Melbourne Beats

Melbourne is the centre , the epitaph, of the music scene in Australia. Plain and simple. Sydney in particular, didn’t seem to have much balls in the music scene. Some good clubs there, but there wasn’t the substance, the quality or the talent that was being developed in Melbourne. I think that somehow, between Sydney and Melbourne, the scene was liquidated somehow. It still exists, sure, but it doesn’t exist freehand anymore. It’s become more of a corporate scene. You don’t see these young promoters running around anymore fired up, aspiring to do the things that were done to get people like me to Australia thirteen or fourteen years ago. In a city like Melbourne, if there’s internal fighting, it’s going to disrupt the scene. It is an awful, awful thing. It really is. It is a terrible thing. I can’t stand to see it happen. It does happen a lot from time to time, and I have watched it happen in Melbourne. Detroit survived because we didn’t have that. The artists have to communicate. They don’t have to love each other, but they do have to respect each other.

Interview in full: http://www.tranzfusion.net/articles/sho ... ewsid=5778

economics 101: in any industry, competitors must first cooperate to grow the whole pie, and only then can they compete for their slice.

otherwise youre just destroying value.

That is probably the best electronic music interview I have ever read.

wow, derrick may is now an expert on the melbourne scene. we all better listen to the all knowing!

Despite weather he is all knowing or not, it is interesting that someone from the outside would make such a comment.

shepherd wrote:wow, derrick may is now an expert on the melbourne scene. we all better listen to the all knowing!

Well my magic 8 ball is broken so what the hell else can I do?

sneaky hands wrote:economics 101: in any industry, competitors must first cooperate to grow the whole pie, and only then can they compete for their slice.

otherwise youre just destroying value.

On a lighter note, I don't think that the scene down here is really that bad, in the way of fighting and bickering. I've seen much worse in other scenes and other industrys.

Whether or not you think he's got a good grip on what's happening in Melbs; I think what he's saying is still valid.

x

^^^ yeah, I totally agree with what he is saying. I just don't think it's as bad here as it could be or is elsewhere that is all.

deviant wrote:^^^ yeah, I totally agree with what he is saying. I just don't think it's as bad here as it could be or is elsewhere that is all.

well it is a hell of a lot worse here than it was in Bristol - lots more communication and collaboration happening there and a much healthier scene for most genres of electronic music with a population of 400k - but i think there are other social and financial reasons for that too.

I agree completely that there needs to be more 'pie growth' collaborative efforts to get the next generations of youngsters into the scene.

I think (as far as DnB goes) just the fact it's Bristol helps too.

Although Christchurch on a population of 350,000 used to regularly rock 600-800 people at dnb internationals.

Bad Company after Shot Down On Safari got over 1K.

Not that any of this is really related to anything. Just interesting.

I see the bickering, I know it happens.... Maybe it's just never really effected anything that I've actually tried to do. Maybe I'll think differently if it ever does effect my projects.

Things are startin to get better, for breaks I think.

Out where I live it's all whatever's on the radio ie flaunt it etc. Thank god for JJJ, pushin alot of breaks lately and it's startin to make the genre alot more recognised amongst EDM fans, the crew around here are wanting to hear more.

JJJ are definatley helpin the pie grow in country areas.

more breaks n dnb parties.
but they havent really worked that well have they.

as a 'punta' im completely oblivious to any bickering whatsoever?

^^^ don't you read MB?

nic wrote:more breaks n dnb parties.
but they havent really worked that well have they.

as a 'punta' im completely oblivious to any bickering whatsoever?

Half the problem (IMO) is there is far to many little nights competing over the same small pool of people that have always gone out, rather than people working together to put on something mid sized and decent and attract a new crowd.

Kenny Larkin last week was a prime example of a party that was excellently promoted, support line up was excellent (with a variety of DJs from different genres and different social circles) and playpen was RAMMED with punters.

I thought this was relevant from the interview too..

"A scene only loses its intelligence when it moves out into a kind of vast wasteland where substance abuse and music pollution are allowed to exist, where certain things can?t be controlled anymore. When Detroit techno becomes just techno. When it becomes the music where any idiot with a computer can call himself a techno artist today, and tomorrow, be working in the bank doing mortgages. "

that was an awesome read. derrick may is a legend.

sneaky hands wrote:grow the whole pie

mmmmmmmmmmmmmmmmmmmmmm..................................grow pie

Miss Bee wrote:

nic wrote:more breaks n dnb parties.
but they havent really worked that well have they.

as a 'punta' im completely oblivious to any bickering whatsoever?

Half the problem (IMO) is there is far to many little nights competing over the same small pool of people that have always gone out, rather than people working together to put on something mid sized and decent and attract a new crowd.

Kenny Larkin last week was a prime example of a party that was excellently promoted, support line up was excellent (with a variety of DJs from different genres and different social circles) and playpen was RAMMED with punters.

I thought this was relevant from the interview too..

"A scene only loses its intelligence when it moves out into a kind of vast wasteland where substance abuse and music pollution are allowed to exist, where certain things can?t be controlled anymore. When Detroit techno becomes just techno. When it becomes the music where any idiot with a computer can call himself a techno artist today, and tomorrow, be working in the bank doing mortgages. "

This is definitely evident in the d'n'b scene.

The guy makes for good quotes, but i think what he says is essentially rubbish.

I'd really like to know what he means by that general comment.

Intelligence in a scene - ffs, it's dance music.

:S:S ""A scene only loses its intelligence when it moves out into a kind of vast wasteland where substance abuse and music pollution are allowed to exist, where certain things can?t be controlled anymore. When Detroit techno becomes just techno. When it becomes the music where any idiot with a computer can call himself a techno artist today, and tomorrow, be working in the bank doing mortgages. "

Sorry to not be lining up to dickride the guy, but I don't get it

You don't wanna dickride him?

Why not?

*sigh*

Whatevs.

I don't think everyone is lining up to 'dickride' as you so eloquently put it.

Just interesting to note that an international act has perhaps picked up on some issues that our scene and people on this board have been discussing for a long time now.

There have been so many discussions here about where the scene is going wrong and how internal in-fighting have plagued particularly the d'n'b and breaks scene here and i think it is a worry that touring artists have noticed it too.

Miss Bee wrote:
Half the problem (IMO) is there is far to many little nights competing over the same small pool of people that have always gone out, rather than people working together to put on something mid sized and decent and attract a new crowd.

Melbourne is blessed with talents DJ's. A number of my mates are wicked DJ's who don't usually play out. How are they all supposed to get a gig? The little nights provide a perfect outlet for those to get out and strut their stuff, learn the trade, and be available for those bigger events. It also provides healthy competition amongst all DJ's which will help them to improve their skills. So I don't think there being too many little nights causes too much of a problem. Granted, those small events on the same night as another event will cause a problem, but that can be worked out with promoters carefully choosing when they have their event and the lineup they choose.

I strongly agree with your second point re attracting a larger crowd. It's something I am always thinking about with my night and parties and I'm associated with. In terms of breakbeat, I think there would be less than 1000 people who follow it with keen interest and be at a party every month. I may be wrong with this figure, but I base it on the number of people I've seen at breakbeat events in Melbourne the past 6 months (which is quite a few of them). In short, you have to get out there and promote your gig every weekend to different people in bars etc, and drum up interest in music publications, universities etc.

I don't wanna argue about whether there is too much arguing..... seems pretty pointless, the negativity doesn't have to effect you if you don't let it.

I agree with Ben to a degree, I read the comment about the bedroom producers and it made me cringe. I felt it was an "elitist" comment, basically like "we are the original techno producers and always will be"...

If you are producing and working at the bank TO FEED YOUR FAMILY then that is more than OK with me, we need more bedroom producers to keep pumping out tunes for the scene, the more local ones the better.

I always play local beats, I totally dig playing BluePrint, Thayer, Hook n Sling, poxy music, mangan, nubreed, dopamine, chable etc etc.... not just because they are local (some sydney, but local as in ozzie) but because they are GOOD.

EDIT: BTW Lucas, you started the discussion, surely you could imput something more constructive than "whatevs". I know you and Ben have had "tiffs" on here before and yeah, he made his point quite crassly BUT that's Ben, he made a valid point IMO

deviant wrote:EDIT: BTW Lucas, you started the discussion, surely you could imput something more constructive than "whatevs". I know you and Ben have had "tiffs" on here before and yeah, he made his point quite crassly BUT that's Ben, he made a valid point IMO

Yep. And I'm happy to have a civil discussion about it. Not really up for anything below the belt today. *shrugs*

lucas wrote:*sigh*

Whatevs.

lol lucas - why do you assume i'm talking about you dude ... I'm just making a comment about something I think is nonsense.

*Sigh* - please ...

How is what I am saying 'crass' ... i used the word 'dickride' and that is pretty much the only lowbrow comment I've made.

My point was 'who is derrick may to make a comment about Melbourne?' He is hardly qualified in my opinion.

And remember - Derrick May talks up innovation and all kinds of other jazz ... lets not remember that Strings of Life was horrendously covered last year and signed globally to MOS, given a shocking diva vocal overlay and licenced to ANY compilation that wanted it.

If May really cared about innovation and dance music not being a commodity he would never have let his signature record be abused like that.

Great quote - but it holds no value coming from a Detroit has been.

Don't forget that Derrick was managed by former Melburnian Richard Marr for quite some time (might still be, not sure), so any view of Melbourne would definitely be skewed by his viewpoints.

In other words, just say Marr was annoyed at some other promoter who took on his Innovator parties or something - there may be an underlying motive.

what do you mean AJ? Derrick's words skewed by a vested interest?? No waaaaaaaay

Where are the breaks parties on the same scale and level of interest as calyx, pendulum etc ?

The ones everyone loves that are rammed.

I cant remember the last 'big' breaks party I went to like that. But im sure calyx on sat will be like that.

'small' parties like stylus are great and dont detract from any scene, most of teh people there are regulars anyway or associated with those who go. Stylus for one is always diverse and has a great atmosphere. Prob why its pretty much always good.

Where else would I get to hear peeps like SWM and Lephrenian get to play out at?

"It’s become more of a corporate scene. "

Can someone explain this one?

Are Macquarie Bank behind the scene in Melbourne. Are Melbourne clubs on the ASX?

shepherd wrote:How is what I am saying 'crass' ... i used the word 'dickride' and that is pretty much the only lowbrow comment I've made.

Man, I was trying to be diplomatic. what you are saying is not crass it is valid, using "dickride" in referance to everyone who valued May's opinion is crass. I personally dont care either way, I was just being empathetic to Lucas.

shepherd wrote:"It’s become more of a corporate scene. "

Can someone explain this one?

Are Macquarie Bank behind the scene in Melbourne. Are Melbourne clubs on the ASX?

We're just going through the due diligence process ourselves for Stylus. Do you want a prospectus?

nic wrote:'small' parties like stylus are great and dont detract from any scene, most of teh people there are regulars anyway or associated with those who go. Stylus for one is always diverse and has a great atmosphere. Prob why its pretty much always good.

Where else would I get to hear peeps like SWM and Lephrenian get to play out at?

agree

however dickride is a great word, and has been used to great effect here.

shepherd wrote:"It’s become more of a corporate scene. "

Can someone explain this one?

i think his opinion is that promoters are increasingly looking after their bottom line at the expense of the punters or party.

Do you want a prospectus?

ahh no i want a genital prosthesis the one i left in teh bathroom at stylus was fine can i ahve it back?

lol scene politix (like that crap shop)

shepherd wrote:"It’s become more of a corporate scene. "

This also coming from someone who is probably charging thousands of dollars for each of his performances.

nic wrote:

Do you want a prospectus?

ahh no i want a genital prosthesis the one i left in teh bathroom at stylus was fine can i ahve it back?

lol scene politix (like that crap shop)

No it's in use. I'll be finished with it by Monday.

nic wrote:Where are the breaks parties on the same scale and level of interest as calyx, pendulum etc ?

I think people are just scared to go that big... I know I would be pretty hesitant to front the sort of $$$ that would require at this stage. Don't get me wrong, that is our ultimate goal at RLT but it's a while off yet.

ed209 for 3 people is worth it

ummmm sure, you got the $$$$ ??

valuetime wrote:

shepherd wrote:"It’s become more of a corporate scene. "

Can someone explain this one?

i think his opinion is that promoters are increasingly looking after their bottom line at the expense of the punters or party.

and this is a new phenomenon? if you want a scene to be sustainable surely it has to be financially viable.

also - coming from someone who charges prob 10k plus for a DJ gig this is really rich.

also, coming from someone who licences tunes to corporations it's so rich i think i'm choking on my own self satisfaction.

shepherd wrote: i think i'm choking on my own self satisfaction.

rofl
man some day when i figure out who the fuck you are im gonna buy you a beer.

nic wrote:Where are the breaks parties on the same scale and level of interest as calyx, pendulum etc ?

The ones everyone loves that are rammed.

I cant remember the last 'big' breaks party I went to like that.

*cough* 33 & 1/3 *cough*

Just coz they let dnb acts play doesn't make it any less a Breaks party.

Speaking of which, when was the last time a major DNB night had a Breaks room? I can't think of a single one.

Miss Bee wrote:Half the problem (IMO) is there is far to many little nights competing over the same small pool of people that have always gone out, rather than people working together to put on something mid sized and decent and attract a new crowd.

Kenny Larkin last week was a prime example of a party that was excellently promoted, support line up was excellent (with a variety of DJs from different genres and different social circles) and playpen was RAMMED with punters.

I kind of see your point about lots of little parties, but then to use the Kenny Larkin party as an example of the opposite is waaay wrong IMO. There was no working together with other crews, it was a Soma Corp party and held in a venue with a capacity of 300. I'd call that small.

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breaksRbest wrote: Speaking of which, when was the last time a major DNB night had a Breaks room? I can't think of a single one.

not trying to start a debate about which is intrinsically better, but it seems that generally, while breaks fans can tolerate dnb, dnb heads cant stand breaks.

sneaky hands wrote:

breaksRbest wrote: Speaking of which, when was the last time a major DNB night had a Breaks room? I can't think of a single one.

not trying to start a debate about which is intrinsically better, but it seems that generally, while breaks fans can tolerate dnb, dnb heads cant stand breaks.