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Archive for January, 2012

First Radio Show of 2012

Lovebirds – Keep Coming (Axel Boman Mix 2)
J. Phlip – Fever feat. Lailah Reich (KRL Remix)
Cottam – Deep Deep Down
Kollektiv Turmstrasse – Heimat (Robag’s Turmkolle Rekksmow)
Jayson Brothers – Monster Box
Kassem Mosse – Untitled A1
Lawrence  – Winter Green (Audision Remix)
Roman Fluegel – How To Spread Lies
Frankie Knuckles – Your Love
Marcin Czubala – Not Like This
Moomin – Raw Like 97
Willie Graff & Tucillo – Give You Up
SLG – I Love You But I’ve Chosen Disco feat. Smoiny
Argenis Brito & Fur Coat – Space Ballad (Totally Enormous Extinct Dinosaurs Remix)
Scope – Magic
Quarion – Mysteries of Time
Sound Stream – Deeper Love
Jamie XX & Gil Scott-Heron – I’ll Take Care of U
Bibio – Lovers Carvings (Catz n Dogz Re-Edit)
Audision – Yellow Sunset

New Time Slot For Radio 2012!

The Vly House radio has switched time slots for the new year! We will now be airing live from the studio every Sunday evening from 7 – 9 PM Eastern time. Tune in for some dinner time house and techno. First show airs this Sunday January 29th. Listen on WNYU.org.

Staying Warm With Session Victim

As winter is beginning to take full effect, I’m already yearning for a good party in the sunny outdoors (don’t ask me where my obsession with day parties comes from, I really have no idea). I’ve given up watching videos of other people enjoy themselves for the meantime and have instead been listening to Session Victim on repeat. The German duo have been good buddies for over 2 decades but have only recently taken a stab at production. Their 2008 breakthrough track “No Friends (No Power)” immediately put them on the spotlight, getting a great RA writeup 2 years later. For me, it was their track “We Want To Thank All Our Friends” that put them on my radar. Their track “Good Intentions” also came in at #21 on RA’s 2011 poll: top tracks of 2011.

I think their track titles say enough about their music. It’s as if their music is a welcoming extension of their friendship, just trying to spread good vibes. As band member Freer says, “We just like to hang out and make music […]. If a track is good then the most trustworthy effect on me and Matthias is if we can listen to the loop over and over and still nod our heads.” Their vocal samples and loop heavy grooves create some seriously hypnotic and funky house. Check out their SoundCloud page for releases, live sets and DJ mixes. Here’s some of my favorites:

No Friends (No Power)
We Want To Thank All Our Friends
Good Intentions
Million Dollar Feeling
Time To Let You Down
DJ Set at Bar25

The Music Industry: How Everything Is Changing Yet Nothing Is Happening – Or Why The iTunes Business Model Has Only Accelerated Previous Trends

Introduction

The internet has changed everything. It has changed our perceptions and methods of communication. It has changed the most profoundly fundamental aspects of our lives. And while it may not be exactly clear how our lives are changing, one thing is certain: media industries have undergone their most sudden change in history. Once-established and extremely profitable industries have been forced to adapt to the rapidly and constantly evolving digital world. Not only have industries been incapable of adapting in a timely manner, but have also been reluctant to. At many times this has lead to missed opportunities and tremendous losses.

One such example is the music industry. In the year 2000, at its peak, the recorded music revenue in the US was measured at $71 billion – in 2009, revenue was down to $26 billion, a decrease of over 60%.[1] Pinpointing the exact demise of the industry is difficult as a number of new developments occurred simultaneously. Firstly, 1998 marked the emergence of illegal peer-to-peer (P2P) networks such as Kazaa and Napster. As digital music files could be copied and distributed freely over the internet, purchasing hard-copy CDs (the predominant – and highly lucrative – medium at the time) was not only no longer as appealing, but not necessary. While data supporting the complex relationships between file-sharing and its effects on legal purchases are conflicting, it is of no coincidence that the industry peaked and began its very rapid decline two years after the emergence of P2P networks. However, P2P networks were not the only changing factors for the industry: legal alternatives also played a role.

On April 28th 2003, the iTunes Music Store was launched by Apple, marking a groundbreaking step towards the appeal of legal music downloads. Within five years of its release, the iTunes Music Store became the number-one music vendor in the United States and in less than seven years, over ten billion songs had been purchased from it. Last year, I wrote a paper called “The iTunes Business Model and its Widespread Effects”[2] in an attempt to detail the rapidly changing music industry. In short, as successful as iTunes has been, no one is really benefiting from it other than Apple, indirectly. Each song is sold at $1.29 (previously 99¢) and is then divided: 60¢ goes to the label, 40¢ to Apple, 20¢ to the artist and 9¢ to the songwriter.[3] While Apple receives 40¢, most of this is used to pay the 25¢ credit card transaction fee. Apple has devised a system in which transactions are delayed by a few days to bundle payments together, therefore paying only one transaction fee for multiple songs. Despite this, users usually purchase only single songs and iTunes never sees relatively large profits. The downfall of the music industry is not only attributed to P2P networks, but also to an indirect consequence of the MP3s: the majority of purchases has shifted from albums to singles.

Even so, Apple is not interested in profiting from iTunes. Instead it uses iTunes as a marketing tool for physical Apple products which are highly profitable (there’s a reason iTunes integrates more seamlessly with iPods and iPhones). While no party directly benefits, or really profits, from iTunes, I felt that in my essay, there was a beneficial trade-off for both artists and consumers alike. The internet, and iTunes specifically, has given artists instant global distribution allowing them to reach niche markets like never before. It has given artists the freedom to bypass established markets and to reach fans directly. It also gave listeners the freedom to choose. I felt the internet was a democratizing force in music, a tool of empowerment. It offered a decentralized alternative model as opposed to the corporate monopoly so heavily enjoyed by large music labels; it removed the necessity of gatekeepers, that is large music labels, and gave responsibility back to those most important: artists and fans. Unfortunately, this was wishful thinking. Read more

Machinedrum’s SXLND

Machinedrum’s latest EP ‘SXLND’ is set for release on January 17th, but lucky for us both songs are available for streaming! The two track EP features “No Respect” and “DDD” – both dance floor bombs, offering Machinedrum’s “unique take on classic chicago house and funky” (via LuckyMe). Definitely my favorite release of the year thus far, and with nearly 15,000 combined plays on SoundCloud (pre-release), I am definitely not alone.

No Respect
DDD

Julio Bashmore’s Essential Mix

Julio Bashmore, one of Bristol’s finest exports at the moment, has been tearing up the charts. He came in at #38 on RA’s poll for top DJs of 2011 and his song “Battle For Middle You” came in at #3 for tracks of 2011. His essential mix, which was up for Essential Mix of the Year by BBC Radio 1, is easily one of my favorites along with Maya Jane Coles’s. Here are three tracks not to miss. Hope you enjoy.

Motor City Drum Ensemble – Raw Cuts #3
Julio Bashmore – Battle For Middle You
Maceo Plex – Stay High Baby

Julio Bashmore Essential Mix 24-9-2011 by Bright & Shiny

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