Chase & Status leave Ram and sign to Mercury Records

[antloss]

Godd riddance. Piss off and collaborate with N-Dubz and Will Young

Shat ap!
Chase and status have merked the underground dnb scene for years and given it life at times when bate jump up was ruining it. They've been involved with dark garage, grime, hip hop, dnb, dubstep and smashed every single one of those genres to bits. Yeh fine, things are a bit much now, but you cant be hating on these two who produce substance in everything they do.

Snoop dog might have fucked up eastern jam, but before that i bet you were fingering your arse to it. go get some valid opinions - co-labs contribute to integration and forward thinking, you, clearly, do not.

[s.h.smoke]

respect to them!

didn't bother reading the thread but fuck the haters

[dubstee]

Getting signed to a major label is absolutely NOT pushing the scene forwards. You only have to look at hip hop in the states - they have done that almost entirely without major labels. As I said earlier, you only need the majors for distribution.

Nailed it.

Hip hop artists over here realized early on that most large record labels are not run by people who are really into music, but people who are really into money. Instead of growing the industry too fast, they grew the music first, in their own back yards, with their own creative interests in mind. Dont get me wrong, there still is a huge amount of hip hop over here that is only in the biz for the rockstardom and money.

As far as money is concerned, I did my dissertation for graduation on comparing a major label contract -vs- having a go at it yourself. If you sell 1 million copies of a record for a major label, under a standard contract, you make the same amount of money you would have made if you pressed em all up yourself and sold 30k copies, after recouping costs. (Thats 3%) This shows what a major label pays the artist after they own your copyright. Major label contracts are more about fame and pushing your name, then pushing the entire sound or your scene.

OTM

[desire]

Massive fail of a post.

C&S to Mercury is a bad move for all concerned IMO.

Can you explain why?

And it's a bad move for Mercury because they just signed an underground act who are clearly only in it for the money,

thats bullshit, they'd make music if they weren't getting paid for it. and chances are they'd write the same music that people can relate to and that rips up dance floors.

[seckle]

If you sell 1 million copies of a record for a major label, under a standard contract, you make the same amount of money you would have made if you pressed em all up yourself and sold 30k copies, after recouping costs. (Thats 3%) This shows what a major label pays the artist after they own your copyright. Major label contracts are more about fame and pushing your name, then pushing the entire sound or your scene.

i'd agree to that, but it is different depending on what kind of deal you work out. a publishing deal can be very different than a distribution deal, or a production deal. even more so if you were smart and own all your masters (like jay z and rockafella, for example). if you do, then there is a gigantic longterm money advantage to signing with a major. especially if you were lucky to go gold or platinum. if you did, then with a major label deal, thats money that even your grandkids will get.

if you don't own your masters or have potential sample clearance issues, then its a tricky decision to make.

[desire]

Chase & Status are an interesting topic.

They don't seem to have their own sound. Pendulum had a sound, you knew a Pendulum tune the minute you heard it, no matter if you liked it or not. Chase & Status seem to be able to release a fashionable anthem literally just at the right time, every time.

The thing I can't seem to get past with Chase & Status is the transparency of their tunes. Each tune seems to be built around a particular synth, vocal or hook and nothing much else is there. The tunes have barely any depth to them and you can tell the exact purpose behind each tune. I try and stop myself by saying "shut the fuck up, they just make excellent dance music, no need to waste so much mental energy thinking about it" but it ****** me. Even with Pendulum there was a bit more depth to each tune, more things to listen to. Chase & Status tunes just seem weird, no identity, they just sort of exist lol.

I like to think of music as mysterious and magical. Chase & Status tunes generally have none of that, they are pasted onto a massive big wall for everyone to see. That said I really do like and appreciate their tunes, the old cliche "it goes off in the dance" could never be truer with these guys. Their tunes do fucking go off. Its just not stuff I listen to more than once at home because there just isnt enough to listen to.

I wonder how they will be applied to a commercial market now. I'd imagine its going to be a lot of collabs with vocalists, the guys on their own aren't really marketable enough. I'm interested to see what direction they take.

Anyway, lol, hello dubstepforum, my name is Terpsichore.

i can tell there tunes straight away, but yeah mainly from the bass preset they rinse

[desire]

the real question is, besides chase and status and mercury etc

who gives a fuck?!

clearly alot more people give a fuck about them than you.

[notez_]

good for them.

it's been a joy to witness this forum gradually deteriorate thanks to all the haters and bedroom shit talkers who love to take cheap shots at people who've actually accomplished something. thanks for making dubstepforum a little more irrelevant with each passing day.

is a forum not all about voicing your opinions?

I'm sure a lto of people will acknoledge my fear of what they could become. Obviosly fair play to them and saxon and bits are one of the killer tunes in dubstep at the moment, absolutly smashing it. Thats potentially some serious money but i always find something is lost when pure drive to just make create music is replaced by the pure drive to make a huge mound of money.

[q23]

Most big labels will not give you the ability to own your own masters or the copyright. Jay-Z and others had to blow themselves up huge before they got on a third party label that allowed them to pull strings like that, which is why alot of hip hop before that was built from the ground up. - Death Row records and all that jazz.

The analysis I did was just the record deal. It did not include radio play royalties or gig money (which is where most big label contracted artists make the majority of their income).

One thing I'd do at a large record label is raid their vault, get some tails out masters on 2 inch 24 track reels, hit the studio, and let the remixing begin. The label likely already owns all the copyrights so no licensing needed. Its a win wn situation in that respect.

[tribute]

Signing to a major label sucks. All you get to do is make music all day, work with and learn from amazing musicians, producers and engineers, network, raise your profile and make your mum proud. Oh and get paid for it.

[deadly_habit]

Massive fail of a post.

C&S to Mercury is a bad move for all concerned IMO.

Can you explain why?

And it's a bad move for Mercury because they just signed an underground act who are clearly only in it for the money,

thats bullshit, they'd make music if they weren't getting paid for it. and chances are they'd write the same music that people can relate to and that rips up dance floors.

that's why they've consistently changed their style to the big thing of the moment and churned out a bunch of generic copycatish tunes over the years and nothing really unique or a sound of their own?

don't get me wrong they're good engineers and i enjoy a couple of their tunes, but they're not doing anything innovative or special to me.

[bandshell]

A list of their new label buddies:

http://en.wikipedia.org/wiki/Mercury_Records_artists

I'd still rather be with SubFocus, Xample and Lomax and have Andy C as my boss...

dude...

Captain Beefheart
Kiss
Kool and the gang
Metallica
Paul McCartney
New York Dolls
The Rapture
Ugly Kid Joe

are sick label mates!!!!

[miig]

i have a friend who used to listen to r&b religously, she comes back from uni listening to More Than Alot. so now she likes drum n bass etc apparently?

Goddamit what the fuck is wrong with that!?!?!?

Let's just hope there is more peeps like her...

Damn, don't be elitist...

I'm not being elitist and i'm not slagging them off either.

Also you missed the point a little, she doesn't like drum n bass, she likes chase n status' album. i played her duppy man and she didn't like it...

streetlife is a tune.

[desire]

Massive fail of a post.

C&S to Mercury is a bad move for all concerned IMO.

Can you explain why?

And it's a bad move for Mercury because they just signed an underground act who are clearly only in it for the money,

thats bullshit, they'd make music if they weren't getting paid for it. and chances are they'd write the same music that people can relate to and that rips up dance floors.

that's why they've consistently changed their style to the big thing of the moment and churned out a bunch of generic copycatish tunes over the years and nothing really unique or a sound of their own?

don't get me wrong they're good engineers and i enjoy a couple of their tunes, but they're not doing anything innovative or special to me.

So do you think the 50,000 people that payed for there album were all studio nerds who wanted to check out the 'fresh mix-downs!' or maybe the people who tell C&S that they listen to there tunes everyday and that there MUSIC has changed there lifes just cant get enough of that sub bass to kick drum correlation?

[dubstee]

So do you think the 50,000 people that payed for there album were all studio nerds who wanted to check out the 'fresh mix-downs!' or maybe the people who tell C&S that they listen to there tunes everyday and that there MUSIC has changed there lifes just cant get enough of that sub bass to kick drum correlation?

Changed for the worse probably, tbf.

[deadly_habit]

Can you explain why?

And it's a bad move for Mercury because they just signed an underground act who are clearly only in it for the money,

thats bullshit, they'd make music if they weren't getting paid for it. and chances are they'd write the same music that people can relate to and that rips up dance floors.

that's why they've consistently changed their style to the big thing of the moment and churned out a bunch of generic copycatish tunes over the years and nothing really unique or a sound of their own?

don't get me wrong they're good engineers and i enjoy a couple of their tunes, but they're not doing anything innovative or special to me.

So do you think the 50,000 people that payed for there album were all studio nerds who wanted to check out the 'fresh mix-downs!' or maybe the people who tell C&S that they listen to there tunes everyday and that there MUSIC has changed there lifes just cant get enough of that sub bass to kick drum correlation?

so you think the majority of their tunes aren't disposable after a few months?
and lol at dance music of any kind being life changing.
i mean shit good for them, but you're not going to change my opinion of them being generic bandwagon followers.

edit: and frankly i hope they do release some good stuff on mercury, but i highly doubt it as most edm on major labels as of late has been shit. hell look at the last few prodigy albums for starters

[dubstee]

and lol at dance music of any kind being life changing.

epic fail