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Found 3 results

  1. Starting a label that will print Limited Edition cds I am asking you what do you think makes a release to deserve the title Limited? Is it just the number of copies? Is it the packaging? A sticker on the cover or the rarity of the media? And what would be for you the ideal way to show that what you are holding in your hands is indeed limited? A catalog number including the letters LE, an engraved number or a sticker?
  2. As the title suggests, can you think of an album that is really bad or even out of place, but it was actually released by a quality label? As an oldschooler two come into my mind. First: Brainman - Brain Food. The 6th release of legendary TIP records and...what the hell is that? Who is that guy and what is he doing in TIP? 0/5 Another one, not bad, but seriously out of place is Total Eclipse - Access Denied. Jazzy drum and bass? by Total Eclipse? In Blue Room? WTF??? So? What albums do you think are out of place?
  3. It seems that lately the cases of Releases pressed in very limited number of copies, are increasing. Is there maybe an exaggeration with the limitation of 300 or 500 copies? Maybe a fascination of mysticism gone wild? Someone might indicate that the times we pass through are very tight and difficult in economic terms, and that has ofcourse its consequences on artistic production as well. But can this be applied to all the cases and circumstances? Imagine the Mind Rewind compilation released in 300 copies only, or the coming MR 2, or the upcoming D5. My opinion on this, as a collector from the 90s, is that the (once and for all) exclusive circulation of a great release ad interim brings displeasure to the scene (especially the truehearted seekers) and in a way expresses an indirect disrespect toward the scene-loving listener because it overrates de novo the value of the released music, stresses for an unceasing vigilance, rushes and blackmails for the delight of the pleasure of an artistic excellence (amidst difficulties & priorities) which sets up also a competition between the concerned for participation to the scene (living its stages and obtaining its milestones), while tempting the curious and the opportunists. On the contrary for example, i purchased Transwave's Helium in a physical store in 1999, that is 3 years after its release, or Oforia's Delirious from Beatspace, years later. AND.. i do NOT carp, deprecate or deride the Producers love, loyalty and efforts for the scene's preservation. Just only a tactful & focused criticism.
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