The Rise of the DJ Edit Album: How Chuquimamani-Condori is Redefining Music Consumption
A single artist landing on Pitchfork’s “Best Albums of the 2020s So Far” list is noteworthy. But Chuquimamani-Condori’s presence twice – once with their 2023 album DJ E at number nine, and now with the just-released 24-track collection Edits – signals a fundamental shift in how we experience and value music. This isn’t just about a talented artist; it’s about the growing power of the DJ edit as a legitimate art form, and a potential blueprint for the future of album creation.
From Underground to Acclaim: The Evolution of the DJ Edit
For years, DJ edits – remixes tailored for seamless mixing, often focusing on extended instrumental sections or subtle rhythmic shifts – existed largely in the underground. They were shared within DJ communities, prized for their functionality and often existing in a legal gray area. But artists like Chuquimamani-Condori are bringing them into the spotlight, challenging the traditional album format. Edits, representing six years of work, isn’t a collection of polished studio tracks; it’s a curated selection of functional music, designed for the dancefloor, but compelling enough to stand on its own. This represents a move towards a more utilitarian approach to music creation, prioritizing experience over pristine production.
Why DJ Edits Resonate in a Streaming Era
The rise of DJ edits coincides with the dominance of streaming services. Paradoxically, while streaming offers access to an unprecedented amount of music, it can also feel overwhelming and fragmented. The curated nature of an album like Edits – a focused collection built around a specific aesthetic and purpose – offers a counterpoint to the endless scroll. Furthermore, the emphasis on looping and extended sections caters to the way many listeners now consume music: as background ambience or within a larger, mixed environment. This is a direct response to the way music is *used* in the 2020s, not just how it’s *made*.
Beyond the Dancefloor: The Broader Implications
Chuquimamani-Condori’s success with both DJ E and Edits, alongside their collaborative work with brother Joshual Crampton on Les Thanga (praised as a “dizzying reorientation” by Joshua Minsoo Kim), suggests a broader trend: the blurring of lines between DJing, production, and album creation. We’re seeing artists increasingly embrace the tools and techniques of DJing – looping, sampling, re-editing – in their studio work. This isn’t simply about making “dance music”; it’s about a new approach to composition and arrangement. The focus shifts from creating a finished product to creating a sonic palette, a set of building blocks that can be endlessly rearranged and reinterpreted.
The Future of Album Formats: Modular Music
Could we see more artists releasing albums as collections of “stems” or extended edits, allowing listeners to remix and personalize their own experiences? It’s a distinct possibility. The technology already exists, and the demand for customization is growing. This move towards “modular music” would empower listeners, turning them from passive consumers into active participants in the creative process. This aligns with a broader trend towards personalization and user-generated content across all media. Consider the increasing popularity of sample packs and music production software – the tools are already in the hands of a generation eager to create.
The success of **Chuquimamani-Condori** isn’t just a story about one artist; it’s a signal that the rules of album creation are being rewritten. The DJ edit, once relegated to the shadows, is emerging as a powerful and influential force in contemporary music. This shift demands a re-evaluation of what constitutes an album, and a recognition of the value of functionality, curation, and the power of the remix.
What impact will this trend have on the live music experience? Share your thoughts in the comments below!
