Tag Archives: Dingus

We Use a Typewriter

I’m asked the same question, over and over, until I memorize the answer so diplomatically, that even the freshest among you would feel how tired I am of responding- “Where do you find the music for Dingus?”-  It’s a great question, but only because modern journalism has taken a turn toward the lazy, uncreative, uninventive side of business.

Years ago, every news source would have given you this exact answer (the same answer applicable to Dingus):  “We use good old fashion investigation, prying our noses into the deepest corners of the common world, to bring you, the reader, completely original, exclusive content.”  Our content doesn’t come from other news/media sources, it is born from the embryonic juices of our average citizen-musicians. We don’t spend our days reading PMA, OMR or LHB and we certainly don’t make any editorial decisions based on market interest.  (In fact, one of our least favorite things is visiting our HypeMachine and seeing that other blogs have posted the same song as us.)  We don’t check our numbers all day and, other than these fuckers at WordPress who sometimes make us, we don’t bombard you with irrelevant advertisements.  Dingus is not a blog established to hit a profit margin; it’s pure love.

In a world where even some of the most prominent media sources are comfortable re-blogging, re-writing and re-massaging haggard stories with hopes of marrying you to a “fresh product”, not many of us spend the hours of work that discovering truly original material requires.  So, where do we find our stories?  Well, if you were expecting me to tell you that Dingus pulls material from the most “indie” corners of the web, screw you.  Dingus is that indie corner, the most indie corner that could possibly exist.

With that said.  I would like to re-introduce the Dingus line-up:  Andrew Alexander Prieto (Writer), Nick Mancusi (Copy Editor), Christine Spilka (Press/Media), Michael Justin Robison (Webmaster), Thomas Miranda (Communications).  Guest posts will often come from writers Susan Williamson and Layne Montgomery.  Without these people, I would lose my mind and Dingus, surely, would crumble.



Basic Printer: Wallowing in the Afterbirth

Back last June, when Dingus officially went 100% DIY, Basic Printer was one of the original acts to get in touch.  At the time, it all seemed exciting, a musician actually wanted to talk to us.  Well, now here we are today, 6 months and nearly 800 posts later.  If you’re counting in Printer years, we’re a full 2 albums old and now there’s been a shift.  While the first two albums (Poor Ian and Abstract Trust) seemed to fly at us with emphasis on the prolific nature of the artist (Jesse Gillenwalters – clearly inspired by the likes of Super Moth or Tobacco), recent anticipation paired with a fresh single release and some under the table demos, has us completely rethinking the artist.

Basic Printers first two formal LP’s detail an erratic electronic paranoia that rattles through off-beat, tribal structured sprints, never truly finding solace in conclusion.  Although entertaining and often innovative, the new Printer that’s been reintroduced with ‘Rosecroft Mews‘ is a more enlightened Printer.

With the recent release of his latest music video (by Dillon Utter), our predictions seem ensured.  Basic Printer has broken past the creative brainstorm that was his early career, the frantic, manic rantings, and entered into a more meditative, journey driven state.  Wallowing in the afterbirth of Poor Ian and Abstract Trust, Gillenwalters took every hard lesson learned, ever minor criticism from friend or foe and distilled it into one stoic, purposeful album, set to release this Friday.


Death of Music

Recently, one of our writers worked on a piece to be published in a few DIY music newspapers (one in particular to be published by our good friends at Mama Coco’s Funky Kitchen) around New York City (truly an honor).  The Meme Movement also printed hundreds of single copies, so if you see one floating around the city, grab it.  Here the article in entirety:

Death of Music  (by Andrew Alexander Prieto)

Growing through some of our most impressionable years during the 90’s was a battle. More than a battle, it was a war; a war for artistic integrity (a sentiment we were never formally taught,) for purity and passion. We didn’t know it then, but having been indoctrinated with the MTV cafeteria menu of bands that, in reality, were corporations selling products of pre-assembled angst, love or whatever banality marketed best, set a foundation that would be hard to alter. The foundation is not a mystery; it is an extension of the embedded, corporate-capitalistic philosophies that hold our society together by a thread. It’s a foundation that preaches instant gratification, and while the majority of us were being sold on that disillusioned pleasure, a minority labored in the service of music that held on the idea of artistic purity.

The 90’s, while giving birth to a whole arrangement of abominations, also gave rise to the indie label and, in-turn, the indie scene (a scene fueled by an already seeded new wave aesthetic). And, over the last twenty years, the idea that music should not be monopolized has given a platform to some of the greatest minds of our musical generation; minds that might have otherwise gone unexposed. However, as the indie label became mainstream (for better or worse) its motivations changed.

The year is 2035, and there isn’t a soul on the planet who gets singular recognition and mass acclaim on par with today’s superstars. No, this is not a dystopia; it’s the coming of artistic salvation. Somewhere along the way, the independent music label lost its innocence. They say a rising tide lifts all ships, and it did. Insert power, money and influence into anything and it slowly rots with corruption from the inside out. The result: a three tiered music industry fighting for your love which, in the first two tiers, translates directly to: your money.

You’ll be familiar with the first and second tier. They are the major and minor record labels (respectively) and they thrive as businesses. Integrity resides in the third tier, a level of music distribution that rises above popular demand and nearly all free market constraints. It is not a dog eat dog model, there is no competition because there is room for everyone. Born out of the leveling power of the internet, distribution of anything, not just music, is now possible from anywhere you can get wi-fi. It’s this equalizing force that is pushing musicians all across the globe to live out their vision, communicate their fantasies, and be heard, potentially, by the entire world. Without executives to tune a song to a market, without marketing to tune a genre to product, musicians everywhere, bound to their work only by their hearts and not their wallets, are driving progress. And, as always, in response to the change in creative method, the consumption methods must shift too.

Now the music world sees a rampant growth of personal music publications that consciously avoid even the indie-mainstream, in search of the new artistic frontier. Of course, not all are equal, and some are more vigilant curators than others. But the DIY sentiment that is slowly settling into the market, while imperfect, refines itself daily.

With the redefinition of the music market, the consumer now has access to a limitless stream of creative energy, and can decide for themselves what they connect with and what they don’t.   It is the re-localization of the art world.

Disaster Strikes

A few days ago, Dingus got fucked.  Somehow we lost all of our bookmarks, among them, a long list of albums we hand picked from the most recent bandcamp releases as well as submissions.  Rest assured, if you sent us an email with your track, we will be going through all of our submission again [on a side note, when sending to us, it’s best to include the word SUBMISSION in the mail subject so it get filter properly].  But if you recently released an album and think we might have been checking you out, please send us your link.  Thank you, regular posting will resume tomorrow.


Soulbound V.4

Soulbound Volume Four by Various Artists   (November 30, 2011) *

Last night, we released the fourth installment of our compilation series, Soulbound.  We’d like to thank all the artists involved, artists who are helping build a wonderful record of our generations musical ventures.  Starting with Secret Mommy and ending on NAPS, every song carries it’s own weight.  As always, it’s free.

Dingus, Yvonne, Solidus, Dandelions, Big Boss

Get Thee Gone (Best New Track)

‘Get Thee Gone’ by Ghost Pal   (November 28, 2011) *

It’s no secret that Ghost Pal has been in hiding while they record their upcoming EP release, Nathan Jones is Dead.  Now, from those sessions, we get a single that will not appear on the CD.  ‘Get Thee Gone’ takes me back to the first time I heard Ghost Pal, the track: ‘Space Race‘.  With immediate sustainability within the attack/release dynamic, this latest offering from Oliver Ignatius’ crew sprints in slow motion, pitting cheerfully violent chorus’ against clear conscious verses.  The perfect song for a million movie scenes, we can’t express how pleased we are.



#DapperCads by Dapper Cads   (November 22, 2011)

New York based Dapper Cads release their debut EP highlighting their sharp electronic pop impersonation.  Like Miike Snow’s love child with Chromeo, there’s just enough funk to make this electro-pop really shine.  Above all, the Dapper Cads EP makes me want to dance, and I’m not one for dancing.