French dj & producer Don Rimini, early adopter of the service, discusses not following the rules, Madonna’s haircut and the art of mixing below:

How have you changed as an artist since your first single “Time to Panic”, as far as your musical identity and inspiration?

Wow. Long story…I never really asked myself this question to be honest. Every EP I put out has been very important to me. When I think of it now, each of them was a true representation of my desires and musical evolution.

When I started producing, the main thing was to bring something different to the game. It was a time when I wasn’t really feeling the techno music that had been going on for the last 10 years, I’m talking about the millions of super linear 4/4 techno and house tracks, all following the “rules”, all based on the same structure, the same presets. I wasn’t really into the minimal vibe either which, although sometimes well-produced, felt pretty boring and bland. What I wanted was to go for something with more of a pop structure, with a very efficient sound. And little by little all my different influences crept out…Hiphop for the vocals, pop, and even rock as far as structure and the energy. I’ve always been immersed in these scenes, techno and house of course, but definitely hiphop as well. So I felt more like myself using all the influences.

My EP “Absolutely Rad”, for example, has an obvious hiphop influence. The idea behind “Kick N’ Run” was to come at you with something radical, raw, spontaneous, very in your face. WIth “Nlarge your Parties”, on the other hand, I wanted to go back to the basics. Keep the same energy while developping something more melodic and harmonic. I don’t think it’d make any sense to do the same thing every time. On this latest release I really found my inspiration in the Chicago sound, ghetto-house, at least as far as posture and vibe. I’m having a blast with this type of sound. I was kinda tired of the over-saturated bang your head stuff. I needed to bring sexy back, while still keeping the energy thing on lock. I’m hoping my touch is still felt, still has its unique sound.

I definitely don’t wanna be stuck with one particular style. I just do the music I wanna hear at the time I’m making it. You know, kinda like Madonna and her haircuts, hahahahaha.

A lot has changed since you started doing music, where do you see the industry go from here, especially when it comes to new technologies, and how does it affect your career?

The world is in shambles my friend…hahahaha.

All the rules of the music business have changed in the last few years. At the same time, I kinda naively don’t care about it. What I like is to make music and share it with the most people I can. I do the best I can, and I’m loving it. The passion is intact. So yeah, with these new rules, I earn way less money with record sales. But without the internet, I would probably be still making music for a bunch of friends in a little apartment…instead I’m traveling the world to play music in the clubs I dreamt of, working with artists I love…and get to live off it! Profit sources have just switched.

Internet has brought me a lot. Through Myspace at the beginning, but also through blogs (shout out to Discobelle and Fluokids for being the first ones to showcase my tracks), through Fairtilizer aka Official.fm which is an incredible tool for me, as well as Facebook, Twitter and so on. I’m a fucking geek! Also, I don’t use vinyls to spin anymore, I don’t spend hours digging in record stores, which I loved…Now the diggin’ takes place on the internet, blogs and all that.

You’re one of the first Official.fm users, how did you end up on our platform and how has it helped your career?

A while ago I decided to put a mix online every month, I was looking for a place to host those, but I couldn’t find any place to do it right. I opened a bunch of free accounts on various filesharing sites but it was always fucking up at some point. I spent countless hours re-uploading mixes…total hell. And one day Oliver from Mental Groove suggested Fairtilizer. It was the perfect tool! Everything I was looking for. As if it had been made expressly for me, haha. Streaming, download option, artwork, embeddable player. Just perfect! Good way to get rid of annoying pop ups and stupid links you get on filesharing sites too. I also got the chance to use Official.fm for a remix contest for my track “Hools”. It’s the ideal tool. A little later I discovered the “share your tracks” function, that’s real cool, and I use it a lot privately to send songs to friends or fellow artists, just with a password and a link, making sure it doesn’t leak outside of the circle of people I shared them with. Of course Official.fm also allows me to discover and sometimes download other artists’ tracks.

What new functions would you like to see on Official.fm?

Hmmm, probably being able to upload tracks in wav format. You see the thing is I use your tools to send work-in-progress, for my own tracks as well as remixes and collaborations…unfortunately I can only do so in mp3 format. But hey, that’s just a detail.

How does your studio look as far as gear?

It’s ridiculously small. I really have a space problem at home. My studio is probably 2m2, but somehow it’s probably where I spend most of my time. Weird…Reminder: think of moving soon.

I have been digital-friendly since the beginning, everything goes through my computer. It’s much easier, much easier to travel with too. No problems with taking care of instruments, making sure they sound right, synchronizing between different gear…and technology now allows us to get a perfect result without needing analog. As far as workflow, my favorite software is still Cubase without any doubt. From there I use a lot of VST synths and plug-in fx…from composing the track to pre-mastering, everything goes through the computer. Other than that, there’s always a friend to lend me his studio for recording vocals and such. We even recorded the violins for “Riminology” in my friend’s living room with a mobile studio…and it was amazing!

Advice for aspiring djs?

The only one would be to find your own identity. Then work, work, and work again on “the art of mixing”, efficiency, the flow, the rhythm, and making sure everything is tight as far as blending songs together and so on. Make sure you incorporate soul and finesse. Technique is important but the track selection is still the essential element. Most of all, don’t copy other artists, for sure.

How do you do to stay afloat in this tormented economic climate?

I sell my body! Hahaha…then I party to forget…nah, you know, I’m quite a positive person. I try to make the best music possible, I try to be sincere with the music, and stay working hard. I think, probably naively again, that things will stay good as long I stick to my ethics. This should allow me to stay afloat. It’s unfortunately not the case for everybody…but that’s another story.

What’s up with you for the last quarter of 2010?

Lots and lots of things. For a starter, I will continue promote “Nlarge Your Parties”, the mini-album I just put out which I’m really proud of. We shot the video for “Whatever” this week, it should be out shortly and it’s a killer! We also just did a series of Don Rimini t-shirts. Other than that I’m working on 4 remixes which should be out in the coming months. There’s gonna be nice surprises! I’m also working on a compilation called “Curated by Don Rimini” out soon on Mental Groove. For this, I selected never-heard tracks from artists that are not well-known but that I feel are incredible. I’m really excited for this, the tracks are bangin’! I’m also thinkin of doing a “Nlarge Your Remixes” EP with the best remixes of tracks from my current EP. That should be out around January. And of course travel the world to dj, keep releasing mixes every month, and a bunch of surprises…believe me, the best is yet to come!!!

Vinyl is back, CD is dying? Truth or myth?

Hahaha, I’m very down with this rumor. But to be honest, I don’t really believe in it. True I’m a vinyl addict, I still have a very large collection at home, probably takes half of my apartment’s space! It’s truly my favorite format. But CD has been my best friend for a couple of years now. You know, I have over a hundred gigs a year, and it’s much easier to travel with CDs than a 30kg dj bag. And I’m not even talking about missing luggage at airports, fucking up your vinyls and such. Not to mention the possibilities you have with CD turntables…loops, infinite pitch, reverse and the list goes on. There’s so many pros about mixing with CDs. It’s untouchable. I’m not the nostalgic kind, times change, you gotta change with them and accept the evolution of technology. My vinyl collection will always be very precious to me though.

Where are we going?

Wherever we wanna go. Future is ours.

If you had to change your name?

No hesitation here: Ron Jeremy! But I think it’s already taken…

Favorite club?

My favorite club is without any doubt Neidklub in Hamburg, I love it. It’s always amazing there. The crowd is really into it and knows their stuff, the space is not too big, and it’s absolutely gorgeous. All white, super clean, not a single spotlight, only leds on the walls, it feels like a spaceship. And the sound is incredible. Neidklub is totally magical.

Favorite dj?

As far as djs, I love what A-Trak is doing, but I gotta say I’m really into Alex Boys Noize’s sets. To me, he has been the best in the world for the last 4-5 years. A quite perfect selection and an amazing technique. Finesse and fury at the same time. He’s got a crazy feeling. 2 producers I always anticipate releases from are Fake Blood and Soulwax. Both of them master production science and the art of the dancefloor. It feels like they know their stuff 200% all the time. I have the utmost respect for their work. They’re really on top of the food chain.

Favorite crowd?

When it comes to crowds, I gotta say Belgium is quite crazy. People there are connoisseurs and they get really into it. They love to have fun, and that’s the most important to me. Los Angeles is pretty incredible too, it’s always quite an experience to play there. They aren’t scared of anything, they’re wilding from beginning to end.

Favorite producer?

Right now I listen to stuff that are not too hard or “dutch”, cause that’s kinda all you hear nowadays. I’m into stuff like Duck Sauce, Carte Blanche, Tag Team Terror, DJ Keith, Titan…Djedjotronic is doing it right now too. Mikix the Cat, Manaré…I also love what labels like Sound Pellegrino are doing. They’re trying to bring something new and they’re successful with it. Congrats to them!

Favorite clothes?

For clothes, one brand (among many others) I really like right now is Bleu de Paname. Denim mostly, simple and elegant. Much like in music, I tend to go back to the basics, like Comme des Garçons or Norse Project. Aaah and make sure you check out the new collection by 123klan who do all my artworks: http://bandit-1sm.com/. They’re geniuses!

Favorites food?

Foodwise nothing beats a good thai meal…and champagne of course!

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Glenn Gibbons (Director/Head of A&R) and Chris Lamb (Artist Bookings) of Glasgow-based Soma Quality Recordings discusses the label’s philosophy, dance music evolution, new media and the amazingness of Daft Punk’s lost and found tape below:

Define Soma Quality Recordings? What inspired the birth of the label and what is your philosophy?

Soma Quality Recordings is one of the longest running dance labels in the world , we strive to always release “ quality” music as the name suggests. The label started as a necessity to release our own music at the time ( Slam + Rejuvination) in 1991. We had approached other labels to release our tunes , but no-one seemed interested , so we decided to start a label. The initial mandate of the label was quite eclectic ( electronic to indie guitar music) as we had discussed Eugene Kelly ( The Vaselines , Eugenius etc) being involved in the label, however he went on to work with Nirvana etc. However we did sign (One) Dove , who were fronted by Dot Allison and who went on to sign to London Records and have mainstream hits. The first release ( Eterna / IBO) financed the subsequent releases and this is how the label was built.
Our philosophy now is still to release strong electronic music whether that be Dancefloor Techno and House like Slam and Silicone Soul or downtempo electronica like The Black Dog, Vector Lovers etc

pictured: Stuart McMillan and Orde Meikle aka SLAM

Which main artists are you currently representing?

SLAM, Silicone Soul,The Black Dog, Funk D’Void + Sian, Samuel L Session,Gary Beck, Vector Lovers Decimal, Hatikvah, Harvey McKay + Itamar Sagi to name but a few.

How do you see the dance scene evolution since the 90’s?

The scene has become more niche with different styles being separated up and pigeonholed. When the label started everything was under one name “ Dance Music” which would cover House , Techno, Balearic, electronic etc. So we now have lots of different genre’s with everyone in those genres pushing the boundaries within their own scene. Electronic music has developed and become more interesting as new software / hardware has also been developed, so it’s really interesting but there are a lot more artists fighting for the ears of the discerning listener.

How has internet and the new media changed your way of working, pro and cons? How do you use it on a day to day basis?

Well I think we listen to a lot more music now! With the easy of availability, influence is taken from ever farther afield. On the business end of things, almost all of our music promotion is done digitally. This saves a lot on manufacturing, postage and man-hours.

We do a lot of our music promotion digitally now, but we still have promos manufactured for album releases. These are great to give out to the DJs we bring over to our club nights in Glasgow like Pressure & Return To Mono (where the Monopod podcast series is recorded every month), and when our artists are touring or playing at festivals, and are likely to meet lots of people interested in our music. We still send out promo CDs to reviewers for our album releases. Maybe that is old-skool!

Do you have an idea of how much money you save by applying online methods and also the impact on the environment?

Not specifically, as pricing changes a lot in manufacturing. We save money though. It’s also great to do our Captain Planet bit.

Your records are available on physical and digital formats: do you see a future in physical formats & can you give us the average % of digital/physical/merch sales?

We don’t even release everything on wax these days. It really depends on the artist what is pressed and how many.We do still release artists albums and compilation on CD , so roughly our CD sales and digital sales are about 50/50.

How could success on the internet (loads of plays, downloads, great blog coverage, etc.) help you break an artist into the traditional media realm?

This stuff is all essential in breaking an artist now, but it is still difficult to get coverage all the time. But it depends on your method. These days, a lot of hype comes from producers who no-one knows anything about (so long as the product is there!). The mystery and anonymity surrounding certain artists is their strength, but it is horses for courses when it come to promotion tactics.

Forthcoming releases to watch?

Decimal – new album
Decimal – second single inc Regis | Sandwell Remix
Hatikvah – new album
Hatikvah – first single inc Rod Modell | Deepchord Remix
2011 compilation.
Crazy stuff that will be released in 20 years of Soma starting in January next year!

How amazing is that Daft Punk tape you found in your office cupboard last day?

C’est magnifique!

Where are we going?

Deeper underground.

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Signed to über-cool London label Disc Error Recordings, Italian Death In Plains produces great tracks with subtle electronica touches and shoegazing influences. He just puts out a 4 tracks EP called Mustard Polo. Read our interview with Enrico below:

Hi, please could you introduce Death In Plains to our readers?

Yeah, Death In Plains is just me (Enrico, form Pesaro/Italy), recording stuff and loops at home, with guitar, noises, samples, occasional drum machines, keyboards of any kind. My bedroom gets so gauzy when I’m sitting in it recording and producing these songs and not-songs. I like it a lot.

You are releasing a new 4 tracks EP at the moment. Disc Error Recordings, the label you are signed to, is promoting it with some remixes. Did you chose the remixers yourself? Are those remixes only for promo purposes or is there any plan to release them?

The name of it is Mustard Polo, like my email address, and is available as a 10″ vinyl or mp3 download. I recorded and layered stuff at home then James (Aparicio), half of DiscError, did some additional production. We were constantly sending emails to each other talking about tweaks and changes. So it was fun and natural to give it that name, haha.
Yes the remixers were chosen by the label and, really happy about them indeed. We actually decided to put out another digital ep with the best five remixes, which are by These New Puritans, Ghostape, Cosmetics, Nursery and Dreamcrusher.

Are you working on an album or do you think the album format is not relevant anymore in 2010?

No I’m not currently working on a full album, not yet, but I won’t discard the idea at all. I just think that “long collections of songs” are not that relevant anymore in 2010, since it’s all passing so fast, but if we are talking of an album as an organic opus, thinked and recorded intentionally, with fresh stuff written on purpose, then I’d love to work on a LP soon.

Could you let us a know more about the Italian scene? Any bands, artists, producers we should listen to?

What about the Italian scene? Sure it’s a tiny one, speaking on the business side of things, but we have indeed some awesome acts, starting from friends General Decay (http://www.myspace.com/generaldk) to Bologna based His Clancyness or A Classic Education as well as Wolther Goes Stranger and Welcome Back Sailors Milan’s Too Young To Love or Tuscany’s Dance For Burgess. Oh and of course techno house superstars Crookers!

You are also directing videos for Death In Plains but also for other artists. What are the online tools you are using to publish/promote your music/videos online?

Oh I just upload my videos and clips to Vimeo or Youtube and try spreading the words via blogs or writing people I know or who could be somehow interessed, easy

What’s your setup like in the studio (instruments, gear, software)? What are you using to create your videos?

I use a laptop with Ableton Live along with tons of open source stuff like Ardour and Jack environment, midi controllers, modern and vintage mics, a guitar, a Korg Electribe EA-1 and a Roland SPD-6 drum machine. And also samples and guitar fx pedals and a big rugged Mackie mixer from the 90′s. For videos I use a Canon camcorder and a small compact Panasonic camera or I edit public domain footage or using short clips from movies I love. Then I edit a lot, I always like editing, it became easier with software and you can really put your very own taste in it.

How do you stay connected with your fans?

I think it’s easier now that how it could be years ago with the internet and social networking. I don’t really like spamming and promoting stuff though, I always told myself “if you have to be noticed then you will”. Sometimes are fans which send emails to me and it’s really pleasant. Months ago a girl from Japan sent me a mail to thank because she said she used to listen to my songs every day cause it made her fell well, and last week another one from NY wrote that she had just discovered my music and she was about to “lie around with my songs like a lover” once she was back home. Touching and beautiful, truly.

Do you think an artist needs a label in 2010 when he could produce and promote himself his works?

Not necessarily at all. I think that the most fresh stuff is coming from unsigned bands and artists lately. But there are still a bunch of good labels which are up to date understanding their age and know how to find new ways and manners to promote and publish music, to preserve somehow their reason to be necessary. It’s a good thing in my opinion like it’s great that artists nowadays have chances and tools to promote themselves on their own.

DiscError Recordings on Fairtilizer
Death In Plains on Myspace
Death In Plains on Facebook

Canada’s Mathew Jonson & his renowned label Wagon Repair have become one of the preeminent figure in today’s electronic music scene. Interview with Adam Boothby (CEO of Wagon Repair) & Mathew Jonson below:

Could you introduce yourself?

MJ: I’m Mathew Jonson. I’m writing this interview from the Olympic Games in Vancouver.

AB:I’m Adam Boothby, Chief Operating Officer of Wagon Repair, writing from our London office.

Running a label / being an artist in 2010 seems very adventurous for a lot of people: what do you think?

MJ: It’s been challenging for sure. We’ve made some pretty big changes in the last year. Our main change is that we are focusing on albums from now on instead of singles like we used too. This is actually pretty cool because it is pushing the artists to release albums. My brother Nathan has his first album coming out in the beginning of May and I will have my first commercial album coming out June 7th as well. We are also releasing our 2nd Cobblestone Jazz album March 30th so its going to be a really busy summer for all of us.

AB: Running a label is definitely adventurous, especially in 2010. In fact, adventurous is probably the perfect word to describe the experience. Having worked closely with countless labels over the years, two things are constants: 1) small record labels don’t really make money. 2) money comes second to love of music. When you think about adventure, this is it – new and unknown, potentially dangerous – but exciting.

Do you think a label is still relevant in 2010 and beyond?

MJ: Of course it is. Labels are the way that someone can always trust a certain taste of music. Its great that these days anybody that wants to can release digital music. It opens up so much freedom for up and coming artists. But personally I think that the majority of unsigned artists are unsigned for a reason. Without a label to make taste calls as a music buyer I’m left looking through a bunch of stuff I would rather not hear.

AB: Publishing art will always be relevant. I think that small labels are a fantastic way for talent to rise up and share their creativity across a wide range of media and to an international audience that they would be hard pressed to reach on their own. Essentially, I believe that small labels are an integral part of fostering the growth of an artist, and art in general, and this can only be relevant.

How the label’s role evolved during the last couple of years?

MJ: It’s growing stronger and stronger. Its great for the artists involved to have this outlet to release there music. We release music that is very open minded and we try not to stick to genres so this leaves a lot of creative freedom for the artists we sign.

AB: I’d say the one of the label’s primary roles of functioning strictly as an outlet for a small group of friends has changed from the early days as we see more and more great artists come aboard. At first, it was pretty much built around small group of Canadians – Mathew Jonson, Konrad Black, The Mole, Mike Shannon, Cobblestone Jazz, Hrdvsion, Loose Change – and then of course there was our good friend from Denver, The Missing Link. This started to change after our first 20 EP’s, and we started to really embrace outside talent and our family grew and grew. Our other primary role has not changed – put out music and art that we like without worrying about trends or critics.

Internet has changed a lot of things in the music business: faster communication, new way to monetize music but also piracy, overload of contents and more difficulties to get consumers’ attention. From your experience what are the pros and cons?

MJ: Well this is why you need a label. It manages all these things. Its great that technology allows us so many things but I think its really important that if people keep stealing all their music then the artists and labels can not afford to keep going. The difference in cost between buying a piece of vinyl and a digital file is huge. There is really no excuse to steal music when now it can be so cheap if you go the digital route. 1.99 euro or whatever a track costs is nothing. People used to have to pay 12 euro for a single with 2 tracks on it and this can get expensive of course. Times are changing and I hope the general population will understand that stealing music only hurts the music they love.

AB: The internet is a double-edged sword for the music business. On the pros side, it helps us by making daily things easier and faster (can you imagine actually going to the bank, or mailing masters anymore?), helps us market and connect with our fan-base via various sites (wagonrepair.ca, myspace, facebook etc.) and has opened another revenue stream in the form of digital sales, which is great. Here’s where the double–edged sword comes in. As music has gone digital and much more accessible and convenient, the vinyl has suffered. The problem with this is that the 12” EP is an absolutely vital staple of the small record label. This format allows the relatively small funded record labels to get their physical, touchable product into stores a few tracks at a time, without incurring the possibly hefty fees and administration required to put out a full album.With the slow, absolutely painful death of vinyl, record labels are being forced to abandon vinyl altogether as the high manufacturing costs and the low sales are just too much to absorb. Once relegated to the digital world entirely, small record labels get lost in an endless amount of music (as opposed to the limited space in record stores) and their odds of success are lessened.

As for people taking time to upload to share sites or download from them without compensating the label and artist for their work – shame on them. People need to realize that although they may go and see the artist perform live as a result of their downloads, most small labels don’t make any money off artist bookings and rely purely on people buying their music. Don’t fool yourself – every cent counts in this game. Without this much needed income, labels are not able to survive and artists’ loose their outlets.

How internet and the new media had changed your way of running your business? How do you use it on a day to day basis?

MJ: It makes it so that we don’t really need one central office. I work from Berlin. Adam my C.O.O. works from London. Our A&R people are constantly traveling meeting new artists. Without the net none of this would be possible.

AB: Internet is king. It really is amazing how much faster everything happens. When I was running labels back in the early 00’s, I remember having to fax almost everything and we would spend a fortune on international shipping. Nowadays, I don’t leave my desk and if I do, I can still be emailed on my phone. As long as I’m awake, we’re open for business.

How much money could you save by using more digital in your day to day operations ?

MJ: You save a lot just doing digital but when it comes to having a physical medium like a cd or vinyl its not the same. Digital files are not really so romantic. You can’t give someone a bunch of digital files as a present like you can a cd for instance. But for things like sending out promo’s etc it helps a lot in saved shipping costs.

AB: You can save a fortune by going all digital. No cutting, no test pressings, no artwork, no jackets, no sleeves, no design, no shipping. Sounds great, I know, but because this is so easy and so cheap that anyone with a laptop can do it with little personal and financial investment, the digital market has become saturated and the average quality has suffered.

Is it important for you to use digital services to have a smaller impact on the ecology of the planet?

MJ: Of course. Digital business is great for the environment.

AB: Definitely. Paper sucks.

Your records are available on physical and digital formats: do you think there’s still a place for both?

MJ: When you do albums its important to have a physical format. It is certainly what I prefer when its something I really love.

AB: The tangibility of vinyl and CDs is something that digital can never offer. It’s the same story (pardon the pun) with eBooks. Although loading your novel into a reader is easy and saves lots of space, it’s just nothing like reading an actual book.

What is your position regarding illegal file sharing as a label (rapidshare, p2p, blogs…)? How do you deal with this?

MJ: I have our lawyers send torrent sites a mail if our tracks are on there. Most of them take it down after they know that there will be legal action against them if they don’t. When it comes to individuals sharing its pretty hard to control but hopefully people understand that they are only hurting the music business if they steal tracks and then decided not to.

AB: I am completely against it. What really gets me is people who take their time to upload to share sites so our music can be downloaded by free by anyone. Ironically, this is often done, as claimed by many site members, for the love of music. If you want to burn a CD for your friend, go ahead; but don’t take the time to give away our music for free to people that you don’t know. It only hurts the industry that they profess to love.

More and more content owners asking bloggers and music media to not rehost their music so they can keep up with the stats. Do you feel it is a fair request ?

MJ: Its not something I have thought about.

AB: I’m not even sure what that means!

Do you have an idea of the percentage of the physical toward the digital? Are you going on digital only releases?

MJ: We are doing CD’s for all the albums and also some vinyl as well from time to time.

AB: It depends on what percentage you are talking about. Sales wise, digital has never reached what we could do when it was vinyl only. Perhaps on some records more people have downloaded than purchased the physical product, but the profits from those downloads are so much less that is is comparing apples to oranges. I don’t think we will ever do a digital only release, but it’s hard to say for sure given the climate.

How do you keep contact with your fans? Through your site, community sites, newsletters…? Which tools are you using to commmunicate throught internet?

MJ: I talk to most people directly on Facebook and Myspace. Other than that its interviews like this one, blogs, online magazines etc…

AB: These days, it mostly comes to me via email and I try to respond to everything that comes in. Myspace has seemed to turn into people spamming about releases and tour dates etc., which is a drag.

Any recommended music sites (services, shop, blogs…)?
wagonrepair.ca
k7.com
whatpeopleplay.com
beatport.com

Thanks a lot to Mathew & Adam for their time.

Also visit Wagon Repair Fairtilizer profile & Myspace.

2nd electro compilation selected by online magazine Street-Tease. Laptop Deux points Zero features 17 exclusive tracks from popular artists as well as fresh newcomers. Check the teaser and read the interview below:

You are just releasing your compilation in a difficult time for the music industry: how do you see the future of it?
We are certainly oblivious to the physical but are not a label – just a webzine that publishes its annual compilation – this release will not affect the sustainability of our structure. We do not put in danger by publishing this compilation, the equation is not the same as for an independent label which today can bet its future on a single output.
And as its name suggests – 2.0 – we consider the new mode of consumption, the compilation is also available in digital (via Believe).
I see the future like this, a physical presence for the love of the medium, in small quantities (limited digipack, vinyl …) and not necessarily in traditional networks (FNAC, Virgin) they have more of impact. I think the dynamic, if you have the possibility to use media to communicate your (blog, myspace, magazine, online shop), organize your own parties to structure your small network, you can!
And obviously, we must consider the legal digital in favor of illegal downloading. The djs are tired of playing with tracks downloaded illegally and end up with white or differences of tone in the middle of their sets.

How do you use & see the web today, how do you see it evolving in the coming years?
I’m not necessarily qualified to assess the web tomorrow, but as I said a year ago in your columns, I believe in quality media on the web. The proliferation of blogs is sometimes frustrating but fortunately most neo bloggers realize that discipline themselves to post daily, it is not so simple. It is important to find an economic model for web media to enable them to make things as qualitative in print. It is still far. The press is bad but still a paradise for lovers of the press and there is still money since quantity of magazines appeared on newsstands. These are brands that hold the key. When they change their tune …

What would be your dream online music service?
A global platform and multimedia formats, good quality … a beautiful utopia!

Servicing Discounts: digital or physical?
I prefer the natural, if possible vinyl, just for visual pleasure …

Distribution: DIY or aggregator?
Today, we have found for the launch of our first compilation, there is at least as important (see more) to be present in sneakers shop, the concept store (and online sales on your own site) that the shelves of Asda. It avoids the lazy behavior, when you must cross the whole of Paris to deliver the shops and you get to the position to supply the provinces, japan …
So I say a healthy dose of DIY is better than letting your “product” in the hands of a distrib is wrong bosser your project because it did not have enough time to devote yourself …

How much money you could save by using more digital in ur day to day operations?
When you love it counts and when you absolutely want a sound, you end up buying it, whether in physical or digital …

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