A Quote by Justin Kan

Electronic music is the first genre to realize how to use the music for marketing something else, which is playing festivals and club nights where they really make money. — © Justin Kan
Electronic music is the first genre to realize how to use the music for marketing something else, which is playing festivals and club nights where they really make money.
In some ways it's hard to see electronic music as a genre because the word "electronic" just refers to how it's made. Hip-hop is electronic music. Most reggae is electronic. Pop is electronic. House music, techno, all these sorts of ostensibly disparate genres are sort of being created with the same equipment.
Of what use is the universe? What is the practical application of a million galaxies? Yet just because it has no use, it has a use - which may sound like a paradox, but is not. What, for instance, is the use of playing music? If you play to make money, to outdo some other artist, to be a person of culture, or to improve your mind, you are not really playing - for your mind is not on the music. You don't swing. When you come to think of it, playing or listening to music is a pure luxury, an addiction, a waste of valuable time and money for nothing more than making elaborate patterns of sound.
People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.
I never thought electronic music would get as popular in America as it has. When I first came to Vegas in 2009 for my residency - we were they only people playing electronic music at that time.
Being from a background of dance music and what you might call club music or electronic music, I think something that gets neglected in that scene is personal vulnerability.
When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.
I just want the truth about it, because if the reality is that electronic music festivals are significantly more dangerous than other festivals, then something should be done about it, and that warrants conversation.
I really wanna make hip-hop music, but I don't know how to use any of the tools. Electronic, computer skills, I don't have those for engineering or making beats. I don't know how to use a sampler well. I don't know how to use any of these things.
I'm trying to fly the flag for the days of electronic music where people who are making it are also building the gear because that was what was happening in the very early days of electronic music. And that spirit is one of the things that really appeals to me about electronic music so I'm putting this forward as a way to keep that.
I'm not sure if music got a future. We have all these electronic ways to download and steal music and get music, but there's no money in makin' music.
What playing solo has reminded me is how much I love electronic music and how much I love dance music. I'd like to move towards something more hypnotic and rhythmic rather than song-based.
One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.
I never really made much money playing music. It's because I've never really worked with a producer who could make my music sound, I guess, like how the public wants it to sound.
With electronic music it's often a little more hidden - the relationship between gesture and sound - which makes it confounding for audiences. But the ingredients of electronic music are the same ingredients of nonelectronic music.
The first year I moved to Nashville, I started playing these songwriter nights with people like Nickel Creek, Duncan Sheik, and even Ryan Adams... That was the first place I really started playing music, and I had to really step up my game. Really quick. Or get kicked off the stage.
I don't really like club music or hip hop or electronic music at all. I'm like an old person.
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