Live acts

On 2011-03-01 02:16, Ascension wrote:
From my experience, I can't say I agree with this at all. Then again, I'm in the US, which isn't a majority of the scene, so good to bring it up to where/who it applies to.

Seeing stuff like, this where I'm sure other people agree (with some at least), keeps making me want the US psy scene to not get too much bigger.

On 2011-03-01 05:50, Braindrop wrote:


...Orgs book orgs, dj's book dj's....

On 2011-03-01 05:50, Braindrop wrote:
True! So many live acts with 1 hour! i mean... wtf is that?? Can't contain this music in just one hour. It really is pathetic to see all this.

About the new acts, well.... Orgs book orgs, dj's book dj's and looks like psy-trance has one or 2 labels only that gives out acts. Same crap spewn over and over again. There so many killer acts, and im not just talking about newcomer's.... even the ones, with solid releases and a few albums under their belt. For them to get slots at parties and festivals , seem to be a gigantic task, then u can think about newcomers. On the other hand there are also newcomers and just dj's playing week after week.

So it's all a shady story about 2-3 labels, connections and so on.

On 2011-03-01 00:39:05, Login wrote:
Why in the psytrance scene is so hard to see new artist in the line ups?

why its so hard for new artist to be known?

why the sales of psytrance and its subgenres is so bad compared to other electronic music genres?

A: Live acts.

Dj's are a very important part in the chain of music promotion, first they are the main consumers of new music: they buy records or digital stuff, they dig, they choose, they present new music to the crowds. They make charts to share their tastes with other dj's. They push one new trend over the old.

Live acts are totally the opopossite: they are not interested in presenting anything but their own music, they dont buy music cause well they only perform their own, they have a lot of incentives to being completly selfish and not even share their new music.

The high % of live acts at festivals has shut down the traditional way electronic music producers and dj's get known by the crowds and create demand for their services.

In other EDM scenes there are many ways to become known: toping charts, or being in one of an important dj, being realesed in some label, being played by X dj.

For example in youtube there are tons of videos of dj sets by tons of dj's, if the watcher likes one song they may ask and get to known a new artist, they search for more music and eventually they will buy their stuff or just mouth to mouth promotion, in the long run new producers can get popular.

In the psytrance scene since all the videos show cast the artist playing their own song, there is no possibility for discovery.

Also since there is no incentive to become a serious dj in this scene, there is not a motivation to look for and buy new music. Must dj's just play what is already popular.

The live act "format" of one hour of the same music has also a very negative effect on the crowd: they just expect one hour of the music they already know. There is little desire for long journeys of music discovery. Established artist have very little motivation to evolve or experiment, they know the crowd expect one hour of the same thing.

Obviously there are exceptional live acts that they present performances that are unique, but that is more the rock ethos and doesnt help too much the evolution of the genre.

On 2011-03-01 00:39:05, Login wrote:
Why in the psytrance scene is so hard to see new artist in the line ups?

why its so hard for new artist to be known?

On 2011-03-01 00:39:05, Login wrote:
why the sales of psytrance and its subgenres is so bad compared to other electronic music genres?

On 2011-03-01 00:39:05, Login wrote:
Dj's are a very important part in the chain of music promotion, first they are the main consumers of new music: they buy records or digital stuff, they dig, they choose, they present new music to the crowds. They make charts to share their tastes with other dj's. They push one new trend over the old.

On 2011-03-01 00:39:05, Login wrote:
Live acts are totally the opopossite: they are not interested in presenting anything but their own music, they dont buy music cause well they only perform their own, they have a lot of incentives to being completly selfish and not even share their new music.

On 2011-03-01 00:39:05, Login wrote:
The high % of live acts at festivals has shut down the traditional way electronic music producers and dj's get known by the crowds and create demand for their services.

On 2011-03-01 00:39:05, Login wrote:
In other EDM scenes there are many ways to become known: toping charts, or being in one of an important dj, being realesed in some label, being played by X dj.

For example in youtube there are tons of videos of dj sets by tons of dj's, if the watcher likes one song they may ask and get to known a new artist, they search for more music and eventually they will buy their stuff or just mouth to mouth promotion, in the long run new producers can get popular.

On 2011-03-01 00:39:05, Login wrote:
In the psytrance scene since all the videos show cast the artist playing their own song, there is no possibility for discovery.

On 2011-03-01 00:39:05, Login wrote:
Also since there is no incentive to become a serious dj in this scene, there is not a motivation to look for and buy new music. Must dj's just play what is already popular.

On 2011-03-01 00:39:05, Login wrote:
The live act "format" of one hour of the same music has also a very negative effect on the crowd: they just expect one hour of the music they already know. There is little desire for long journeys of music discovery. Established artist have very little motivation to evolve or experiment, they know the crowd expect one hour of the same thing.

On 2011-03-01 00:39:05, Login wrote:
Obviously there are exceptional live acts that they present performances that are unique, but that is more the rock ethos and doesnt help too much the evolution of the genre.