commendation for outstanding service to human race: resident advisor

How rude

amazing how it could potentially either be a fuck-you for being #woke, or it could be a fuck-you for all the ways they've failed at being #woke in recent times

maybe he doesn’t like how they review his records

I would need to go through the archives but Omar-S seems to be in that league of Critically Acclaimed Auteurs who always seem to get praise all-round for everything they do

they keep routing obnoxious RA fans to his shows

I would need to go through the archives but Omar-S seems to be in that league of Critically Acclaimed Auteurs who always seem to get praise all-round for everything they do

― boxedjoy, Tuesday, May 26, 2020 4:14 PM (four minutes ago) bookmarkflaglink

You can't do this just glancing at the scores anymore. Maybe he's pissed they aren't grading his rekkids anymore!

reviews of the last few omar records in RA have been lukewarm at best

e.g. https://www.residentadvisor.net/reviews/23547

they keep routing obnoxious RA fans to his shows

LOL.

I bet RA are secretly loving this.

It's quite fashionable to have a pop at RA these days.

king

there have been so many bad online techno beefs lately. this one seems goof

*good

although also maybe a goof

goof not baf

i told vahid he named it 'outstanding commendation to the human race' before linking him to the article

It's quite fashionable to have a pop at RA these days

It's all going off on Twitter now, they've donated five hundred dollars towards George Floyd/Minnesota while it's claimed they turned over a profit of nearly five million last year

It's hard to imagine they're so successful! But what do I know...the site is clearly a loss leader, I guess all those festivals/events are lucrative?

yeah it's been blowing my mind, I'm not sure I believe it tbh but at the same time they pretty much have a dominance in ticket sales for dance events don't they

i'm guessing that ticketing agencies and festival organisers alike are having a particularly rough time financially at the moment - zero income and a shit load of refunds to make. but they do need to address this current situation and explain themselves

here's their tweet btw if anyone wants to read it. it is a pitiful amount:

Hey Ilana, we've donated $500 (split evenly between the George Floyd Memorial Fund and the Minnesota Freedom Fund). pic.twitter.com/4axPLCKurh

— Resident Advisor (@residentadvisor) May 29, 2020

they put out a statement today about these issues:

https://www.residentadvisor.net/news/72775

Have they abandoned running new reviews (or a new podcast)?

https://www.residentadvisor.net/news/72840

Mix Of The Day: Reverend Dollars

:D

Yessssssssssss

Ha way to go Rev!

the dj tennis podcast/mix is totally hitting the spot for me.
not really a mix to be honest, just a 70 minute ambient house sonic collage of his own material/field recordings.
the last section dives into a glorious krautrock groove.

Yeah that one's good and I usually find DJ Tennis pretty dull.

Kush Jones this week though is right up there.

Fuck yeah, Rev!

hell yeah

This week's Clark Price mix is so good

Yes! He has a bunch of other great mixes on his Soundcloud, too.

Yep I love it. Coil into Black Dog into Anthony Shake Shakir is just woah.

Sick

Sick mix

Maybe some day i can throw down at a honcho campout again :(.

Lol double sick

I suppose people have already seen this?

http://itsrosh.nfshost.com/letter/

I’ve got more thoughts, but in brief: yes, this is the type of thing I want to read more of

another panel @ Unsound got distributed by RA via their podcast series but this one was not, and went hard on some similar issues:
http://truantsblog.com/2020/unsound-2019-complicity-accountability-agency-counterculture/

I was in the audience for most of it and was just locked in

I think RA actually solicited a year-end piece from DeForrest Brown Jr. that he ended up self-publishing because they decided not to run it

had not seen but looks like timely and valuable scholarship, thanks

One of the things I liked most about it was its specificity - who didn't get covered, which structures contributed to their exclusion, etc. It was clear but very dense. vs say the Quietus piece recently which was fine as far as it went, but did we need much more than "why are these rich white house producers getting so much attention"

yeah i do wonder with its uk focus how much sense it will make to me ... would be interested to see someone to do this for like, los angeles and the us scene in general, though our electronic music press and scene are much more marginal

That R.O.S.H. letter is incredible. I'm sorry i missed it until now - how long has it been online?

so much i agree with but also so much eye opening food for thought, and hopefully food for change.

the single RA writer singled out is the one I, admittedly, have spotted the most at events I’ve been at. I think it’s odd he’d have even been assigned to cover some of those events/scenes due to locale (NA vs UK/Europe/etc)

not sure how long it's been online, just saw it today, but since I'm in California assumed it had made the rounds already.

this article is just so good

the single RA writer singled out is the one I, admittedly, have spotted the most at events I’ve been at. I think it’s odd he’d have even been assigned to cover some of those events/scenes due to locale (NA vs UK/Europe/etc)

Where were these, America or Europe? What events, curious!

RA has always seemed to have a particular blind spot for black British dance music, I always assumed that was the readership talking. They were more likely to offer a mix to someone with a successful techno night in Ljubljana than they were to someone like Supa D or or Ill Blu or Marcus Nasty. They would however quite happily run one by someone like Oneman or BokBok or Jam City or any other white producer using those scenes as a jump-off point. Terror Danjah did get a mix (and a great one), probably due to being on Hyberdub, but it was an outlier and I remember the comments box being a disaster zone.

The quote from Kode9 in particularly really encapsulates the problem with viewing black British dance music through the prism of labels like Hyperdub, in its own way that privileges artists with a particular aesthetic. Black artists who made music that was dark and bassy or moody and aggro were much more likely to get access to those publicity networks because they were much more likely to get onto those labels in the first place than artists whose music was joyful, celebratory, gleefully silly let alone anything that was soulful or smooth.

xp saer, mutek festival in montreal and an inga copeland show in brooklyn are the two I remember

it's easier to hit the targets of coverage of music of Black origin when you run barely any articles