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Yo, crew. I know some of you remember that a couple of weeks ago I came here asking you what questions would you like me to ask Mike Paradinas in an email interview for a mag. Well, the interview is done and I thought I'd share it with you lot since you have been helpful and I know you are interested. Since it's quite long, I'll separate it in several posts, OK? Q:It has taken you three years to come up with a new album. In these three years a lot of things on the electronic scene in particular and music world in general have changed. Do you feel that the music of mu-ziq has moved on with the times and if yes how? A: If my music has moved on, I know not why. You mention scene changes: since '99 the "electronic scene" seems to have got full of lots of amateurs - by that I mean everyone (92%?) who listens to "idm" trys a couple of gos at making it, if not more. This is great in theory (a level playing field), but in practice is bad for the scene... too many releases - like looking for a needle in haystack. There needs to be some filters (record labels?) to weed out all the shit.... Stylistic changes in the scene: not that many since '99 - i would say a couple are - the resurgance of drill'n'bass and popularity of breakcore and hardcore (possibly thanks to planet mu's championing of Hellfish and Snares?). Perhaps it is my 2 children or the inspiration of planet mu artists, drum'n'bass and garage tunes that have changed my sound. But I suspect it is a coimbination of all things - not least my change from Atari to Apple-Mac. And audio-sequencers. Q: As an electronic producer that has managed to get the attention of a broader audience and simultaneously a support from a big label, how do you feel about this kind of music often being ghetoized, either by "insiders" who like to think of it as an elite genre, or by "others" who think it's just so much pseudointellectual garbage that extracted any fun dance music might have had left? A: Well, regarding "insiders", I think it's |
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A: Well, regarding "insiders", I think it's human nature to want to keep your discovery to yourself. in the same way that rare-groove or northern soul djs cover up the labels of their 7"s so no-one knows their secret "battle-tunes'... Also, I love dance music and often try to keep some "fun" and funk in my music and some of the music I curate for planet mu. I am often derided for making un-funny comedy music. ho. |
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Q: How do you react when people ask you about the hardware and software you use to create music? Do you often hear things like "I wish I had this or that piece of software, that's all I need to make better music!" A: I think you know the answer to this. Yes, you can do pretty much anything you want with the main software programs these days. I don't care what people use. The only limit is your imagination (as Barney the dinosaur [and Glass Domain] says). Q: You have numerous aliases and monikers that act like outlets for various musical interests you have as an author. On the other hand, even though mu-ziq has started as a colaborative effort, you haven't been big on colaboration ever since. Apart from the Mike and Rich album, other stuff has pretty much been solo. Is that a conscious decision or just the way things happen to be? Outfits like Plaid or Autechre seem to be an example of succesfull duo work in electronic music as opposed to solitary authors such as RDJ, Sqarepusher, Venetian Snares or you... A: I also collab'd with Speedy J on the Slag Boom Van Loon album. It can be fun working with others, but sometimes the ideas can become diluted. You have to find a particular area/mental-musical space where you can both be well creative together. It takes a few attempts and you have to persevere. But as you noticed I work alone. This is because Frank (who I did some of "Tango..." with) left me. I was sad (also because he owned the computer and all the gear), but I came back and decided to have a go on my own. |
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Q: "Billous paths" among other things uses some ragga and hip-hop samples. Previous mu-ziq albums have also featured recognisable samples of Gang Starr for instance. As obvious as it is that hip-hop has had a big influence on (not only british) electronica producers, the majority of the audience seem to be white middle to upper middleclass youth with little or no interest in hip-hop. What is the relationship between "community"music genres such as hip-hop/ reggae and more "abstract" forms (if this separation is even realistic)? Any chance that audiences benefit from getting familliar with both? A: I have never been into hip hop. I don't listen to it. I get all my 'supposed' hip hop influence from Jungle and UKGarage which both sample it & are the forms of music for young people today in England (apart from American 'Punk' influenced white Rock which I don't "dig"). I was into some Electro (proto hip hop?) when I was younger (in 80s) like some of the Streetsound Electro compilations where I first heard drum-machines and bits of electronic (like Kraftwerk...) which is where I sampled the rap for "Silk ties" from. Also Hellfish is big into old-skool rap and makes me tapes. But my big love was rave (90-93) and Jungle (94-96). And now uk "grimy" garage (2001+) which is the bastard son of jungle.. and hip hop? It's becoming the first real British street rap perhaps. Stuff like Wiley and Dizzee. But also the bass heavy sound of Black Ops and Optimal Noize. Q: With all the political upsurge going on within the leftfield music, inspired by the recent Iraq-related events, is there a place for electronic music (usually equal partsabstract and intimate/ personal) to analyse, criticise and educate? A: It can juxtapose and provoke in the way that much art can-- there's always room for that in politically uncertain times. personally I find it hard to write any music with a concept in mind, and find it best to go with the "flow". Have you heard Jonny L's new single? It has George Bus |
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A: It can juxtapose and provoke in the way that much art can-- there's always room for that in politically uncertain times. personally I find it hard to write any music with a concept in mind, and find it best to go with the "flow". Have you heard Jonny L's new single? It has George Bush on it - here's a sample: http://217.158.65.110/MP3/SF118144-1.mp3 |
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Q: Do you think that most people identifying George Bush as the epitome of Evil does more good or bad? A: I think most English see him as a short-term moneygrabber. Just in it for US's profits. Q: You have done quite a few live performances in your career, even playing to more varied audiences in bigger venues with the likes of Bjork. Laptop and electronic artists are often accused of not putting a show, reading their email onstage, not having a proper stage presence etc. What is your take on this? Surely, music made in bedrooms should not be listened to in bedrooms only? A: I think the problem with the "entertainment" factor of laptop shows happens mainly in the States. I've had no complaints in Europe/Japan or Canada. I think that (American?) people expect you to walk about the stage with your laptop throwing it about and shouting at the audience. Seriously tho': Electronic music is a necessarily studio-based music and doesn't translate well to the live arena... |
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Q: Planet-mu has been started as a major-label imprint but has gone to become a true DIY effort over the years. Knowing a wide array of obscure and brave acts you have been releasing on the label, one can't help but wonder do you feel you are fighting a losing battle with the business and the apathetic audiences or is this your wildest dream come true. A: It is my dream come true. Not very wild. I don't think I'm fighting a losing battle anymore than other electronic labels, there is just a general downturn in all sales, I'm just happy putting out music I believe in. In fact we are now starting to do relatively well (relative to some other elec. labels), so there is some cause for celebration. But it's still very difficult to get records into shops in some places. Germany(+switz/austria) for instance.. we always seem to have bad distribution there.. and non-existant in other places... |
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Q: Over the past couple of years with the proliferation of online file sharing, record industry has started retaliating with some nasty gestures. However, the environment is changed and the effects on record sales are visible. You have commented on more than one occasssion that, having understanding for people who share music over the line, you feel that whereas major labels might experience troubles, small labels like Planet Mu are being destroyed by people who have stopped buying releases and just download music for free. Has anything changed in the meantime? A: No, I have to defend some musicians way of life surely? most of them earn very little (usually nothing) from a cd releases anyway, so all these kids (mainly in US) who whine about being poor, and giving a finger to the corporate system earn far more than the musicians they steal from. I am fine with people downloading mp3s to check out tracks, or obtain hard to find releases. It's just that lots of people only ever have mp3s and never buy anything, but there is nothing I can do. There is no business model to compete with "free". Miguel from tb6 told me he was going to use a new copy protection system on all his cds soon... but I am not into that I would prefer people to be responsible themselves. Idealistic. So eventually Planet Mu will have to stop - when we run out of money, but hopefully not for a few years yet. It is just sometimes annoying that an artist like Vsnares who works very hard, sells very little. Basically since Planet Mu started sales have dropped to a sixth of what they were (16.6%)... Warp also sell less now I think.... but their sales are far larger. There is a thread at xltronic on Warp US soundscan sales and I was so surprised at how much they sold. |
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Q: After your latest album leaked on the Internet several weeks before the release date, you mentioned stopping releasing music under this name and eventually shutting the label down. Still feel like that? A: l like what? I feel really good, and I did at that time too. My reasons for doing what I do are not because I'm unhappy - in fact I was very pleased when I heard it was on Soulseek. I was just trying to be humourous when I wrote on the promo cds: "The copyright is owned by Planet Mu Records Ltd..." (this makes me laugh because copyright has little value in electronic [or any?] music, today) so I added: "Like you care, and if I find copies on any p2p network before the release date there will be no more µ-ziq albums." So now I suppose I have the choice of abiding by this or not, I don't give it much thought at the moment. If I have a new release I might use the name if it seems the right thing to do. I was never annoyed because this is such a common thing and it affects me little; so what if I have to get a non-musical job? at least I will have more money to look after my kids + wife etc. |
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Q: With bastard-remixes being many people's passtime lately it was no surprise to see two EP's showing up on Planet Mu with your favourite artists using pop-music anthems to play around, chop-up, comment on and turn to their own ends. However, in theory, is this any different from people downloading Planet Mu releases for free? They take your property without paying to listen to at home, whereas you take Christina Aguillera's and Eminem's property (or their labels' property to say the least) to make money off. Is it different because you have artistic ends in mind and how? A: No, it's illegal, that's why they were called "Criminal" eps. We are stealing just as everyone else is, just we are making art out of being criminal, whereas some thieves are not- it's just un-cleared sampling, effectively. I don't think we made much money from it - maybe around 100 Euros altogether off both eps. Vinyl doesn't make much money as it's now so expensive to manufacture. But I think the Planet Mu eps are a little more creative than a lot of the other bootleg mash-up style things, especially the ones that just layer an r&b vocal over a rock track (yawn)., the exeption is Osymyso's "Intro Introspection" (download it on slsk!)... a v. cool track made just of intros of pop trax. |
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Q: Where do you go from here? Mu-ziq being your best known moniker and your most eclectic project, are you going to focus on some other existing projects of yours now or create a new identity? Where does the electronic music go from here? A: Me not know. I am doing another Kid Spatula 2cd to be released next year, all very melodic & some ambient(ish) sounds... no title yet. I have little time for recording or making music these days, what with the label & family. (and the label family!) |
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Q: You are famous for discovering less known artists and giving them a chance to live their visions (Hellfish or Doormouse, but Venetian Snares is the best example with your unprecended dedication to putting his stuff out), any surprises on the horizon? A: Lots of new releases on the horizon: Leafcutter John - The Housebound Spirit (cd album) Ambulance - The Curse Of Vale Do Lobo (cd album) Subjex - Interstella (7") Guilty Connector - Conspiracy Of The Mankind (7") Venetian Snares - Einstein Rosen Bridge (12") Remarc - Sound Murderer (3LP/cd album) Urban Myth & Steve Beresford - Live at the Friends Meeting House (cd album) dDamage - Radio Ape (cd album) Venetian Snares - (2LP/cd album) Various - Children Of Mu (2cd album) Datach'i - Mmale Ffemale (cd album) OOO - Upon Cycles (cd album) edIT - Crying Over Pros For No Reason (cd album) Julian Fane (cd album) Remarc - Reloaded(?) (2LP/cd album) Jega - Variance (2LP/cd album) |
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Well, that's it, boyos and girlos, hope you like it... |
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what exactly is uk garage |
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Someone described it as "RB vocals over two step beats, played on 45 RPM". |
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great interview! thanks for putting this up |
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No probs, hope Mike P doesn't mind..... |
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Cheers Meho- nice to see the results of our questions. Thank you. |
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Cheers Ceri, you took a part in it as well. |
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Super-good Meho! Very good questions! And thanks to Mike for the good info and answers! |
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Heh, glad you likkked it. |
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nice to see the this great interestinf interview, but much better to see you around |
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Really good, man. Shit, Meho. What happened to you? I remember last summer reading your posts every day. Usually they contained references to sex and/or pornography. Which was good. Where have you been? |
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Heh, I'm here, but I am quite busy and have no time to hang on the messageboard that much. I am getting promoted next week so that'll give me even less time. Ahhh, curse the money for stealing sweetness from our lives... |
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yo meho! a nice read. how is beograd these days? |
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Well, it's good to feel your presence again, man! |
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Holy shit, Korben, I feel so ashamed, I never got around to replying to you, sorry dude, I'll get back to you again, I promise...... Heh, my presence will end very soon, I'm afraid. |
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hehe .. shit, wasn't meaning to scare you off man!! nice to "see" you :) |
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I know, you weren't. Boy, you look more and more like Miguel Depredo with every passing day. |
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hehe .. i'm still working on "the stare". |
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Did you see that he's about to start using copy-protection technology on future Tigerbeat6 releases? I mean after making stuff he made on violent turd and all that bootleg/mp3 killed the CD star thingy this is quite ironic... |
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serious? i saw him live a little while ago here in auckland. an incredible set. i also listened to the australian jjj radio interview with him. re: the stealing of pop samples he said people say radiohead and bjork (those were his examples) stole from the underground - its time for the underground to steal back. i would have thought he was more like mike p - hope for responsible fans?? u know that lesser mp3 cd hasn't arrived .. "supposedly" its still on its way .. haha |
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It's in the interview posted on this thread, silly. Huh, Bjork "stole" from the underground? I mean, she did the last tour and album with his pals from Matmos. |
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oh . i was talking about kid606 :) but yeah. . i got the mike p thing from your interview. yeah .. thought the bjork thing was a bit weird, tho the way he said it, it sounded like he was paraphrasing other people. don't know. |
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I was talking about Kid 606 too, Korben: " Miguel from tb6 told me he was going to use a new copy protection system on all his cds soon... but I am not into that I would prefer people to be responsible themselves. " |
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ah shit .. too true, touche .. :) |
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On a side note, I see that on the other thread Phobia says that everyone who mentions Skyfarmer in a post will be temporarily banned. Does this mean that I am banned from this moment on? |
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so are you publishing/have you published the interview as is .. or have you made an intro etc.?? or cut and pasted quotes and things? on another side note:. you'd think it would at least be cancelled by you sharing the interview? |
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It will be published in the next issue of this serbian music mag and I don't think it being posted here will have any impact on it, since I'll edit it down to 1500 words anyway. I'll write the intro myself... |
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ah cool. yo - i have to shoot off. good to see you :. hope you're keeping well. btw. Zizek is fuckin brilliant! |
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Zizek is the shit!!! Sweet dreams, boyo!!! |
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;) i'll try and get some scans sorted for you. |
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That's great Meho :) Cheers. |
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Cheers, gig. |
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It's just good to see you around sir. Shame you can't stay and congratulations on the promotion! |
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Heh yeah, it's crap actually, more work and responsibility for a little more money. But nice to see ya guys, he, he. |
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Oh man! Typical title change and heap loads more shit on you. |
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Exactly. But as I am extremely irresponsible, I'll make the worst of it, hehehe. |
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Thanks for the interview Meho. Btw: Whats a DIY label? |
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Wasn't the Criminal Ep done by Bit Meddler? |
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