I'd pay 10x as much as a Daft Punk ticket to hear Giorgio Moroder play half as long as Daft Punk. Daft Punk is the lamest derivative schlock, all their songs are lame vamps that stand on the shoulder of giants. I wouldn't even care if the Moroder set sucked. Mororder fucking blazed trail for every shitty derivative EDM act that idiots idolize today. Every time I read a phrase along the lines of "EDM pioneers Daft Punk" I have to hold back a heave. Daft Punk is a pioneer of EDM like Friends is a pioneer of situation comedy. Laverne And Shirley was rocking that shit way before Chandler and Phoebe. I count myself lucky to have seen Carl Craig, Juan Atkins and Eddie Folks spin live sets. Daft Punk is just another in a long line of Paul Okanfolds. I've drank hard tonight in celebration of my one week anniversary of having opened my coffee shop and maybe I'm being unfair to Daft Punk... At least they have had the courtesy to acknowledge the shoulders on which they stand. I still am constantly awe struck with the reverence with which they are held. They are at best, unremarkable and mediocre, standing out more for their silly helmets than their music. If you are going to get into the biz...I suppose silly helmets are one way which you can go.
This part is true on the large scale. All your festival DJs and that scene are filled with those people, but, if you were to go to a house show in a mid-to-large sized city you would find plenty of spaces where the latter still holds true. And to me those are the places worth being, where some truly interesting mixing and matching happens. Why is that the expectation now? If you put a drop in something and make a rager at 160bpm that has 3 sections and a chopped outro into the next song then I guess you'll get 20,000 people to come out and see you...I wonder if we'll see a reversion to what it used to be like. This was a great read, sometimes Pitchfork still has it.“Now party people are gravitating to DJing, rather than music people gravitating to parties. The access routes are different." Not only are entryways into dance music simpler these days, the technology allows younger DJs to create seamless mixes with ease, leaving us with smoother but less dynamic selections.
Wilson goes on to pinpoint the key difference between novices and masters: “Whilst the DJs now are more technically gifted, DJs back then had better programming skills. They were more adept at getting the right records at the right moment. They worked more towards the audience, whereas now DJs expect the audience to come to them.”