JUSTICE - thanks for ruining my life

smartass303 · Post by **smartass303** » Fri Sep 07, 2007 1:19 pm

peeedro is right,
there is this Rockband attitude on a Justice show.
And it is loud as hell...
They dont *do* too much, i guess its ok because their Tracks are 100% well thought out Arrangements.
Its only logical to arrange them for a performance.
And they kicked ass in Hamburg.

4 real bro,

303

peeddrroo · Post by **peeddrroo** » Fri Sep 07, 2007 1:41 pm

yeah, sorry, The Egg is in london.
the party should be cool.
pm me for guest list (don't know the size of it, so first arrived, first served)

back on topic, and as it was mentionned by robert henke, i think for such big acts, you can't really allow too much f*cking up when you play in front of 10000++ ppl....
you need a safety net. but then, i think the goal is to make it smaller and smaller.
mine is probably a bit too tiny and has a few holes.... but that's part of the fun!

Robert Henke · Post by **Robert Henke** » Fri Sep 07, 2007 1:51 pm

peeddrroo wrote: back on topic, and as it was mentionned by robert henke, i think for such big acts, you can't really allow too much f*cking up when you play in front of 10000++ ppl....

did not say this. instead made stupid not so super funny uninformed comment.
but i have to agree, i would not want to risk a total fuckup in front of such a big crowd.

also, the bigger the audience, the less it seems to be possible to really interact. all you can do is some kind of fake interaction ( let random audience chick sing along refrain of third encore, play 16bar solo in second half of fifth song...)

better play for 500 people and not beomce too famous....

R.

Obineg · Post by **Obineg** » Fri Sep 07, 2007 2:20 pm

The risk of fucking up is what makes it a "live" show , otherwise it´s just a show . .

mikemc · Post by **mikemc** » Fri Sep 07, 2007 3:59 pm

Robert Henke wrote:
peeddrroo wrote: back on topic, and as it was mentionned by robert henke, i think for such big acts, you can't really allow too much f*cking up when you play in front of 10000++ ppl....
did not say this. instead made stupid not so super funny uninformed comment.

hey, wait a sec, cut it out: if I have the mere-est, least-est role on this forum it is to make stupid not so funny uninformed comments.

[edit] yeh, re: original comment, you pretty much start going to any performances perceiving differently- if non-electronic you think how it could be done with electronics, and if electronic you think about how it's being done.

Robert Henke · Post by **Robert Henke** » Fri Sep 07, 2007 4:17 pm

Obineg wrote:The risk of fucking up is what makes it a "live" show , otherwise it´s just a show . .

could not agree more as far as my shows are concerned. but there are moments where i tohught i would rather want to press play and check e-mails than trying any longer to get the crowd into what i do with all my knobs............

.... and also have to agree that some of the most entertaining shows were those where everything what could go wrong went wrong. includes own failures. in the aftermath.

time for a "most funny stage show fuck ups" thread ?

R.

sparklepuff · Post by **sparklepuff** » Fri Sep 07, 2007 4:20 pm

We've already had that thread, I believe I won it. Let me go find it...

Worst Stage Performances

Tone Deft · Post by **Tone Deft** » Fri Sep 07, 2007 5:17 pm

try learning a REAL instrument and playing THAT on stage.

it's the element of danger that makes it exciting.

it's the 21st century and I think people saw the lack of talent on stage (as opposed to studio talent) coming from a long way off. sometimes it pisses me off, sometimes it's OK, I can think of rock bands that sucked live and I can think of e-mail checkers that rocked.

Homebelly · Post by **Homebelly** » Fri Sep 07, 2007 8:27 pm

Angstrom wrote:Live performance in the age of supercomputing

http://monolake.de/interviews/supercomputing.html

Thanks for that,, very interesting while i have my morning coffee,,,

Angstrom · Post by **Angstrom** » Fri Sep 07, 2007 9:48 pm

I think Robert's later points are very interesting, all of us have experienced that weird disassociation on stage . The disassociation between what is really being 'produced' at that moment, the way it appears.

I'm interested in the Tenori-on for this reason.

Granted, I now live and work in a world made up mostly of DAWS, virtual synths, samples and plug-ins, not to mention hardware interfaces, mixers, outboard gear and more cables than I would prefer. As a result, I often feel several layers detached from dealing with my sounds and music, so it may be only natural that the direct, more tactile experience the TENORI-ON provided may have conjured up for me memories of twiddling knobs on my first hardware synth or working a beatbox in real-time.

http://createdigitalmusic.com/2007/09/0 ... usic-kind/

beats me · Post by **beats me** » Fri Sep 07, 2007 10:14 pm

It should be said that not all Electronic music was written to be visually exciting but still enjoyable to listen to. Not all Electronic music consists of knob and fader tweaking or is meant to be danced to. Even if the artist played every single part that was humanly possible given the limitations of having 2 arms it wouldn't be exciting to watch, for example a lot of great Ambient music could consist of a lot slow pads or a basic piano melody.

This leaves a big gap of Electronic music that a lot of you wouldn't find worth the price of admission unless they compensated with a large visual show as well. I also think this is why some Electronic artists don't do shows. They might want to but there is all this expectation that the show has to be a blitzkrieg of visual stimulation that has very little to do with the music.

Angstrom · Post by **Angstrom** » Fri Sep 07, 2007 10:39 pm

indeed,
in some ways that is one of the points of the article ... that you end up being coerced by any form of success into having a large and generally viable 'on-stage' presence and catalogue.

When I started out in about 1990 my band's act was always set up in the middle of the 'dancefloor' our setup looked like the control of the tardis, in a big circle. The success that weird music and of those gigs meant signing a deal. Our music wasn't really 'dance music' , but once we entered the gig circuit proper there was increasing pressure to provide less experimental work.

Eventually performing in front of crowds of 2000 (or more) people, it was very, very hard at that point to even begin to consider setting up in the middle of all those people and making up music on the spot which has a small chance of coming out like aural shit.
I suggested it a few times to the general horror of all involved.

I would have been happy gambling, but many others urge against. As you get more established the number of cautionaries grows and compliant music is produced.

rarr · Post by **rarr** » Sat Sep 08, 2007 2:04 am

well i have to say, i have just returned home from seeing them and to me it doesnt matter how much "hands on" stuff they did tonight, they put on an amazing show, with amazing pumping mixes of their songs, and the whole place went crazy

, good times all round

EgAD · Post by **EgAD** » Sat Sep 08, 2007 5:43 am

the point really, is that they could have played pumping great mixes of their music with-out them, they could have just played a cd. the music we all agree is what is most important, there for why waste money on the show when it's not even necessary, pop in there disc/remixes into the player and have at it with your lady on the couch.

beats me · Post by **beats me** » Sat Sep 08, 2007 2:01 pm

Maybe some people would be happier if we came up with some kind of rating system similar to what we have for movies but instead of the ratings being based on what is morally acceptable it would be based on how much "live" performing takes place in an artist's show. That way people could avoid shows that don't hold up to their performance standards.