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>You see my work as personal, but it is anything but that

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>You see my work as personal, but it is anything but that. It has very little to do with me, and that is why it is and will remain intriguing. Through it you will sense my shadow, but never myself.

> In contrast look at say Ninja Tune for example. All of their work drips with earnestness and tries to be quirky or have "personality". A radical mistake that ensures no one will care about it in the future - the exposed truth of personalities is so completely boring.

-Squarepusher, 2004
http://www.hijackbristol.co.uk/board/the-forum/squarepusher-interview/?wap2

Was he right about Ninja Tune, /mu/?
>>
Nah. Ninja is a very hit or miss label. Yes it has herbalizer and amon tobin and shit, people who are tryhards, but he's forgetting artists on the label like Machinedrum who just do whatever the hell they like
>>
>>71065673
>Machinedrum
But he joined rather recently, didn't he? The interview's from 2004.
Has there been a big difference in the label between then and now, though?
>>
Ninja Tune and Mo Wax were my favourite non-dance labels in the 90s and both were crucial trendsetters for alternative hip hop and downtempo providing platforms for some of my favourite artists and many of the era they wouldn't have found elsewhere.

I think they were a crucial part of the non-dance music in the decade along with Warp and while I'm not a fan of the type of music they champion now, they were awesome back in the day.
>>
I think there are two different mentalities at work when you make art, one where you make art for the present, and one where you make art for the future. You can do one or do the other, but they're both equally valid approaches, and neither really gives you the philosophical high ground to dismiss the other. If you do, you invariably end up missing out on part of the complete experience of being an artist.
>>
>>71065478
> In contrast look at say Ninja Tune for example. All of their work drips with earnestness and tries to be quirky or have "personality".
You mean they gave artists who didn't fit the big 4 mold, like you and most Warp artists

>A radical mistake that ensures no one will care about it in the future
Except Ninja Tune are still popular from Coldcuts first records to their latest releases

>the exposed truth of personalities is so completely boring.
Just like your music after 2002
>>
>>71066181
why did you drop your trip for this post turny
>>
Mo' Wax > Ninja Tune

Rephlex > Warp
>>
>>71066200
Not me, I liked Ufabulum
>>
>>71066217
Warp was important in the development of bleep techno and the whole bleep and bass scene, which later gave birth to breakbeat hardcore and jungle. Rephlex didn't have much going for it outside of some quirky electro and occasional oddball stuff that Richard liked enough to release on his label.
>>
>>71066245
Just looking at the early days of Warp and realised I don't really know Tricky Disco, know if they're any good?

https://www.discogs.com/label/23528-Warp-Records?sort=year&sort_order=
>>
>>71066306
Also. NoW always felt more of a NT artist to me
>>
>>71066306
where do I start with LFO
>>
>>71066515
Frequencies
>>
>>71066217
Hyperdub >>> Rephlex = Warp > Mo' Wax = Ninja Tune
>>
>>71067562
Lobster Theremin > Hyperdub >>> Rephlex = Warp > Mo' Wax = Ninja Tune
>>
>>71067575
>prefreshers
>>
>>71066434
Isn't In a Space Outta Sound their biggest album, though? That's on Warp.
>>
Can anyone explain rationally how the hell Machinedrum's "Rooms" from 2011 got 5/5 from RA? It's good, but the last songs are pretty weak and the album as a whole is nowhere near a 5/5
>>
>>71066710
L F O
F
O
Thread posts: 20
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