By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
By Gina Tron
By Jon Solomon
Unfortunately, there's also the possibility that Backwash will be kept out of the music realm altogether, its efforts instead relegated to cruising AOL chat rooms in search of undesirable language to censor, making sure that banal and graphics-heavy advertisements appear on every screen and that unnecessary and slow-as-hell software is downloaded every ten minutes or so.
If Case, Turner and the others are smart in matters of marketing (duh), they'll figure out a way to cross-promote and marry the intellectual and artistic properties involved in this deal. How 'bout a Time-Life book series on the Spice Girls? Or a contractual mandate that all affiliate artists make reference to Daffy Duck at least once per album? Or, even better, an exclusive online distribution deal that would make sure that all artists wishing to release and promote their music through the Internet do so exclusively through AOL?
But, nah, what is Backwash saying? All of that would be unfair. It would erode the viability and artistic integrity of the institution known as the music business. It would mean that, as a partner in of one of four companies -- Warner Wash EMI Music, Universal Music Group, Sony and Bertelsmann -- that control the world's music, Backwash would be encouraging an approach that had more to do with profits than artistry. And Backwash would never merge with a corporate giant that engaged in that kind of behavior. Not to fear, folks. Warner Wash EMI Music will, as always, place the lovers and makers of music first. EMI group chair Eric Nicoli told Backwash so the other day. Of course, he seemed a bit distracted, running Excel to see how many units Van Morrison, that no-good Irish bum, had sold last year. Van, you'd better shape up, or Nicoli's gonna give you the slip faster than you can say "O-oh Domino."
The Denver-based Terraform Records has yet to be contacted by the folks at either EMI or Warner, which might mean, for now at least, that the imprint dedicated to releasing various forms of electronic music may just have to settle for independent production and distribution methods to get its music heard. No problem, says label president Jeremy Golgen, who, along with John Shamié and brothers Eric and Rob Gerd started the label back in 1994 while they were students at the University of Colorado at Boulder. And though Terraform has primarily released works on vinyl from artists in the drum-and-bass, trip-hop and house-music realms, the label's plans for 2000 include plenty of digitally encoded plastic. Golgen plans to release about ten full-length CDs this year, beginning with System Evolution. The compilation features cuts from most of the label's artists, including locals Sundog and Audiophile and former Denver-based drum-and-bass duo ph10, which relocated to New York City last year. (Recone Helmut, one of two members of the dermatologically sensitive outfit, points out the irony of the band's moving to the City to pursue musical greatness only to be signed by a label from home.) System Evolution also features work from Golgen, Shamié and the brothers Gerd -- who alternate musical styles, names and personalities in three different projects: Vandal, System and Agent Babylon, whose track "Liquid Loops" found its way onto Unknownwerks, Vol. I, from esteemed electronic-label Astrelwerks, home to the Chemical Brothers, among other luminaries.
"It's sort of like using pseudonyms to make music," Golgen says of the trilogy of projects. "I'm a Gemini; it's a split-personality thing. It just makes sense to have different things going. Sometimes you're in the mood for different types of music; you're in the mood to work on different stuff. It gives you an outlet." Terraform actually came into existence as a vehicle for Golgen and the Gurdts to simply record and release their own stuff, and that attention to artists' basic needs remains a key element in the label's approach.