A few weeks ago Eric was in my shop at the same time as Ian MacKaye and I reintroduced them to each other. For over an hour I was a fly on the wall as Eric and Ian talked about putting bands together, touring, future plans etc. They have different approaches in a lot of ways but they have both stayed local and stayed independent which not many folks can say.
I'm not at all surprised that these two might get along, but I am completely surprised that they didn't know each other already. Weird! I would have thought that at the very least, they might have crossed paths before through the Ian Svenonius connection.
It makes perfect sense that they have broad 'lounge music' appeal, but a crossover to the Starbucks crowd implies they've sold out.
You're right, they haven't. And I wasn't implying that. Through talent and hard work, they were able to reach a whole other segment of the population and convert them into fans. That's not selling out, that's hustle.
Unless way more people have gotten into downtempo in the last five or so years, I'm assuming that they broke into the demographic of people who weren't really into downtempo but who owned The K&D Sessions and maybe a Tosca album. That's what I meant by the Starbucks crowd. If those casual downtempo folks now own three downtempo albums, and one of them is a TC record, that's awesome. Alls I'm saying is the downtempo faithful has never been big enough to sell out one night, let alone five. At least where I live.
Again, this is their hometown we're talking about. I can't say how the crowds will be elsewhere in the country, but I'm sure it will be similar. They're playing here in Chicago and I contemplated going for a minute. I figured I'd be bored/unfamiliar with their new material and also that because they're so big now ticket prices would be too high and decided against it. I wish them the best, though. Them and the Fort Knox Five (big up to Steve and Sid) are doing it real big in DC.
It makes perfect sense that they have broad 'lounge music' appeal, but a crossover to the Starbucks crowd implies they've sold out.
You're right, they haven't. And I wasn't implying that. Through talent and hard work, they were able to reach a whole other segment of the population and convert them into fans. That's not selling out, that's hustle.
Unless way more people have gotten into downtempo in the last five or so years, I'm assuming that they broke into the demographic of people who weren't really into downtempo but who owned The K&D Sessions and maybe a Tosca album. That's what I meant by the Starbucks crowd. If those casual downtempo folks now own three downtempo albums, and one of them is a TC record, that's awesome. Alls I'm saying is the downtempo faithful has never been big enough to sell out one night, let alone five. At least where I live.
Again, this is their hometown we're talking about. I can't say how the crowds will be elsewhere in the country, but I'm sure it will be similar. They're playing here in Chicago and I contemplated going for a minute. I figured I'd be bored/unfamiliar with their new material and also that because they're so big now ticket prices would be too high and decided against it. I wish them the best, though. Them and the Fort Knox Five (big up to Steve and Sid) are doing it real big in DC.
The passion-for-live-Thievery phenomenon isn't necessarily limited to DC. Thievery did sell out the Hollywood Bowl 2 years ago. Granted they had Os Mutantes and Seu Jorge on the bill, but neither of those acts could have sold that number of tickets on their own. And again, Thievery's live act transcends downtempo's appeal. They're a full live band experience. And word has definitely gotten out about it. There are very few other downtempo acts that are attempting anything close to the pan-cultural on-stage party they've created. The Quantic Soul Orchestra (which is really more latin/funk than downtempo) and TM Juke's live backing of Alice Russell come to mind, but the scale is completely different.
Rob Myers, guitarist for Fort Knox Five, plays sitar in Thievery's live band. I am sure there are more direct connections between TC & FK5...
The passion-for-live-Thievery phenomenon isn't necessarily limited to DC. Thievery did sell out the Hollywood Bowl 2 years ago. Granted they had Os Mutantes and Seu Jorge on the bill, but neither of those acts could have sold that number of tickets on their own.
I don't doubt this. I didn't mean to imply that their shows were flopping in other cities. I haven't really followed them in a minute so I don't know what they're up to.
Rob Myers, guitarist for Fort Knox Five, plays sitar in Thievery's live band. I am sure there are more direct connections between TC & FK5...
There are. Steve & Sid from FK5 used to be (and might still be, if time permits) Thunderball, one of ESL's other flagship artists. Those cats go way back.
Thunderball did a remix for me and my brother a couple years ago. They are real good people. I never met Eric and Rob, but I hope to one day, hopefully when I have some new tracks I can show them.
I think Thievery sold out two dates in Chicago on the recent tour. I have never seen them live but, like a lot of folks on here, stopped checking for their records several years back. The sound seemed too homogeneous, strange for dudes whose sound spans bits and pieces from dozens of genres. I throw up my hands.
Another group from the wider "blazing downtempo" genre that still continues to sell out is Air. So maybe the downtempo crowd is actually bigger than we think. Air I still check for however; their sound is still very similar to the first records but they change it just enough to keep it interesting, IMO.
I think a gang of succesful groups that emerged from the "Downtempo" genre have transcended the label.
Goldfrapp then vs the live/electronica/dance/rock of now.
There was a time when you could go to a lounge at here that Space-type shit for the entire night. No more. Shit started to eat itself from the inside out.
I really like the female singer "LouLou" who sings with them on some their tracks, f*ckin sweet vocals.
I always loved "The Mirror Conspiracy" by Thievery Corporation, I still can't put that CD in the right way because of its CD design of being mirrored on both sides. Good hump music too.
Another group from the wider "blazing downtempo" genre that still continues to sell out is Air. So maybe the downtempo crowd is actually bigger than we think. Air I still check for however; their sound is still very similar to the first records but they change it just enough to keep it interesting, IMO.
It's cool to see these groups still around, even if I don't really check for them. You're right in that the crowd is bigger than we think. Although, like I mentioned above I think downtempo is kind of like jazz in the sense that a lot of people who are mainly into rock and pop might like jazz too, but they don't get beyond having Kind of Blue and Giant Steps on the CD rack. Similarly, they have some Kruder & Dorfmeister, some Thievery Corp, maybe Gotan Project, maybe St. Germain, maybe some Air and that's it. They're only checking for the groups that have gotten big enough for a friend to hip them to it, or have gotten on a commercial, or whatever. There is nothing wrong with this. But it's the "crossover" effect that happens to downtempo groups.
I think about this a lot because I started working for Groove Distribution right when it opened, and our niche was downtempo so that genre was kinda my life for a little bit. Plus we would push 12"s from guys like Quantic and Gotan Project then feel bitter when they would get big enough to sign a US distribution deal for their CD. We could usually still do full-length vinyl, but there was always a point where we had to some great artists go because they had outgrown us.
I think about this a lot because I started working for Groove Distribution right when it opened, and our niche was downtempo so that genre was kinda my life for a little bit. Plus we would push 12"s from guys like Quantic and Gotan Project then feel bitter when they would get big enough to sign a US distribution deal for their CD. We could usually still do full-length vinyl, but there was always a point where we had to some great artists go because they had outgrown us.
So did you lose Quantic? I thought Quantic was signed to Tru Thoughts, which Groove distributes. A quick look at the Groove site and all the Quantic ish is out of stock except the 'Mi Swing Es Tropical' mixes. Is Tru Thoughts no longer a Groove label?
I think Thievery sold out two dates in Chicago on the recent tour. I have never seen them live but, like a lot of folks on here, stopped checking for their records several years back. The sound seemed too homogeneous, strange for dudes whose sound spans bits and pieces from dozens of genres. I throw up my hands.
Another group from the wider "blazing downtempo" genre that still continues to sell out is Air. So maybe the downtempo crowd is actually bigger than we think. Air I still check for however; their sound is still very similar to the first records but they change it just enough to keep it interesting, IMO.
I love Eric and Rob equally as they are both my dad.
Seriously though, I'm not really equipped to make a judgement call on these dudes. But I do work for Eric, and he doesn't pay enough (ahem, Marvin). But I hang out at his bars way too often cause they're good times
So did you lose Quantic? I thought Quantic was signed to Tru Thoughts, which Groove distributes. A quick look at the Groove site and all the Quantic ish is out of stock except the 'Mi Swing Es Tropical' mixes. Is Tru Thoughts no longer a Groove label?
Just recently Tru Thoughts signed a US distribution deal with EMI or someone like that, effectively taking them out of the hands of Groove (whom I haven't worked for for several years). That Mi Swing is Tropical joint is on Candela, I believe, so they can still carry that.
Prior to that, Ubiquity began releasing many Tru Thoughts full-lengths in the US, including the Quantic joints. Groove would still carry older catalog titles from Alice Russell, Flevans, Quantic and them as well as all the new singles.
That Ubiquity deal was the beginning of the end. Groove is an importer, so once a domestic deal comes, it's a wrap.
Bugz in the Attic signed with a major, but it was a UK major, so we were still able to carry their stuff. That's good, because back before we even called it "broken beat" we were pushing all that Goya stuff. People, Archive, IG Culture, Domu, Dego, BITA, all those guys. This is like, 1999-2000.
Back in those days before the internet was really running shit, music like that needed an underground push and needed the likes of Groove to get them into stores and in the hands of DJ's. Now store buyers (the few that are left) can find out about nearly everything online. This is to say nothing about the decline of physical musical product. Therefore, there isn't much need for a Groove Distribution nowadays, which is too bad.
[...] there isn't much need for a Groove Distribution nowadays, which is too bad.
Even without Tru Thoughts in its stock, I will support Groove until the very end. I still think Groove does a great service. I wouldn't know about nearly as much hott downtempo/mashup/jazzy beats/etc. schitt without them. And getting sorta back on topic, doesn't Groove Dis have an exclusive on all ESL Music releases?
[...] there isn't much need for a Groove Distribution nowadays, which is too bad.
Even without Tru Thoughts in its stock, I will support Groove until the very end. I still think Groove does a great service. I wouldn't know about nearly as much hott downtempo/mashup/jazzy beats/etc. schitt without them. And getting sorta back on topic, doesn't Groove Dis have an exclusive on all ESL Music releases?
Sort of. It's just for vinyl though, so it's not as sweet as it sounds. Granted, we used to kill with Thievery Corp 12"s, but that was about it. ESL didn't keep too much full-length vinyl in print, IIRC. The Chris Joss stuff did OK too, but guys like him and TC are going to do much better on CD, so a deal like theirs is kinda like the cute girl who lets you carry her books for her, but then sends you home while she goes upstairs and bones another dude.
The whole limited/bootleg/mashup thing is kinda keeping them going. That's the future for them, unless they can really go digital. Any other strong act or label in the genre coming out now can get rep in the US without Groove.
Plus all of Groove's really good suppliers have gone under. Goya and Soul Seduction are the two I remember off the top, but I'm sure more have bought the farm in the last couple of years. That whole type of supply chain is becoming more and more outmoded all the time.
The whole limited/bootleg/mashup thing is kinda keeping them going. That's the future for them, unless they can really go digital. Any other strong act or label in the genre coming out now can get rep in the US without Groove.
Plus all of Groove's really good suppliers have gone under. Goya and Soul Seduction are the two I remember off the top, but I'm sure more have bought the farm in the last couple of years. That whole type of supply chain is becoming more and more outmoded all the time.
That's kinda amazing that in a microwave-powered digital world, Groove can survive on the strength of limited and white label 12" releases! [then again, it is the very reason why I support you.]
Will Groove ever create a digital download store in addition to the vinyl/CD sales? I know that can be a slippery slope to abandoning vinyl altogether and selling only downloads. Soul Seduction sold off their entire stock of vinyl and are now strictly digital. This is all really eye-opening to me given all the 'vinyl is back!' hype in the media.
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I'm not at all surprised that these two might get along, but I am completely surprised that they didn't know each other already. Weird! I would have thought that at the very least, they might have crossed paths before through the Ian Svenonius connection.
You're right, they haven't. And I wasn't implying that. Through talent and hard work, they were able to reach a whole other segment of the population and convert them into fans. That's not selling out, that's hustle.
Unless way more people have gotten into downtempo in the last five or so years, I'm assuming that they broke into the demographic of people who weren't really into downtempo but who owned The K&D Sessions and maybe a Tosca album. That's what I meant by the Starbucks crowd. If those casual downtempo folks now own three downtempo albums, and one of them is a TC record, that's awesome. Alls I'm saying is the downtempo faithful has never been big enough to sell out one night, let alone five. At least where I live.
Again, this is their hometown we're talking about. I can't say how the crowds will be elsewhere in the country, but I'm sure it will be similar. They're playing here in Chicago and I contemplated going for a minute. I figured I'd be bored/unfamiliar with their new material and also that because they're so big now ticket prices would be too high and decided against it. I wish them the best, though. Them and the Fort Knox Five (big up to Steve and Sid) are doing it real big in DC.
The passion-for-live-Thievery phenomenon isn't necessarily limited to DC. Thievery did sell out the Hollywood Bowl 2 years ago. Granted they had Os Mutantes and Seu Jorge on the bill, but neither of those acts could have sold that number of tickets on their own.
And again, Thievery's live act transcends downtempo's appeal. They're a full live band experience. And word has definitely gotten out about it. There are very few other downtempo acts that are attempting anything close to the pan-cultural on-stage party they've created.
The Quantic Soul Orchestra (which is really more latin/funk than downtempo) and TM Juke's live backing of Alice Russell come to mind, but the scale is completely different.
Rob Myers, guitarist for Fort Knox Five, plays sitar in Thievery's live band. I am sure there are more direct connections between TC & FK5...
I don't doubt this. I didn't mean to imply that their shows were flopping in other cities. I haven't really followed them in a minute so I don't know what they're up to.
There are. Steve & Sid from FK5 used to be (and might still be, if time permits) Thunderball, one of ESL's other flagship artists. Those cats go way back.
Thunderball did a remix for me and my brother a couple years ago. They are real good people. I never met Eric and Rob, but I hope to one day, hopefully when I have some new tracks I can show them.
Another group from the wider "blazing downtempo" genre that still continues to sell out is Air. So maybe the downtempo crowd is actually bigger than we think. Air I still check for however; their sound is still very similar to the first records but they change it just enough to keep it interesting, IMO.
Goldfrapp then vs the live/electronica/dance/rock of now.
There was a time when you could go to a lounge at here that Space-type shit for the entire night. No more.
Shit started to eat itself from the inside out.
I really like the female singer "LouLou" who sings with them on some their tracks, f*ckin sweet vocals.
I always loved "The Mirror Conspiracy" by Thievery Corporation, I still can't put that CD in the right way because of its CD design of being mirrored on both sides. Good hump music too.
It's cool to see these groups still around, even if I don't really check for them. You're right in that the crowd is bigger than we think. Although, like I mentioned above I think downtempo is kind of like jazz in the sense that a lot of people who are mainly into rock and pop might like jazz too, but they don't get beyond having Kind of Blue and Giant Steps on the CD rack. Similarly, they have some Kruder & Dorfmeister, some Thievery Corp, maybe Gotan Project, maybe St. Germain, maybe some Air and that's it. They're only checking for the groups that have gotten big enough for a friend to hip them to it, or have gotten on a commercial, or whatever. There is nothing wrong with this. But it's the "crossover" effect that happens to downtempo groups.
I think about this a lot because I started working for Groove Distribution right when it opened, and our niche was downtempo so that genre was kinda my life for a little bit. Plus we would push 12"s from guys like Quantic and Gotan Project then feel bitter when they would get big enough to sign a US distribution deal for their CD. We could usually still do full-length vinyl, but there was always a point where we had to some great artists go because they had outgrown us.
So did you lose Quantic? I thought Quantic was signed to Tru Thoughts, which Groove distributes. A quick look at the Groove site and all the Quantic ish is out of stock except the 'Mi Swing Es Tropical' mixes.
Is Tru Thoughts no longer a Groove label?
I love Eric and Rob equally as they are both my dad.
Seriously though, I'm not really equipped to make a judgement call on these dudes. But I do work for Eric, and he doesn't pay enough (ahem, Marvin). But I hang out at his bars way too often cause they're good times
Just recently Tru Thoughts signed a US distribution deal with EMI or someone like that, effectively taking them out of the hands of Groove (whom I haven't worked for for several years). That Mi Swing is Tropical joint is on Candela, I believe, so they can still carry that.
Prior to that, Ubiquity began releasing many Tru Thoughts full-lengths in the US, including the Quantic joints. Groove would still carry older catalog titles from Alice Russell, Flevans, Quantic and them as well as all the new singles.
That Ubiquity deal was the beginning of the end. Groove is an importer, so once a domestic deal comes, it's a wrap.
Bugz in the Attic signed with a major, but it was a UK major, so we were still able to carry their stuff. That's good, because back before we even called it "broken beat" we were pushing all that Goya stuff. People, Archive, IG Culture, Domu, Dego, BITA, all those guys. This is like, 1999-2000.
Back in those days before the internet was really running shit, music like that needed an underground push and needed the likes of Groove to get them into stores and in the hands of DJ's. Now store buyers (the few that are left) can find out about nearly everything online. This is to say nothing about the decline of physical musical product. Therefore, there isn't much need for a Groove Distribution nowadays, which is too bad.
Even without Tru Thoughts in its stock, I will support Groove until the very end. I still think Groove does a great service. I wouldn't know about nearly as much hott downtempo/mashup/jazzy beats/etc. schitt without them.
And getting sorta back on topic, doesn't Groove Dis have an exclusive on all ESL Music releases?
Sort of. It's just for vinyl though, so it's not as sweet as it sounds. Granted, we used to kill with Thievery Corp 12"s, but that was about it. ESL didn't keep too much full-length vinyl in print, IIRC. The Chris Joss stuff did OK too, but guys like him and TC are going to do much better on CD, so a deal like theirs is kinda like the cute girl who lets you carry her books for her, but then sends you home while she goes upstairs and bones another dude.
The whole limited/bootleg/mashup thing is kinda keeping them going. That's the future for them, unless they can really go digital. Any other strong act or label in the genre coming out now can get rep in the US without Groove.
Plus all of Groove's really good suppliers have gone under. Goya and Soul Seduction are the two I remember off the top, but I'm sure more have bought the farm in the last couple of years. That whole type of supply chain is becoming more and more outmoded all the time.
That's kinda amazing that in a microwave-powered digital world, Groove can survive on the strength of limited and white label 12" releases! [then again, it is the very reason why I support you.]
Will Groove ever create a digital download store in addition to the vinyl/CD sales? I know that can be a slippery slope to abandoning vinyl altogether and selling only downloads. Soul Seduction sold off their entire stock of vinyl and are now strictly digital.
This is all really eye-opening to me given all the 'vinyl is back!' hype in the media.