• EricLanzillotta over 5 years ago

    The Fake Music Re-Anticipations label seems to be entirely conceptual releases which are PDF files. Does this really belong on Discogs at all if there is no audio?
  • Diognes_The_Fox over 5 years ago

    I don't think these are valid
  • Jayfive over 5 years ago

    All up for removal.

    Once again this is relevant:
    https://www.youtube.com/watch?v=X5-rGN0ou_4

    Not to mention this:
    https://www.youtube.com/watch?v=Iu7vySQbgXI
  • Mr.Mystery over 5 years ago

    Oh you've got to be kidding...
  • unscented over 5 years ago

    Hey all,

    Thanks for your feedback. It's disappointing to see that you're not willing to recognize these releases as legitimate. Some of this music (e.g. the Reynols release, as well as the Yves Klein and Charles Wilp one) seems able to exist elsewhere on Discogs. In the case of the Reynols album, it being "recorded" doesn't really seem apt, as it's a CD full of blank tracks; I think you might reconsider what you mean by the term. For the Dutch band VOLVO, who didn't write or record any music during their career, the only way to record their existence or their work is to write about it, hence our decision to use a format like PDF.

    I began to use Discogs habitually while working in editorial capacities for music journals, and as a result I've long considered it not a marketplace but a database—and a really impressive one at that. It's a researcher's (not to mention fact-checker's) dream! Its breadth and accuracy are its great attributes. It's a shame to think that this impressive archive contains, and will apparently continue to contain, omissions based on a work's media of dissemination. (I hope you'll recognize that it is the business of the artist to examine and sometimes to work beyond whatever ideology is present in a given medium.) It has been a goal of Fake Music to account for and draw attention to gaps like these.

    I'll also add that many Discogs users have contacted the label in appreciation or just out of curiosity. Do you not think that somebody surfing the catalogues of Alison Knowles, Alphonse Allais, or Daniel Eatock is expecting (maybe even hoping?) to find some funny instances of nothingness? I think Fake Music is as legitimate as any bootlegger—whose like I know Discogs does recognize—perhaps even more so as we don't seek any sort of profit.

    And thank you, Jayfive, for these links. I'm happy to be made aware of the "Underground Bands" sketch. Anent the latter, we of course recognize that our project has an air of silliness about it, but that is not evidence substantial enough to convince us that we should stop.

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