|
Post by acsenger on Mar 13, 2017 22:45:45 GMT -5
|
|
|
Post by andypandy380 on Mar 14, 2017 13:15:59 GMT -5
Yep, utter waste of time. I don't know why releases like this seem so prevalent in the noise world. It's like they don't want anyone to listen to it, and from a standpoint as a collector, this sort of thing is no more appealing (to me anyway) It was the same story with the Pulse Vegan single, just a fundraiser for a guy's vegan café... it did get a release on bandcamp eventually
|
|
|
Post by acsenger on Mar 16, 2017 7:05:59 GMT -5
Yep, utter waste of time. I don't know why releases like this seem so prevalent in the noise world. It's like they don't want anyone to listen to it Hmm, I don't know if it's that prevalent? It could just be me, but to me it doesn't seem like there's a lot of such ultra-limited releases (although I know Hospital Productions releases a fair number of ridiculously limited releases).
|
|
|
Post by trollh on Mar 18, 2017 19:42:50 GMT -5
I know Hospital Productions releases a fair number of ridiculously limited releases). Yes, and there Dominick explained, for a question why is it good release something popular in an edition of 20-30, "before the internet folks, and all access days you can only buy them, so thats great" and told its not his failure his early releases are over $100 up to $1000 on discogs or so. Then he released a "nothing special" bundle for $300, a VAtican Shadow book for over $120, with postage over $200. You must buy it because they call it art. (I hate this idiotism of view) Of course, beginners, not-well-known, test pressings must be stay as a curiousum, but thats all. Or if a well-known Artists well known serial release which was released in a 2-numbers copies are found on the web in 2017, they should not to be anger or selfish. Thats somehow the fans spit into eye.
|
|
|
Post by trollh on Mar 18, 2017 19:49:54 GMT -5
And thats why for exemple, bonus thought, thats why I don't understand Ichihiro Tsuji (DIssecting Table) in the last 3-4 years. After a few "Limited to 2 copies" of his discogs submission ive found i dont have a wish to hear them. Would be great, but I cant own the psychical release, if i own a RIP, its nothing, cause its maded for 2 people only. Its cant be such great as "Ocean" box or "Why" or anything, so... That was the same with Bath Elevator... Cause the limitation I very much wished for hear it, then I asked myself, doesnt thats why it was so limited? I have lost nothing.
BTW I am curios on the new Incapacitants CD-R released on Alchemy in a few days.
|
|
|
Post by andypandy380 on Mar 20, 2017 5:33:52 GMT -5
Maybe prevalent wasn't quite the word... I just had the discographies of Prurient, Wolf Eyes etc in mind. I guess the very real difference with Wolf Eyes is that they record almost everything they do, live material and studio sessions/outtakes are made into self released, home made CDrs and lathe cuts. I think it's more to document the bands progression as they experiment, perhaps even more for their own benefit and/or amusement. I've bought a handful of those at shows and online, theyre not always a great listen. Nurse With Wound are also very big on the highly limited releases. There are albums only available at certain shows, £25 for a CDr (I have personally seen fans at their shows get quite aggressive around the merch table, spending upwards of £200 on them) There have also been some vinyl-only albums recently which are very limited and very expensive. I guess the redeeming thing about NWW is that they are good at putting together nice CD compilations and re-releases that tie up the loose ends. There must be an absolute wealth of previously released Merzbow rarities that could work in a compilation, I think 'Another Merzbow Records' could be the only example of that we have.
|
|
|
Post by trollh on Mar 25, 2017 15:15:35 GMT -5
OK, but 50-50 the hope for get anything in style on the release. This experimental music is a very subjective style, but I feel a bit arrogant if I recording my breath of 4 mins and release on a cdR for $10000 just because im poplar in the underground. OK, handmade healthy package can be a solution like its an art object as a difference between the problem, but look at Essence Music, Konchukii was awesome, its mind-heating nowadays to keep in my hands, and it was very cheap, but in a very limited but available quantity... (And all of my respect of them for prepare those lot of paper bugs!)
|
|
|
Post by andypandy380 on Apr 2, 2017 11:19:39 GMT -5
|
|
|
Post by davebowman on Apr 6, 2017 11:04:10 GMT -5
I'm gonna buy all 23 copies, then destroy 22 of them, so it's even rarer!
|
|
|
Post by andypandy380 on Apr 8, 2017 8:25:25 GMT -5
Yeah do it... I don't even think it's sold out yet lol According to them on YouTube, it's strictly limited to those 23 copies. ie: no hope of a digital release, even though they took to time to create a promotional video for it... I was gonna ask their reasoning for that but tbh I couldn't be bothered in the end
|
|
|
Post by trollh on Apr 8, 2017 13:56:26 GMT -5
OEC said one copy / order
|
|
|
Post by venereologist on Apr 9, 2017 13:08:52 GMT -5
Yep, utter waste of time. I don't know why releases like this seem so prevalent in the noise world. It's like they don't want anyone to listen to it, and from a standpoint as a collector, this sort of thing is no more appealing (to me anyway) It was the same story with the Pulse Vegan single, just a fundraiser for a guy's vegan café... it did get a release on bandcamp eventually Context matters. In most cases, a Merzbow release limited to a pathetic number of copies is stupid, what with him being a world-renowned noise superstar and all. He's about as "in demand" as a noise artist can possibly be, and look at what a flurry of activity this forum experiences on a regular basis! At least if it's for a fundraiser, though, appeasing the collector/general buyer market is not really "the point" of the release. The point is to make money to fund something. Let the collectors fight over and gouge one other on the second-hand market. That's really their choice, not their obligation. Life goes on without that one limited edition Merzlathe that people are writing off as "crappy" anyway (so why do they care, then?). It's not up to artists or labels to appease these people when it's expressly stated that a release is intended to be sold quickly for the purpose of fundraising. Really, it's not their job to appease the largest number of consumers with any release. If they choose to put out limited/"die-hard" editions, so be it. I think a big motivator for it is that it simply pays the bills. Labels and artists can't expect to continue operating on a dream and 1,000+ pressings of a noise record, or any other kind of extreme/underground/non-commercial music. Sometimes, shamelessly overpriced novelties and hyper-limited collector scum editions keeps the doors open for small labels. Sad but true. It's the same reason labels release endless, mediocre Agathocles splits in five different colors and overcharge for the test pressings on ebay: Collectors buy them, and the scene and labels are sustained by it. It's less about sheer profit and more about keeping the network of bands, fans, labels, communities, venues, etc. alive and communicating and providing mutual support without big labels and corporate backing, I believe. Nobody in the underground is really getting rich doing any of this. It's just the way of "punk rock" economics. Outside of world-renowned artists like Merzbow, and well below the third-tier of noise scene notables, limited editions are purely a matter of practicality and logical thinking. Speaking from experience, I can make 10 copies of something and sit on them forever. I've still got copies of things I did a decade ago. Chalk it up to a lack of self-promotion and whatever else (lack of talent?), but the fact is, the market for unknown noise artists is practically non-existent. I give away more than I sell! Why would I or anyone else who has to self-release, promote, manufacture (often by hand) everything even bother making as much as 23 copies of something they might only realistically sell out their stock within a year+? It's not like anyone in the noise ghetto makes money doing this. I have no delusions of ever being "Merzbow-famous" some day, let alone seeing what I do increase in value within my lifetime. I can dream, but I don't do limited releases designed around dreams of a better future (what good does it do me when I've already sold my ltd. edition stock of 5-10 copies anyway?). I manufacture ridiculously small quantities because I do this for the love of doing it, and know that it's hard, if not financially impossible, to sell noise to people unless you're already established. Maybe it's easier if one is willing to demean themselves incredibly by whoring/hyping their work/name endlessly on social media and trying to latch on to more important people (I am not). But if I had a higher profile as an "artiste", such that I could afford to do noise for a living and manufacture large quantities, why wouldn't I? As it stands, that's a delusional pipe dream, and my releases aren't going to be valuable until I'm 20 years dead and they become "cult relics" of a bygone era that have more historical value than artistic merit. Sorry this turned into something of an unhinged, rambling rant. A lot of this just seems like common sense to me, though.
|
|
|
Post by acsenger on Apr 10, 2017 8:37:36 GMT -5
Super limited (e.g. 10 copies) releases of completely/almost unknown bands/projects is understandable as demand and supply are probably in equilibrium. However, when it comes to someone as famous as Merzbow, an overpriced lathe-cut limited to 23 copies is ridiculous in my opinion. I'd argue this is the case even if the release is a fundraiser for a noble cause or simply to keep the label going. In such cases there should be two editions: one regular one (with a regular price tag) and one expensive, flashy, deluxe etc. version for the hardcore fans. This way everyone would win (granted, the label would have to pay for a regular edition, but at least the release would actually make sense artistically).
|
|