dj benefit from this article?

 

Greetings go to:

Why Am I back?

I ve not been producing for almost 10 years, I ve almost stopped djing for the same amount of time… so why Am I back?
Many coincidences, or better a lot of open loops decided to close in a very short time, and this gave me input to act.

What are those loops closing now?

  • I ve been working for a while for an important independent music label, which ignite back my passion. My time with them is – for the moment – over, but i felt I could add a lot of value to the music marketing in general.
  • The music I love and that disappeared in mid 00’s is coming back, thus keeping the fire burning.
  • Having worked with/for some of the large marketing companies around and I see how much space there is for doing good marketing and innovative business models (to my best knowledge – marketing wise – the music industry is like 5-6 years behind the webmarketing niche). The fire has a lot of fire to propagate…
  • Personal reason: after almost 15 years of studying Neuro-linguistic Programming I decide to make a step further and thus I am looking for “Geniuses” (my definition of genius= people who can do something in a special way) to do some “NLP modeling”… what better way to meet them with this blog? –  if you are special in some way and would like to know how you do what you do, contact me
  • I had the chance of having many long and interesting chats with one of my oldest musical mate (the famous dj / promoter) DJ Noisekick about the current scene (more fuel on the fire – thanks Rudmer).
  • My english skill were deteriorating, I need to get back my groove… and blogging is always useful.
  • Last but not least, I read the news that, for the first time in history, older records are outselling newer release. (here, here  and here)

As stated above I like this kind of synchronism and I think that when it happens you ought to do something: definitely it s a signal to act.
I also like the two opposite, but equally interesting, way to see synchronism:
on one side there is the “magic”: The universe is pushing you to do something..
on the pragmatic side it could be that I am recognizing those signals just now…

– read more about synchronism here –

So what will I be speaking about?

for sure marketing & webmarketing for musicians/dj’s /producers (that include tips on FB, Blogging and everything else – I will add some guerrilla marketing strategies as well). If there is enough request I am willing to make some products as well.
I will also speak about creativity and production… but not those 300 years old suggestion about being more creative, but ideas backed by neuroscience, linguistic, metastases and other delicious very recent discovery. I would be more than delight to exchange idea with creative people… so feel free to contact me
I ll try NOT to speak about music itself, but I am sure i ll add some articles about that.

I will not write a lot. I ve a job, a family, too many hobbies and writing in english about this is kinda taxing for me.
So I will write hi-quality posts and you will read, comment and share it…
Deal?

yours,

Manolo