And so it has come to be. Some of us never thought it would happen but low and behold Derrick May has finally brought Transmat back into the fold. Actually, it has been an interesting time in techno of late regards a couple of other older labels. Robert Hood has relaunched his seminal M-Plant label, which after a rocky start – the Obey/Resurrection 12 was pretty average Hood – has picked up the pace with the Superman/Range release, a much more enjoyable slice of searing Hood techno. Kirk Degiorgio has also decided the time is right to bring back the ART imprint – which hasn’t been around since the mid 90’s – with his own Mass 12″ which is top drawer deep techno. I can’t really put forward a theory as to why some of the older players have now chosen to bring these labels back, but it certainly has brought a smile to my face and hopefully some others who’ve been slightly dissilusioned with a lot of music that’s passed for techno in the last few years.
But anyways, back on topic. The first release on the revived Transmat is by a chap called Greg Gow who may not be familiar to many of you out there, but this is all about to change. This release has been causing a bit of stir since it started appearing in Delboy’s sets, causing frantic attempts at Iding all across the world wide web. I’m pretty sure I remember it from his set at the DEMF, there was one pretty big track with some fantastic strings, that while not sounding particularly groundbreaking, certainly had heads turning. But I’ve yet to sit down and listen to the whole release to confirm this, and won’t be for a while either. It’s not because I’ve to wait for a delivery in the post or that one of the Dublin shops hasn’t stocked it yet. No, it’s because it is, at the moment, exclusive to…Beatport. Nice one, Derrick. Never a man to shy away from a good rant about how great vinyl is and how it is a crying shame that the record shop is all but dying out, he decides to bring back Transmat (initially) on digital via the much maligned Beatport. Transmat RECORDS as they are called on the Beatport site, for that matter.
So where’s the record Derrick? Where is the vinyl? How do you expect to see the format supported and the local shops supported – even the online distros – if Beatport get a hold of what could very well be one of the biggest techno releases of the year, before everyone else. Why bother saying these things and then turn around and do the opposite. Don’t bother being so opinionated and outspoken if you are not going to follow through with what you say. Was the offer Beatport waved at you that much that you had to just forget about your own views and opinions? I can’t imagine you are shy a few pennies what with your constant globetrotting and busy Dj schedule, but yet from where I’m sitting it looks like the dollar has gotten the better of you. I’m not saying that it shouldn’t be on digital – I’m not that luddite – but how about you give first dibs to the vinyl heads? Many labels do this. It’s a nice nod to us who continue to buy it and most importantly, it also helps with its survival. Having it as an initial vinyl exclusive, especially with such a high profile release, would really boost the vinyl sales of it. Now, I am aware that the vinyl release is going to be coming soon but as we here at ISM pride ourselves on supporting vinyl and supporting Detroit artists – when many have chosen to ignore them – I have to express my disappointment in Mr May. Sure, he likes to talk a lot of shit but this is just hypocritical.
78 Comments
immediately scooted over to beatport, but must say i’m pretty dissapointed by the release…
ya got a point though…
biggest dissapointment of the year. musically and releasewise.
epic fail.
format is half the problem Kenny, tunes are total gash innit. Very Eeebeefa.
Eebeefa is right. Transmat… eh? Deep trance. As for the Vinyl/MP3 thing, I can’t understand why not do vinyl first, then let it out as MP3.
Very disappointing. I’m kinda neutral re: format (I only buy the best stuff on vinyl these days) but given DM’s spoutings…
The tracks themselves are not what I’d expect of Transmat either.
What happened to his “Saving the World from Bad Music?”?
Who cares?
Probably only the 10 remaining members on 313 list.
Digital is here to stay, deal with it. I bet all readers of this blog would give their right arm to get a release on Transmat.
I’d give my right arm and one of my testicles to be on Sound Signature or F Comm (in the mid 90’s). “Saving the World from Bad Music”… Maybe he should do some music, its only been almost 20 years…
Not if this is the future for Transmat.
ha yeah, and of course he listed both tracks off it (including #1) on his ra chart yesterday. http://bit.ly/18U0Mi
Yeah…this feels wrong for sure…However, all will be forgotten if he produces anything similar to his own past work and releases it on Trasmat.
The release itself sounds so strange on its own. Mixed / EQ’d in his own sets it sounded like a nice slab of melodic techno. Hearing the track fully on its own it certainly feels like trance though…
i’m totally with you on the vinyl first then mp3 crap but, alot of you people say that musical wise it suck I don’t get that I can say with a 100% certainty that this is in my top 5 releases of the year.
Ala what happened with 80% of the recent Planet E output, I wonder if perhaps we are the ones missing something. Since, we are the 10 ppl on 313 or various mailing lists that still give a shit. But then I grab one of the many gems that never leave my bag and get reminded of the fact that’s its not us, it’s them. This stuff is utter shite had it not been on the seminal labels that inspired us in those early days, we wouldn’t of even given these mediocre tracks another listen. The digital premier is annoying as well, had you not mentioned this track was out now, I never would of heard about it until it’s vinyl debut. Personally, I’m not looking for the next “Strings of Life” I’ll just take a good RECORD at this stage of the game, and this ain’t it.
case A: Derrick digs it. This does not bode well for the next releases.
Case B: Derrick doesn’t care, he knows the big cheese clubs will lap it up, drops in Shitport first, charts it in his own RA chart (eh, tack meister) and to hell with yis nerdy transmat lovers of yore.
I agree with Technoir that had this been not on Transmat no one would have given two shits.
It will be interesting to see if this does well, will May see the dollar signs and decide to release the whole Transmat back catalogue on Beatport?
good day all. its cool that transmat’s releasing again however the name greg gow never strike me as being “detroity” of the transmat sort so i’m not surprised at the reaction. nor did i listen to the tracks. i’m rooting for arne though. =)
Why vinyl first? Why is everyone that doesn’t own a turntable automatically a retard? Just put it out there on all formats so anyone can get hold of it!
The track is a disappointment though.
I don’t think you’re a retard. I agree with you but also DM says he’s all about vinyl and support the shops, so maybe he should do vinyl too.
Yup, having listened to the samples a few times now it certainly doesn’t sound as effective as when i first heard it, in a May set. The strings are nice but the whole thing feels flat and the whoooosshes are awful sounding. I think I will be passing now.
i explained why vinyl first. And I never said anyone was a retard for not owning a turntable OR that it shouldn’t be on all formats. Read the post again.
what do we think of the second release for the relaunched transmat?
it’s from DVS1 also releasing tracks on Ben klocks label:
I think it’s a huge track
the title says it all: “Pressure”
http://www.youtube.com/watch?v=7rtSZDI-XPg
Better said Kenny. 😉
jesus… sounds like a trance producer trying to do a ‘strings of life’ rip-off. and as for the fact i just had to navigate beatport’s HIDEOUS interface rather than be able to walk into a shop and check the 12″… the less said the better.
rarely in my whole 15 year love-affair with house and techno music have i been so bitterly disappointed on so many levels.
I wasn’t reffering exclusively to your piece Kenny and I did read it. I know you didn’t say anyone was a retard but sometimes it seems it’s kinda trendy to put down those of us who don’t buy the plastic. Read some of the replies! I don’t buy vinyl anymore, partly because I can’t afford it and I don’t have the room to keep it. I think people who buy vinyl tend to forget it’s a DJ’s format. Some people just wanna listen at home!
Well, it wasn’t very clear that you weren’t referring to my post. Sorry, but I don’t see where anyone in the replies is putting down people who don’t buy vinyl. I think you are jumping the gun a little.
I agree with the whole piece only I get annoyed when I can’t get hold of music when it’s vinyl only and it’s the same the other way around,(as in this case). My rant about those of us who download is just my reflection on things I’ve read on places like ISM so many times before. Jumping the gun like.
so ravey and ugh, sounds nothing like transmat, sounds like cheese
Sounds a bit trance like, something like eric prydz would make, didnt dig it since he put it up on facebook, sorry man
Mr May needs a good reason for releasing this mediocre stuff. Don’t matter if its only on vinyl or digital, because it sucks. sorry.
not a fan to be honest, hope it’s just a bit of a blip. agree with what someone sad about looking forward to arne weinberg. steven tang has put out a bunch of good stuff mind
Derrick owns Transmat Recordings?
all one needs is love for the music
the rest are only words
it is anyway utopia
) cheerz
Just playing devils advocate, but would you all be as disappointed if Derrick had launched a new label to release this on rather than Transmat?
Relax everybody! The vinyl is out soon.
Music is and should always be a matter of your own taste. Stop hating.
Has anyone actually heard this track in full, not just the Beatport samples?
People can express their opinions/tastes all they want. The world would be a very dull place if they didn’t discuss them.
That’s an interesting point. I’m sure some may be less irritated…maybe he should have and the weight of expectation would be less.
money talks…?
“Money talks” This stupid comment fits on perfectly here. Yeah. the hightechsoulmovie was also just released just to make the big money for hollywood. Fortunately you guys made the big contributions to dance music. Keep it alive, uuuaah!
from what I hear of the beatport samples it can stay digital
I’d be happy if he releases the entire Transmat back catalogue on MP3.
and to top it all off mr may has just submitted a beatport chart…more wood for the fire?
btw, the DVS1 & Karizma cuts on there are wicked…
you guys serious? blogging dooshbags complaning about the man trying to stay relevant with the times with new technologies? get the eff out with that silliness.
let the man live his damn life the way he pleases. why don’t your ass start a snail mail fukin blog instead of digital?
I love it. Trying to get blog hits by goingon about some shit about saving vinyl.
Real music lovers:
http://www.youtube.com/watch?v=1zu3e8_y4Ds
Don`t really care if it is digital or vinyl. Not some “headz” standing around the dj booth looking at the dj, instead of taking over the dancefloor.
A new label to release on rather than Transmat.
Wasn’t there Fragile back in the day?
Some great releases there too.
i am pen pals with your mom, she sends nudie pics but they make me throw up while i’m jacking off to them.
we get plenty of hits without you coming here, so fuck off.
what the fuck do you know about us dancing or not? i have an idea, why don’t you eat my cock.
I know you don`t dance Tom………
i bet you do
Fair points about saying one thing and doing another. (As if other artists from the smallest to the largest hadn’t done exactly the same thing… and is that not also demonstrating flexibility rather than a stance stoic, rigid stiff-upper-lip machismo for possibly dubious reasons besides the “Keepin’ It Real” marketing ploys?
But it really made me think about the dilemma many indie record labels face. Distributors go bankrupt, in the process taking all of the records the label paid to manufacture, record stores disappear so fast that they can be counted on one hand, and those that still exist are not given the means to keep a decent inventory for their customers, or re-stock up back catalog. It has become increasingly difficult to see an upside here when the sales do not even pay for the cost of manufacturing. Things evolve, FFS!!
What strikes me the most in all of this is that we all had our moment of ‘golden youth’, and the icons we came to idealize, as they were those who gave us those first rushes of how incredible ANY music can be. Point is that the same songs are not the same emotional triggers for a whole new generation when they hear them, not that they became bad songs, but more to the point that for many of us these particular songs have some very strong memories attached to them, and the new generation is doing the same thing with newer forms of music, or songs from people their age. Some would argue that we spend the rest of our adult lives trying to recapture those first moments of innocence and bliss that were without any second thoughts, analysis and all of these blog posts sometimes remind me that this is something that we are all facing in one way or another…
Paradise Lost. The incredible choons that made us love it all when we were young, and create our own little musical utopia with its heroes…. That will just never come back, and for most people there will never be that rush of ‘the first time’ again…. so maybe rather than growing bitter, best get used to that idea that there is no comparing what happened earlier in our lives to what is happening today.
Case in point, it may be difficult to compare this Greg Gow release to things which were released in another time, and for another generation.
Just as Miles Davis was one of the few that was astute enough to stay relevant throughout his long career, and earned so many detractors spewing so much venom at him for switching up to electric with ‘Bitches Brew’, don’t be part of the detractors that just fail to realize that the future needs experimentation, and that all great talents have to re-invent themselves, not to necessarily stay true to a form that can now be seen as very dogmatic and frozen, rather exploring new vistas and if history teaches us anything, is that these moments of change and transition are not always pretty in themselves, but however truly necessary in order to move to the next phase of things.
So I personally don’t really see what’s so wrong in Derrick doing this, actually… He may need to explain his switching gears on strategy at some point, but I really can’t understand all the bitching, except in the context of someone trying to recapture a feeling that will never come back. Welcome to growing old! LOL
fuck. you’ve really fucking lost it. i love how you’ve completely gone off topic mr. journalist.
/me stops reading your blog entirely. have a better one.
agreed.
oh Tom.. nice job making a fucking fuss and stirring up the general public here to draw some extra fucking traffic to your blog.. douchbag.
i personally find all this petty bitching and name-calling very childish and out of place on this blog. posting as ‘fuck’ , for god’s sake. get a life.
anyone who reads here regularly will know that we try and present a balanced viewpoint on the music we love and support. god knows i’m about as big a derrick may fan as there is, i wrote a piece idolising the mayday mix on here not so far back…
BUT
this is a terrible record. it sullies the good name of one of the greatest electronic labels of all time. it’s cheesy, it’s unimaginative, it’s wrong on many levels.
early transmat releases have stood the test of time for many, many years, and will continue to do so. this record won’t, i can safely say that. it might appeal to a different demographic, but those who know, KNOW.
i wish it wasn’t so, but it is a tremendous letdown. i just hope it doesn’t spell the end of something that means a lot to me.
*goes off to play ‘nude photo’ *
Tom had absolutely nothing to do with this post. TBH I did not expect this to kick off like it did. One of the functions we use this blog for is commentary on what is going on within the dance music world. We are avid and commited supports of vinyl, which is something Mr May has made a deal out of, himself. He has now gone against this, which I find dissapointing. I was expressing this. That is all. If we wanted to constantly make controversial posts purely to drum up traffic for this site, trust me, we could. That is not the function of what we do. We do not chase hits.
Thanks for that in between the last petty, childish few posts.
I understand what you mean about developing, evolving. You have many big Djs “go digital” these days. The likes of Carl Craig or Dave Clarke. Clarke himself has discussed in interviews why he has gone digital. In a similar way Derrick May has pointedly spoken out about how he still uses vinyl. He seems perfectly happy to continue playing it – and he is also releasing it, as this will come out on vinyl – so I’m not sure the flexibility thing rings true here. This is why is seems completely out of sorts for him to suddenly give the exclusive to beatport. One can only assume that beatport paid a lot for this exclusive. You can argue back, for sure, that he has a right to make as much money as possible and to go down every route to do it, such as making deals with beatport. But some of us think some things – some of us who earn a lot less money than Derrick May – are more important than the pay cheque.
Like for example, I wouldn’t be giving out if I saw that the transmat back catalogue appear on Beatport. It is the main medium for music these days. The UR back catalogue is up there, they even had a free download around the time of one of the DEMFs. BUT, I’d be VERY surprised if Mad Mike would give an exclusive to beatport before the vinyl release. Actually, many distributors are pro vinyl in the sense that they will give it a month or so before the digital comes out, to help with the vinyl sales, to keep it worth pressing. Why couldn’t Mr May do this?
I can only speak for myself but continuously I come across music – old and new – that constantly excites me, that i want to play to people, that I want to tell people about. it may not be the same as the initial rush, but it’s not far off it. That is one of the main reasons this blog is here. We aren’t bitter folk chasing the dying light. This blog is not fueled by bitter posts giving out about how things used to be better, about this new music doesn’t match up to that old music. But what one can gather from the reaction not only on here, but actually everywhere else I’ve read about it, is that this release is a dissapointing comeback from Transmat.
a lot of people have seemed to have missed the point of this post, pity. I think most people who read this blog know that it isn’t a format debate, vinyl vs the world, but people writing about music they love, and long may it continue…
Kenny what is your problem?
1. Derrick is going to release it on vinyl.
2. Beatport is the most effective way to distribute electronic music today. Dual branding (Transmat and Beatport).
3. A new guy gets some exposure (Greg Gow) and get some gigs.
4. Techno is not a “Detroit” thing. Techno are worldwide. Transmat have not been a “Detroit” label since the early 90 s. Aril Brikha, Stephen Brown, etc.
1. I know it is. If you re-read the post it is all explained.
2. I’ve no specific issue with him using beatport, it is doing an initial, exclusive deal I’ve the issue with. Again, explained why in the post.
3. I say little about Greg Gow. But, at the same time, a new artist is only worth getting exposure/gigs if they are any good. Many seem to believe that on the strength of this release Mr Gow ain’t up to much.
4. Barely anyone has mentioned the fact he’s not from Detroit.
Ah finally someone mentions Aril Brikha, I got the same feel listening to the second Gow track, pretty boring and no drama, as I did when I heard that Aril Brikha LP on transmat. Does it really matter whether it’s vinyl or mp3, if it’s crap it’s crap, and maybe the Gow track is aimed squarely at the downloader. If anyone could convince someone to pay good money for exclusive digital rights for that piece of crap it would be DM…he has Business Acumen and can talk. He probably convinced beatport to part with no small sum for the priviledge. Maybe the next transmat stuff on vinyl will be aimed more at the vinyl buyer.(it better be better as you can’t just delete a slab of plastic) ((Did anyone else connect Toms Nudie Pics with jitterbug playing nude photo?)) But all in all, one very fake sounding piece of music.
Actually I just had a vision of DM sitting in a loft, reading this blog, tears falling on the first test pressing, and about to transfer all the money made from the release to a detroit homeless charity…
“/me stops reading your blog entirely.”
would that be before or after you continued to post in this thread?
if you think that i care if you read this blog, you’re definitely not paying any attention. it’s your loss if you stop, not mine. we have no ads so we get no money for this.
you think Aril Brikha’s music was boring with no drama?!?! really? i don’t know what to say, that LP on Transmat is ridiculously good. if this track was anywhere near even the worst tune on that LP, i don’t think anyone would be disappointed at all.
touching
damn. Why is everyone hating. Do you know for sure why he released the digital version first? And maybe he changed his mind. No matter what he would do someone would complain. Life goes on.
That’s what I was getting at “the weight of expectation”.
You know, we don’t have a right to expect Derrick to release music that ticks our boxes – format, style, feeling, etc. Even old unreleased tracks from those times don’t belong (have the same impact) in these times. For example the track on the Music Institute release on NDATL.
And you know, he shouldn’t be trying to tick our boxes either.
i mean, you can try to justify him putting out weak, underwhelming, and unoriginal music however you want to. considering the track record of Transmat and Fragile up until this release, i do not see how that can be justified. it’s the same thing with Planet E. no one ever asked for every release to sound the same; very different records by people like Recloose, Moodymann, Clark, etc. sounded nothing like the early 69 jams, but no one was complaining. it wasn’t until these weak recent releases started coming out that people got annoyed. and now the same thing is true of Transmat. these labels were special because they didn’t sound like anything else out there. now, they are just derivative garbage grabbing at the same dollars as everyone else.
RIP Planet E and Transmat.
Transmat is not necesarily about “the early stuff”. Thats what many guys still have to get& I dont mean the makers of this blog
Anyone knows Pooleys release on TM? Quiet daze-November? Mindblowing. The real sound of transmat
Yes, I was underwhelmed by Aril Brikha’s album on Transmat. It didn’t help that it was over-hyped at the time. Groove La Chord on the other hand, remains a great tune.
well we’re gonna have to agree to disagree on that one. in fact, due to all this Transmat talk i’ve been listening to Deeparture In Time the last 4 nights, and it is still just as beautiful and brilliant of an album as it was when it came out. i bought that shit when i saw it sitting on the CD shelves in the local shop with the Transmat logo on it, knowing nothing about it and i was blown away. 10 fucking years later, i still feel exactly the same about it…..
Absolutely, if you love a record you love a record.
For me, at the time, Deeparture was a ‘ah yeah, that’s that. pretty ok’, but subsequently having seen where he went musically, and having seen him ply/dj, confirmed my gut feeling and pushed it into the piles of meaningless 90’s dance music that’s now worth more as landfill. Progressive house I guess you’d call it, and that’s what the second gow track sounded like to me.
man, this shit sounds like some serious ibiza trance-tech. at least derrick can be comforted knowing that it will sell like crazy because all the trance fools will have no problem slotting this into one of their sets.
and could someone explain why the catalog number is MS99
as the last release was MS33 (Stephen Brown)??
Maybe because of all the releases that Derrick did not put out because he had invested money in “Transmat Event” who was the major sponsor of the DEMF…Joris Voorn,Vince Watson,Sui Generis and many others were on the line waiting to be released….(just a supposition)
and could someone explain why the catalog number is MS99
as the last release was MS33 (Stephen Brown)??
Maybe because of all the releases that Derrick did not put out because he had invested money in “Transmat Event” who was the major sponsor of the DEMF…Joris Voorn,Vince Watson,Sui Generis and many others were on the line waiting to be released….(just a supposition)
Um…where is it written that techno has to be wedded to vinyl? Isn’t techno a music that was specifically rooted in ideas of progress and futurism? In light of that, it seems a bit strange that there is so much resistance to moving beyond a musical format invented in 1877.
As far as the record itself goes, it’s not great but certainly not bad – just a slightly gutless, middle of the road take on the Transmat sound that will probably sell like hotcakes to the club DJ crowd. But those classic records that changed the world were 20 years ago – anyone expecting DM and Transmat to jump in and reinvent techno at this point is bound to be disappointed I think. Listen to one of Mr. May’s sets and I think you’ll hear the same thing – competence and tastefulness, even a truly great tune or two, but no huge surprises.
But I’m fine with that. There are enough new people making truly innovative music in the electronic realm that I can’t hate on Derrick May for releasing tunes like this, or even cashing in on the $2.49 download. Hell, compared to the likes of, say, musical icons like Paul McCartney or David Bowie, he’s at least approaching middle age with a certain degree of class;)
we have a saying in romania, my country, one guy says “i swear i dont eat garlic”! yeah? then why is your mouth smelling garlic?? dissapointing indeed
WHOOOPS! I picked up the “Love Under Pressure EP” by DVS1 on 12″ Transmat Record at Movement 2010 before it was officially released to stores. Therefore Derrick May did back himself up. BOOM!