It’s hardly ever that I post anything that even resembles a mash-up, I usually find the genre trite and lacking in creativity. This being said every once in a while an artist can transcend their genre and produce something truly spectacular, although I wish Mitch had left Kelis out of the mix on this one. These two mashes hail from FAMUELS and an artist simply listed as Mitch-Mash, who might just have received his break through Earmilk’s weekly #mashupmonday promotion. I cannot follow proper copyright protocol on this post but I don’t think they’ll mind, as they cannot either.  |
| These Dudes Don't Like Skrillex |
By violating copyright infringement the advancement of music has been most felt by the electronic movement. I would expect Mau5trap Records of all companies to understand this, which is why I was very surprised to hear about a string of litigations launched by the company against artists and blogs. It was not long ago that Skrillex’s “In For The Kill” Mix illegally entered the headphones of millions of Americans not only paving the way for the now Mau5trap artist, but for Dubstep in America.
While Zimmerman engineers his own sounds, very few other electronic artists do the same, and even fewer started off engineering their own sounds. All I am saying, is simply that I am disappointed. The bootleg beginnings of the genre have been abandoned by those whom have reached stardom. Corporate America is trying to cash in on the boom of electro in the U.S., and by attempting to commercialize that which is so inherently progressive and malleable, the music is being constricted and confined. Electro was once the vanguard rebel spitting in the face of the establishment by creating music so tantalizingly orgasmic and addictive that at it’s shows the screams of the crowd bellowed such a resounding “fuck you” to the traditional media dynamic that it could never be shut down or understood by suits. From downtempo to dubstep, the rise of the electronic movement in America is inextricably linked with the rise of pioneering artists and bloggers who ignored copyright laws and used illegal samples in their music and posts, allowing the work of everyone with software from garageband to reason to try their hand at producing, and by doing unleashing a storm of talent from the United States. In every shape and form the dawn of the digital age has allowed advancement in the music industry, by taking power out of the hands of traditional media corporations and into the hands of the people.
For more on this subject check out Rip: A Remix Manifesto
While Zimmerman engineers his own sounds, very few other electronic artists do the same, and even fewer started off engineering their own sounds. All I am saying, is simply that I am disappointed. The bootleg beginnings of the genre have been abandoned by those whom have reached stardom. Corporate America is trying to cash in on the boom of electro in the U.S., and by attempting to commercialize that which is so inherently progressive and malleable, the music is being constricted and confined. Electro was once the vanguard rebel spitting in the face of the establishment by creating music so tantalizingly orgasmic and addictive that at it’s shows the screams of the crowd bellowed such a resounding “fuck you” to the traditional media dynamic that it could never be shut down or understood by suits. From downtempo to dubstep, the rise of the electronic movement in America is inextricably linked with the rise of pioneering artists and bloggers who ignored copyright laws and used illegal samples in their music and posts, allowing the work of everyone with software from garageband to reason to try their hand at producing, and by doing unleashing a storm of talent from the United States. In every shape and form the dawn of the digital age has allowed advancement in the music industry, by taking power out of the hands of traditional media corporations and into the hands of the people.
For more on this subject check out Rip: A Remix Manifesto