Is promotion part of your process?


#42

Hey, I love old photos where I have a bad haircut or I’m looking a little chubby!

(I’m bald, and more than a little chubby now.)

So… give it time. You’ll grow into those.


#43

I don’t really agree with this. I don’t think it has anything to do with the tracks themselves but rather your inner workings.


#44

Music I made in the past is fine with me.

Back then, I wanted it to sound like it did back then and enjoyed creating it.

My taste and skills have changed, so I like some pieces more than others. Whether I like them or not, I try to not let my current position towards the pieces taint my memories of creating them. But I try to recognize & learn from things that I could have done better.

It’s the same with old photos: They show the way I looked, and whether I like them today or not, the best photos were always the ones in which I did not reflect in any way how I may be perceived by others – or judged by myself.


#45

An update: I’ve been experimenting with SubmitHub.com. It seems like a good idea; a place where you can submit tracks to blogs and labels to get feedback, possible reviews, and perhaps added to playlists. I have been unsuccessful in my attempts to get my upcoming release accepted for review and/or inclusion with SubmitHub but the feedback has been at least entertaining. For example, I’ve had the same track judged as both “too abstract to be ambient” and “too ambient and unstructured.” The take aways for me are that I should have been more diligent in vetting the outlets I was submitting to and that electronic/ambient/drone/experimental is under-represented in that forum. Also that I might not know what “real” ambient music is. :wink:


#46

#47

Thank you! I learned about a new artist(for me) today


#48

Arthur Russell and Julius Eastman are both incredibly important to me. I’d say with Ornette Coleman they are the key American figures after 1945 (notice I’m leaving out Cage and so on.) Obviously, Russell and Eastman both failed miserably in the promotional game and in both cases to extremely tragic circumstance. [In Russell’s case it was also that there was so much unreleased music in these hybrid forms, he had no idea where it fit.]

On the other hand, they were well recognized, even in their own time among the people who truly counted, artists able to absorb their influence and writers/historians who were able to safeguard the material and finally get it the audience it deserved when the world was ready to hear it. To me that kind of community is all that counts. Honestly, I would be very scared if something like SubmitHub actually did understand what I was doing. Because of course that will have zero value or influence in any lasting way.

I’ve also been thinking a lot again about community and see my own role, infinitesimal and minor as it may be, as more of a propagandist for a certain way of being. If there is a need to do music as part of that (I still think there is), it will occur in that context. If there’s a need to write, or share others’ music, or collaborate, or work in some other medium then that will occur, as needed. That’s what I consider. And so it’s great for me that you are discovering Arthur Russell and Julius Eastman and then maybe taking a look at the films of Harry Smith and then Angus MacLise not with his music primarily but with his poem “Year” – a fundamental transformation of thinking that is somehow needed very much these days. Somehow there’s a thread behind all of this I’m just trying to discover it myself… and of course propagandize on behalf of it. And not put out or share my own work unless it fills a need.To me this is the essence of promotion.