do you want to tell us a little bit
about the I guess because I read
somewhere that you were talking about
the new more compelling institutions
that are sort of undermining the old
infrastructures of corporate labels or
corporate radio stations well in there
was a period from for many many years
the only viable way that musicians had
to reach an audience was to sign with a
major label and goes through really big
radio stations and now with the internet
people can communicate musicians can
communicate much more directly with fans
and in turn fans can communicate more
directly with musicians and I think
that’s really healthy I mean I still
think there’s a role for record
companies and for radio but I love the
fact that you know like if I write a
piece of music I can put it up online
and 10 minutes later people are telling
me what they think about it so I don’t
know it’s it’s it seems a lot more
egalitarian and empowering in a way and
the only downside is there’s sort of
this glut of information you know
there’s so much music out there in so
much culture and it’s like it can get
overwhelming you know you could spend
every minute of every day for the rest
of your life just listening to music and
you’d barely scratch you know the amount
of music that’s actually being released
I understand that you’ve made available
well excessively available some of your
music for filmmakers hmm well how come
well when I was in university I was a
philosophy major but I went to a film
school i don’t know how i ended up
studying philosophy at a film tools
called SUNY Purchase and I’d I still
have a lot of friends were involved in
the world of like experimental film and
independent film and their biggest
complaint is always that licensing music
is very difficult and very expensive so
I started a website called Moby grad
asst comm and it works pretty simply
people can go there they’re about 70
pieces of music up there and you can if
you’re a filmmaker you can go there and
download the music and use it for free
so it’s basically just free music for
indie filmmakers also from your play
album every track was commercially
licensed
sort of sort of yeah but as you became
known as a really wanted remixer and
then as he started doing other people’s
assignments what how did that differ
from like being when people put their
desires and wishes into your hands the
hands of an expert first is sort of
doing your own masterpieces well I mean
ultimately I I get the most satisfaction
just working on my own music but I’ve
really enjoyed working with other people
because then you can see how they
approach the creative process and I’ve
worked with such a weird bunch of people
I mean you know I’ve worked with
Metallica and Britney Spears and I’ve
worked with David Bowie and Lou Reed and
Aerosmith and brian eno and the Beastie
Boys and The Prodigy and Public Enemy
and I’ve worked with so many different
people and it’s just that I mean I’ve
even I you know worked with Michael
Jackson and then just work with such a
bizarre group of people and it’s great
because then you can see everybody
approaches the creative process
differently and but whenever I work with
other people it does sort of make me
just want to go back home and work on my
own music when play got well when I got
picked up after its 99 release it’s 1999
release what did that tell you about the
music industry because you had put out a
lot of Records before that and this one
kind of hit home uh well the album I
made before play was called animal
rights and that was this really dark
obscure punk rock record and it was my
record my record label of my manager is
basically refer to it as my career
killing album because it’s a really
difficult record and very few people
liked it of course it’s my favorite
record of all the ones i made so when
play came out no one expected it to be
successful I certainly didn’t expect it
to be successful and I don’t know it
just it was it was confusing because in
my mind I’ve always seen myself as being
a very weird sort of obscure underground
musician so whenever I’ve had anything
any sort of success it’s just confused
me because I never I never thought I’d
have a record contract I never thought
I’d have any six
I really thought that I would spend my
entire adult life making music in my
bedroom that no one would ever listen to
and so it’s bizarre when you perceive
yourself to be an outsider artist and
you end up actually being a weird sort
of mainstream artist I don’t think I
make mainstream music per se but I’m
sometimes very confused at how I ended
up here
about the I guess because I read
somewhere that you were talking about
the new more compelling institutions
that are sort of undermining the old
infrastructures of corporate labels or
corporate radio stations well in there
was a period from for many many years
the only viable way that musicians had
to reach an audience was to sign with a
major label and goes through really big
radio stations and now with the internet
people can communicate musicians can
communicate much more directly with fans
and in turn fans can communicate more
directly with musicians and I think
that’s really healthy I mean I still
think there’s a role for record
companies and for radio but I love the
fact that you know like if I write a
piece of music I can put it up online
and 10 minutes later people are telling
me what they think about it so I don’t
know it’s it’s it seems a lot more
egalitarian and empowering in a way and
the only downside is there’s sort of
this glut of information you know
there’s so much music out there in so
much culture and it’s like it can get
overwhelming you know you could spend
every minute of every day for the rest
of your life just listening to music and
you’d barely scratch you know the amount
of music that’s actually being released
I understand that you’ve made available
well excessively available some of your
music for filmmakers hmm well how come
well when I was in university I was a
philosophy major but I went to a film
school i don’t know how i ended up
studying philosophy at a film tools
called SUNY Purchase and I’d I still
have a lot of friends were involved in
the world of like experimental film and
independent film and their biggest
complaint is always that licensing music
is very difficult and very expensive so
I started a website called Moby grad
asst comm and it works pretty simply
people can go there they’re about 70
pieces of music up there and you can if
you’re a filmmaker you can go there and
download the music and use it for free
so it’s basically just free music for
indie filmmakers also from your play
album every track was commercially
licensed
sort of sort of yeah but as you became
known as a really wanted remixer and
then as he started doing other people’s
assignments what how did that differ
from like being when people put their
desires and wishes into your hands the
hands of an expert first is sort of
doing your own masterpieces well I mean
ultimately I I get the most satisfaction
just working on my own music but I’ve
really enjoyed working with other people
because then you can see how they
approach the creative process and I’ve
worked with such a weird bunch of people
I mean you know I’ve worked with
Metallica and Britney Spears and I’ve
worked with David Bowie and Lou Reed and
Aerosmith and brian eno and the Beastie
Boys and The Prodigy and Public Enemy
and I’ve worked with so many different
people and it’s just that I mean I’ve
even I you know worked with Michael
Jackson and then just work with such a
bizarre group of people and it’s great
because then you can see everybody
approaches the creative process
differently and but whenever I work with
other people it does sort of make me
just want to go back home and work on my
own music when play got well when I got
picked up after its 99 release it’s 1999
release what did that tell you about the
music industry because you had put out a
lot of Records before that and this one
kind of hit home uh well the album I
made before play was called animal
rights and that was this really dark
obscure punk rock record and it was my
record my record label of my manager is
basically refer to it as my career
killing album because it’s a really
difficult record and very few people
liked it of course it’s my favorite
record of all the ones i made so when
play came out no one expected it to be
successful I certainly didn’t expect it
to be successful and I don’t know it
just it was it was confusing because in
my mind I’ve always seen myself as being
a very weird sort of obscure underground
musician so whenever I’ve had anything
any sort of success it’s just confused
me because I never I never thought I’d
have a record contract I never thought
I’d have any six
I really thought that I would spend my
entire adult life making music in my
bedroom that no one would ever listen to
and so it’s bizarre when you perceive
yourself to be an outsider artist and
you end up actually being a weird sort
of mainstream artist I don’t think I
make mainstream music per se but I’m
sometimes very confused at how I ended
up here
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