DIGGIN ’OUR OWN CRATE: CULTURAL APPROPRIATIONISM, SAMPLING ETHICS AND RESPONSIBLE COLLECTING
Collecting and diggin’ has been transformed in the last 10 years with the entry of digital factors: the Discogs market or online sales have turned vinyl into a scenario formed by small niches that communicate with each other and share fetishism over the musical omnipresence of streaming services. The reification of vinyl and musical works has created a bubble of elite selectors and record stores that grows outside the reality of infinite mp3 libraries. But what ethical rules should we listen to when trying this practice? Do we have the right to market with cultural heritage from other continents? Is it possible a morally sustainable and coherent diggin ’? A meeting that will deal not only with the theory of collecting but also the good and bad praxis generated by the rise of the digital experience.
Frankie Pizá in addition to his professional curriculum has been a digger and collector for more than 15 years. Founder of Concept Radio, a digital portal that soon became an independent alternative to music journalism in Spain, continued with that same communicative spirit in TIUmag, and currently exercises creative direction in Primavera Sound, Vampire Studio and Abaixadors10, continuing with a constant research at the intersection that connects art, communication and music. In recent years his interest has focused on the exploitation of the resources that we have in a generic way both in our smartphones and in social networks, moving the activity to that environment and making the web format obsolete.
David G. Balasch has an extensive experience as a DJ on his back. Responsible of one of Spain’s reference blogs on dance music, Tower Of Meaning, he has collaborated with Red Bull Music Academy and Primavera Sound and treasures an enviable vinyl collection. Since 2017, he has been one of the thinking heads of Passat Continu, the sister label of Modern Obscure Music that is dedicated to reissues and the recovery of pieces by artists who have been forgotten by the passage of time.
Javi Bayo has been a record collector for more than twenty years. He began to play black music in the early nineties and since then he has shared a booth with artists such as Danny Krivit, DJ Spinna, Flying Lotus or Mark Pritchard, demonstrating his versatility in an endless list of festivals and venues, both here and abroad. He has recently contributed to claiming the legacy of the Spanish jazz scene of the 60s and 70s through the anthology ‘Fetén (Rare Jazz Recordings From Spain 1961-1974)’, the reissues of the saxophonist Pedro Iturralde and directing the series of singles ‘Tabú’, always under the Vampisoul label.
Pablo Electrocute. Crate digger of rare music and compulsive record collector, who elaborates sound collages and atmospheres based in emotional, sound and space music processes. From his years as co-founder of Electrocute ’Zine at the beginning of the last decade, developing the concept of “antiparty” and acting as master of ceremonies in performative auditions, his DJ sessions are characterized by his obsession with vinyl as a sound source, taking the form of daring soundscapes inspired by noise, afterpunk and experimental music.
Noelia Rodríguez is one of the most important musical curators of our country. From the DelicaListen platform, of which she is also a director, she has curated concerts and audiovisual projects for events such as MUTEK or L.E.V. In addition, she has also programmed the DNIT cycle at the Caixa Forum in Barcelona bringing artists such as Ben Frost, Tim Hecker or Andy Stott. To all this we must add her work as a vinyl collector, from the age of 8, and a selector, going through this last facet, among others, the almighty Burning Man in 2006.
[ SATURDAY 14 | 16:00 | CGAC – AUDITORIO ]