Further notes on DJ technology

After the interview with Richie Hawtin, it seems worthwhile to jot down a series of points missing from the article that should be made on the impact technology is having on dance music.

1) Anyone can be a DJ: This is a good thing. The technology available these days means that it is possible for most people to blend tracks together without too much equipment. At its most basic, people can use iTunes or a program like GarageBand to fade out one track as another is coming in. Improvements in beat matching technology mean that more complex mixes will over time become easier to do for even absolute beginners.

2) Most people don't notice what DJs like Hawtin are doing: As anybody that has DJed in a club will know, sometimes mistakes go unnoticed. On top of this, away from the dance music otaku, few want more than a good tune to dance to - playing the latest records is often less popular than playing popular tunes by bands such as Underworld. Hawtin presents a multilayered sounscape combining a great deal of songs, but most of them are unknown to the general public. Most people attend Hawtin's events because they know his music is good to dance to, and would see little difference between the sets he plays now and a set performed on records a few years ago. One notable act using new technology to create sets that have popular appeal is the Streetlife DJs, who combine pop music with techno and house. Their podcast can be downloaded here.

3) Diverse technology brings difficulties: In the old days, everybody used vinyl, a mixer and records. Things were much simpler. Today, a DJ at the top of her trade needs to know how to mix with vinyl, CDs and MP3s, and needs to have a knowledge of a series of computer programs, know where to go to get tracks on the net and has to accept that a lot of places will only allow for performances in one format. For instance, a vinyl-only DJ will not be able to play at venues that only have CDJs. On top of this, releases on record are often not available on MP3, while many new artists cannot afford to press vinyl, and so their tracks are only available through download. Far from increasing the scope of what a DJ can do, this can limit performances.

4) Focal points for dance music will change: As more and more record shops close their doors, DJs, clubbers and music enthusiasts will have to find new places to gather and share ideas. This seems simple, as all will just move to the Internet to shop, discuss etc. But there are problems with this. For one, the Internet is massive. How do you know you are looking in the right places? You can't. Promotion is also likely to be more challenging, as finding the right songs to buy or the right club to go to will mean going through a lot of information (bullshit) before finding what you want. Currently, record store recommendations are much more trustworthy.

Interview with Richie Hawtin

Here is the piece I did for The Japan Times on the future of dance music. Hawtin was an interesting guy to talk to, and the comments he made in the interview completely threw the story. At the start, I was aiming to write something about how digital technology was ruining the dance music scene, but the finished article is about the ways programs such as Traktor and Ableton have allowed DJs to completely change the way they play, and the impact that is going to have on popular music.

Parties In Tokyo This Weekend

Tonight I will probably be heading down to the Virgin Cafe in Osaki to see the latest night started by Munoz, London After Midnight, featuring Aron T as the guest. Munoz's London Calling parties have proved a massive success over the last year and the idea of a late bar party featuring good DJs that is outside of the Shibuya/Roppongi scene sounds pretty good. (Free)

For an all-nighter, Alter Ego is in town at a Club Axxics in Shibuya. This is one of those very confusing parties that Tokyo throws up every now and then. A DJ of international stature playing in a club that isn't particularly well known. If you think you haven't heard of Alter Ego, he is the bloke that wrote the tune Rocker, which was played just about everywhere a few years ago. (¥4,000 on the door)

On Saturday, the places to be are at opposite ends of Kanto - Electraglide and Push. I will be at the in-laws' house in freezing Yamagata.

Electraglide is taking place at Makuhari Messe and should be rather large. Celebrating its 20th birthday, Warp Records is in town to represent Sheffield, the center of the universe. Warp has moved on since its early days to become a much more established and diverse label than many would have expected and this event showcases that. Highlights will include Andrew Weatherall, !!! and Flying Lotus. (¥8,500 in advance)

Meanwhile, the Shonan party Push.. turns five. A live performance from Cro Magnon will be the main event, with DJ sets from residents Dante, Paul T and company. (¥3,000)

Jaydiohead and Twitter

A friend from another blog passed me info a few months ago on a mashup that combined Radiohead and Jay-Z, called Jaydiohead and I posted it on Twitter today. The guy that produced those tracks sent me a link to another project he has done called doublecheckyourhead, which is also worth a look.

I think that stuff like this is going to become the future of music as the software for doing remixes and DJ sets makes the things that are complex today more and more simple. What this means for the music industry as a whole I am not sure, but the people at the top like the guy that did the remix (available at @maxtannone on Twitter) are reinterpreting music in a way that is nice to listen to, and a few years ago could only be done by the likes of Mixmaster Mike.

Hello

This is my new blog, and is basically a place for me to talk about what I see going on and discover through the likes of Facebook, Twitter and wandering around in the real world.