Ascoltare

Giving Set part 2

Tripel 003 / 16/5/2005

futures market

shrewd trainer

linesman's lament

photo finish

mute record bosses talk about ascoltare

KP: "After just one minute this is the most interesting thing we've heard so far. I always quite like this style of music anyway. I'm always quite interested to know how people make this sort of music. You know, just the mind-set you have to be in to make it. I'm quite curious about it, we get to hear quite a lot of it at Mute.

"The mix is quite good, it's a bit lo-fi but that doesn't really matter with abstract stuff like this. I reckon he could get someone to put this out actually."

JF: "How far are we in?"

KP: "9:50 out of 10:30, we've listened to the whole thing, — that's the first one."

JG: "This guy certainly doesn't need any Mute compilations."

KP: "I think it's quite cool just putting one 10-minute track on a CD and sticking it a brown envelope with a web site address and a phone number on it. With this sort of thing that's all you need really. It's quite curious music anyway — you just go and check out the web site."

bus ascoltare.s

LM: "The thing I don't like about this sort of music is that there's never anything to look at at gigs. It's just a man behind a laptop."

JF: "Sometimes they have lights or video projections, I think that can work quite well."

JG: "I think it's good. We get a lot of this sort of thing at Mute though, we've got a big bag of them downstairs. I do think it's good but I don't know how special it is compared to other stuff. It's inventive though, he's got some good sounds going on — there's one bit where it sounds like a music box going through a photocopier or something. It's got a really pretty sound but it's really mechanical as well — I like that. I'm sure there's loads of labels out there who would be happy to put this out and sell a few hundred copies."

KP: "I don't think he'd have any problems getting someone to put this out as it is. This sort of thing's quite relevant at the moment and lots of people are doing it, labels like Mille Plateau for example."

JG: "I think with the other demos we've heard so far the people were a bit unsure about what they were trying to do, but you get the impression that this guy to know exactly what he's doing and what he wants. He's pulled it off really well."

JF: "It's hard to distinguish between songs like this. It's difficult to say what makes the difference between something being released and not being. I don't really know enough about the field to say how good it is compared to other things but I quite like it."

LM: "It doesn't sound like a demo really."

KP: "It sounds like a record."

LM: "If someone stuck that on in a set I wouldn't know that it was a demo."

JF: "You could probably get this on an advert — surreal, abstract music always does quite well. It's not going to get on Capital Radio or anything but there's definitely a market for this sort of thing."

LM: "As long as when he's playing live he doesn't scare people with that interference noise at the start. At first I though 'oh no, it's one of them' — try and drive everyone out of the room and then feel really smug when it's empty. But he wasn't like that, he just has to be careful playing live."

KP: "The fact we managed to listen to all of it tells you it must be pretty decent. I like the brown-envelope style packaging. Minimal record — minimal packaging."

JF: "It gives it a certain aura of mystique. Well, assuming he's not just a lazy bastard."

KP: "I'll definitely go and check out the web site."

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