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Basic Moves 10

by Dj.Booth

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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    Purchasable with gift card

      €1,000 EUR  or more

     

  • BM10
    Record/Vinyl + Digital Album

    ! ! ! IMPORTANT NOTICE ! ! !

    You might have realised the digital track listed above is a little pricey. If you really want to buy it, we’re not going to stop you! Bandcamp no longer supports physical albums without a digital download. So we faked one ;-) However, we much prefer you purchase the Basic Moves 10 vinyl, because that is the actual, physical release. Digital files will be sent to all who order the record, but PLEASE NOTE these are vinyl masters that were not originally intended to be sold/distributed digitally.

    “Ok fucker, you know what…”

    For Basic Moves’ 10th (and last?) release, Scam Planet representative DJ.Booth lays down the soundtrack for a solar sailing trip through his personal space-funk mirage: the perfect scenery to take a moment to look back and reflect on the story written so far.

    The release date was scheduled a few weeks ago, but it was inconceivable for us to let a record go out into the world without some words of context that can be picked up, read, thought about, lost, torn up and thrown around. So even though it has been a source of delay more than once, this approach to format without compromise has always been one of the key elements of the BM saga.

    Beyond just delay, the process of releasing music on a physical format has an inherent slowness, where each step requires specific knowledge, creating fruitful exchanges between everyone involved along the way. From the artist (1), the person doing the mixdown (2), the mastering engineer (3), the pressing plant (4), to the designer (5) and the printer (6) who print the sleeve, and finally the distributor (7), this process allows for a cristallisation of time, place and people into a story; a message in a bottle thrown out to future listeners. This story is then presented as a physical object designed to be played, handled, collected, discussed, forgotten, rediscovered, passed on. At the same time and contrary to the digital format, vinyl has an undeniably elitist dimension to it and is both ecologically and economically questionable. It is heavy, takes up space, gathers dust, suffers from wear & tear, etc. On the surface, sometimes it seems like the only moment this format can eventually shine is when it’s sitting on a turntable, with the diamond stylus in the groove…

    Recently, a playful clash with another Dj/label boss (8) and the emotionally charged acquisition of a large stock of rare jazz records from a collector’s widow reminded us that this is everything but true. Vinyl shines as part of the fabric of our very real-life music scenes, in the eyes of a collector, or as an archival tool for specific personalities, eras, and areas. During a series of late-night video calls between Driss and ourselves however, it became clear that from the perspective of artists and label owners, discussions about tangible vs. digital and the importance of format are often guided by a much more practical question: how does it relate to the possibility of a (financially) stable career as an artist?

    Any leads towards an answer for this question are very much appreciated and can be sent to contact@basicmoves.be

    Basic Moves

    Includes unlimited streaming of Basic Moves 10 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ... more

    Sold Out

1.
Interflug 05:40
2.
Rover 75 06:20

about

“Ok fucker, you know what…”



For Basic Moves’ 10th (and last?) release, Scam Planet representative DJ.Booth lays down the soundtrack for a solar sailing trip through his personal space-funk mirage: the perfect scenery to take a moment to look back and reflect on the story written so far.



The release date was scheduled a few weeks ago, but it was inconceivable for us to let a record go out into the world without some words of context that can be picked up, read, thought about, lost, torn up and thrown around. So even though it has been a source of delay more than once, this approach to format without compromise has always been one of the key elements of the BM saga.



Beyond just delay, the process of releasing music on a physical format has an inherent slowness, where each step requires specific knowledge, creating fruitful exchanges between everyone involved along the way. From the artist , the person doing the mixdown, the mastering engineer, the pressing plant, to the designer and the printer who print the sleeve, and finally the distributor , this process allows for a crystallisation of time, place and people into a story; a message in a bottle thrown out to future listeners. This story is then presented as a physical object designed to be played, handled, collected, discussed, forgotten, rediscovered, passed on. At the same time and contrary to the digital format, vinyl has an undeniably elitist dimension to it and is both ecologically and economically questionable. It is heavy, takes up space, gathers dust, suffers from wear & tear, etc. On the surface, sometimes it seems like the only moment this format can eventually shine is when it’s sitting on a turntable, with the diamond stylus in the groove…

Recently, a playful clash with another Dj/label boss and the emotionally charged acquisition of a large stock of rare jazz records from a collector’s widow reminded us that this is everything but true. Vinyl shines as part of the fabric of our very real-life music scenes, in the eyes of a collector, or as an archival tool for specific personalities, eras, and areas. During a series of late-night video calls between Driss and ourselves however, it became clear that from the perspective of artists and label owners, discussions about tangible vs. digital and the importance of format are often guided by a much more practical question: how does it relate to the possibility of a (financially) stable career as an artist?

Any leads towards an answer for this question are very much appreciated and can be sent to contact@basicmoves.be

credits

released April 22, 2019

All tracks written, produced & recorded by Driss Bennis

A1 mixed by Chris 'Funk' Ferreira
B1 mixed by Driss Bennis
Licensed from Scam Planet Editions - SPE01.
Artwork by Ailsa Cavers.
Mastered by Stefan Betke @ Scape Mastering Berlin.
Pressed by MPO.
Physical distribution by Crevette Distribution.
Limited to 300 copies worldwide.

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Dj.Booth Paris, France

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