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Maguro posted:Yep it's pretty much poo poo. The best parties always have the worst attendance and vice versa. If it's a forward-thinking or otherwise interesting act the vast majority of the audience will be local DJs/producers. Maybe you are being facetious, but it depends on the genre and geography a lot I think. I'm pretty happy with the hierarchy in New York.
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Oct 11, 2011 04:39
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nibe posted:There's just no history of a flourishing dance music culture here. Disco happened but that was for gay black people so 'muricans got mad and literally brought their disco records to a baseball game to have them blown up, and this was in Chicago. From then on it seems that dance music was doomed in America, relegated to the domain of marginalized weirdos. Fast forward to the late 90s/early 00s when most Americans had either forgotten about it or were too young, and through limited exposure everyone starts to call it techno because that sounds more like something made by a computer than "house." And then you have "raves" which are basically the most unholy gatherings of freaks imaginable to good Christian Americans. Even I get a kick of out Pokes MCing about "propa ravers" because of my deep-seated notion of ravers as 16-year-olds with glowsticks, pacifiers, and neon clothing. I mean it was only a few years ago that french electro-house became deliriously popular among tastemakers ("popular" having a slightly lesser meaning than Skrillex popular - all my high school-age brother's friends listen to him, and that's an entirely different ballpark) and that was coinciding with the critical rehabilitation of Daft Punk and the rise of DFA. Disco definitely made a comeback in the '00s, particularly the NY-centric strand of it that rubbed up against nascent house and post-punk in the '80s. DFA had plenty of popular dance rock bands on its roster but the bulk of its output is still analog disco-house (poo poo Robot, the Juan Maclean, Black Van, etc). Essentially I'd say that broader swaths of American listeners (that is, not nerds like us) can only really interface with electronic music where it resembles and / or caters to rock music. Daft Punk / Justice had the cheesy guitar synth stuff going on, DFA's heavy hitters openly courted comparisons to Gang of Four and Liquid Liquid. It doesn't sound like "bleep bloop" music, in other words. It doesn't sound "chin-strokey" (as Chris Weingarten recently put it when favorably comparing Skrillex's Korn productions against UK dubstep). I went to see Cut Copy last week and the place was packed to the brim with fashion-conscious, screaming white kids just soaking up the New Order vibes. Then I saw Ital Tek practically all by myself. Though now that you mention it, I went to an Ana Sia / Eskmo show in the mountains west of Denver (absolutely gorgeous canyon venue on a cloudless moonlit night) some months ago and it was nearly as well-attended as the Cut Copy show. America's got its own pockets of progressive bass music (the biggest probably being Low End Theory in LA) that are gaining popularity but as a general rule they don't really jibe with the majority of styles that Europe brings over. Now that juke is a big deal on both sides of the pond there's more similarity, but it's unquestionably niche. As Maguro and I experienced, people just don't know how to dance to it. I'm just unfortunate enough to live in the Midwest, which might as well be Wob central. LA, Chicago, Atlanta, Philly, NYC, all have creative and vibrant local scenes. And with producers like Araabmusik there's more opportunity for them to cross over into the pop realm (though it's more likely that rappers and the like will be going for the filthy stuff). Basic Chunnel fucked around with this message at 05:50 on Oct 11, 2011 |
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Oct 11, 2011 05:46
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plogo posted:Maybe you are being facetious, but it depends on the genre and geography a lot I think. I'm pretty happy with the hierarchy in New York. Well yeah I guess if you live near one of the largest and most interesting cities in the world it would be way better  Also I suppose a large amount of people have to enjoy the current scene, as the wobble parties do quite well most of the time. I just don't think that the truly forward-thinking dudes are getting decent dancefloors (at least where I'm from).
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Oct 11, 2011 07:15
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thepopstalinist posted:I'm just unfortunate enough to live in the Midwest, which might as well be Wob central. LA, Chicago, Atlanta, Philly, NYC, all have creative and vibrant local scenes. And with producers like Araabmusik there's more opportunity for them to cross over into the pop realm (though it's more likely that rappers and the like will be going for the filthy stuff). Where in the Midwest are you? 'Cause I can relate to the whole "unfortunate" thing.
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Oct 11, 2011 07:47
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Denver area.
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Oct 11, 2011 09:32
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Burial/Massive Attack tunes are due to be released and here's the first one up on youtube: http://www.youtube.com/watch?v=VisKkedFZjw&feature=player_embedded Maybe it's because it's like 25° and 11am, but I'm not really feeling this one - I definitely prefer when Burial makes music on his own. Also lol, 1000 £25 copies sold out on preorder in like a couple of hours.
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Oct 11, 2011 10:07
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plogo posted:I think the problem is that there just isn't as much of a fan base to which uk bass is a natural transition, if that makes sense. I mean in NY I don't mean to minimize uk bass's impact, but it's quite small compared to the say the house, hip hop or dancehall scenes. I see little reason for mass migration from these scenes to dubstep. In New York, we don't have the history of transition of garage-2step-dubstep to rationalize the integration of dubstep into existing narratives. Likewise, many of the emerging dubstep fans have little time for house, hip hop, and dancehall as they are coming from a rave background or from reading dissensus and pitchfork or something. This is something of a generalization, as I can give lots of anecdotal evidence contrary to this thesis, but in aggregate I think it holds true, and uk bass has not made a particularly large impact on dubstep/dancehall/hiphop. Really, I think drum and bass is the perfect analogy, an imported genre that gained moderate popularity, but never became a dominating influence like hip hop or disco. Or another example would be a simon reynold's article on the Body & Soul parties where he suggests they might include 2-step along with house and disco, which clearly was never going to happen for the reasons I've outlined above. Sure well this is what I'm really trying to say I guess. At the moment it's alien, there is no natural doorway for a potential fan to come into it(barring a couple of more on the ball folk right now). But there never will be one unless some dedicated people sacrifice some of their own wallet to start building up something. Offer up the option and some people (maybe not millions) will decide to come and join in. Have the option there long enough and it becomes a viable institution. Maybe not a dominating one like hip-hop, but still an extremely viable one with a healthy crowd. And from there you can finally join up on the international musical motorway and follow the rest of the flow. SUBFRIES posted:I can give some insight on this sort of scenario, if people are interested. I used to throw (mainly) drum'n'bass events in DC from 1999 until 2003, which was about the time that US dnb producers were getting some recognition from other pockets of the international scene. Lots of stories about offering up my couch (UFO! was a fairly frequent house guest in 2002), crashing on couches myself, road trips from DC to NY, even TeeBee sleeping on the couch in my mom's basement one weekend, just to help out a booking agent friend. And then the whole event production & promotion side of it. I think this would be really cool to hear more of. Plus you know how I love stories. An0 posted:Burial/Massive Attack tunes are due to be released and here's the first one up on youtube: http://www.youtube.com/watch?v=VisKkedFZjw&feature=player_embedded Yeah I was mentioning this earlier on to someone. £25 is a loving ridiculous price. Seriously folks screen printing may be a real craft, but it doesn't cost an extra £20 per unit. And this stupid 180g rubbish, I still don't buy it. Honestly just press the loving record and sell it without all this extra crap going on. Places like Vinyl Factory seem to excel at turning vinyl into some fancy collecters crap rather than the one true medium it should be. Press it, stick it in it's sleeve and charge a fiver for it and we'd all be golden. And limited edition 1000 copies. That's a bigger initial pressing than 95% of other releases get.
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Oct 11, 2011 11:07
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An0 posted:Burial/Massive Attack tunes are due to be released and here's the first one up on youtube: http://www.youtube.com/watch?v=VisKkedFZjw&feature=player_embedded Hahaha the sound around 10:14 in this video is like a handshake from burial.
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Oct 11, 2011 11:29
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That's the sound a burial makes.
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Oct 11, 2011 11:31
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28 Gun Bad Boy posted:I think this would be really cool to hear more of. Plus you know how I love stories. Ok cool. It's not so much stories, although there are a few I could go in to. This is long, people can skip to the end, I'll try to tl;dr the key points. First off, I used to be in a DJ crew called The Step Syndicate, which was seen in DC as a second wave of drum'n'bass DJs in the scene, although there were a few others who were getting booked or involved in events. At our peak, we had six DJs and an MC, and total there were nine DJs that had ever been part of the crew at one time or another. We already had a very established crew called 2 Tuff, who threw or were involved in almost all things dnb here, from '94 and in the past few years they have been getting very active again. In '99 we go involved with a short lived weekly event, I think it lasted a month and we had made some mistakes but also learned a bit about promotion and dealing with booking out of town talent. I can't remember if it was 1999 still, or 2000, but we threw a one-off at a large club and had a few UK DJs as the headliners (Stakka, Skynet and Frenzic from Atmosphere/ATM magazine). In December of 1999 I started an email list serv called DCDNB, and it was focused strictly on DC area dnb events, and getting people in the area in touch. A lot of contacts and exchange happened, and I think it even linked up a few producers who went on to release some tunes (Sinthetix / Rob F & Impulse, Submerged, Corrupt Souls, Telemetrik, Accela, Kiko). It also created a rallying point in 2000 to create a weekly event called Act Your Age; initially it was four or five of us from different crews working together to throw an event. One guy scouted out venues (we started in the basement of an Ethiopian restaurant), the rest of us contacting locals for the DJ rotations (usually three DJs in a night), we tapped another DJ to do our flier design (this eventually changed to a local designer showcase before we settled on another designer to regularly do our monthly fliers), and we all split the time to promote the event at other local events, and we all helped with equipment load in, set up and breakdown at the end of the night. The event went through three night changes (Wednesdays to Saturdays, then back to Wednesdays), two venue changes, and the concept of the party changed as we started to generate revenue and take chances on booking headliners. We started out with regional headliners, like Daniel (now of L.A. Riots) from NC, a few other NC DJs, a few Richmond DJs (I think Will Miles and Kjell), and a lot of PA DJs (Karl K, Sine, pretty much all of the bigger names from Pittsburgh and Philadelphia). After a few months and word of our party getting around to some booking agents, we got an offer to book DJ Lee from Metalheadz at a super low price for a Saturday; his U.S. agency needed to fill a gap in their tour. I lost $200 at the end of the night, but that was nothing, and I think taking that risk resulted in the party pushing forward. I guess after about 5 or 6 months, we moved to a much larger club that had all of its own equipment. We also booked headliners (national & international touring dnb DJs) nearly every week, and often times our party was the DC debut for a lot of the talent. It also helped me network, and so on top of the Sinthetix guys exploding (and me having nearly all of their music on dubplates --- don't get me started on the regret of paying nearly $50 per plate to have those cut), I was getting a lot of material from other U.S. producers, and I was getting booked to play out of town a lot. Almost no notable material of my own (a couple collabs with more established people), and I was getting flown around occasionally just to mix music at parties. And the party was still getting a great turn out, our designer was getting a lot of buzz about his work, we were occasionally booking a second room that featured house, breaks and 2-step, even doing the occasional main room swap with a "bizzaro Act Your Age" theme, and we even secured a corporate sponsor, Circa Footwear, but that happened right at the end of the life of the event when all of us working on the party decided a management change at the venue we used was the death knell for the event. After all of that, some newer DJs in the scene started to throw very solid parties, plus the existing promoters were booking a lot more dnb, and at a few points you could almost find a dnb event every night of the week for well over a year. The next event I got involved in was with Tittsworth and Matt Nordstrom (both were big in to dnb when they first started playing out in DC), plus two other friends of ours. We had investors, a new club, and a Saturday night. That party only lasted three months due to the investors squandering their money on a second night and backing out of our event after the first month. In the end of that run, we had actually made about $200, and had headliners every week, again a lot of U.K. (Friction, Storm, drawing a blank on who else) and big U.S. talent (Sage, Juju). I went on to "consult" for another new promoter in DC over the next year, and they threw four or five massives with dnb line-ups that I hand picked (Klute, Hive, a Virus tour, Marcus Intalex), and I made a bit of money off of those. After those gigs though I got out of throwing events, I found it too stressful and I often took one more than I should have, when I should of learned how to delegate and ask for help. I just wanted the best possible events within my means, giving the local scene a chance to hear what I thought was forward-thinking music, while also giving the headliners a knowledgeable crowd to play to. And all during this, there were lots of other events in town and 30 miles north in Baltimore where headliners were playing as well. tl:dr From my experience booking shows & pushing dnb in DC:
I think there is a lot more I could go in to details on, just kind of throwing stuff out there that I experienced. And honestly, if I was in better financial shape and had some more free time, I'd probably throw a monthly event.
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Oct 11, 2011 15:30
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SUBFRIES posted:Words Wow a great and helpful post. Future US promoters should be writing this down! So you mentioned a lot of newer promoters and DJs starting up nights after yours. Do you think they would've done it if it wasn't for you and your guys taking the initiative and doing it yourself first and showing them it could be done? Do you think they'd have been anywhere near as successful as they were(in relative terms I guess) if it wasn't for you and the guys who were there even before you? And be honest, you may regret the dubplates now but I bet you had no regrets back then and thought "yeah I'm the dogs bollocks" eh!? Don't lie to me now!
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Oct 11, 2011 16:04
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28 Gun Bad Boy posted:Wow a great and helpful post. Future US promoters should be writing this down! I like to think the Act Your Age event was a catalyst, but there was also a big Sunday weekly that had been around a year before but focused more on jump-up & scratching, with the occasional "WOAH, they booked WHO?!?!?" nights. So the influence of that night and the one I was involved with, and the advice we'd share, I think all of that combined to help newer events. Things like which booking agencies to contact, what tours were coming up, even little things like buying a round of drinks for the regular party goers we'd see out all the time. I'd like to think the stuff I was involved in helped establish some better practices (just based on knowledge & experience with some, but not all, of the other promoters), like taking care of the local DJs with some money, as well as having the headliners fee BEFORE the door even opened. And on top of all the party stuff, I would reallllllly like to see a bass music focused record shop open back up in the city, one that catered to my tastes in music. I would want it to be a space that was a suitable hang out, could serve as a showcase of sorts for artists (in-store appearances, even in-store shows & installs by visual artists), and still had product that generated enough cash flow to stay open and generate revenue as well. In 2001-2002 I was working part time in record shop, so I would see a lot of locals coming in the shop, I tried to keep promo releases in the hands of who was playing out at the time (I didn't like the whole "I called the shop to hold the white label until I can come by to buy it, but I don't have any gigs for the next few months" attitude of some people). The shop did in-stores, but the stock was like 50% hip-hop, 30% drum'n'bass and 20% house, with little interaction between the people that bought all of that. 28 Gun Bad Boy posted:And be honest, you may regret the dubplates now but I bet you had no regrets back then and thought "yeah I'm the dogs bollocks" eh!? Don't lie to me now! I thought I was so tech because I had dubs. There were sets where it was almost 75% dubs, 20% promos, and crowd response was out of control. All of them were cut through U.S. cutting houses, I never quite got to the point of having a Music House dub, which was the gold standard then. I still have a couple things that never go released, either due to samples or labels just dissolving. Once I switched to playing stuff off CDs, the whole wait & cost of dubs just seemed ridiculous. I was also paying off major credit card debt around that time, so there was some guilt & regret at play.
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Oct 11, 2011 16:42
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SUBFRIES posted:I thought I was so tech because I had dubs. There were sets where it was almost 75% dubs, 20% promos, and crowd response was out of control. All of them were cut through U.S. cutting houses, I never quite got to the point of having a Music House dub, which was the gold standard then. I still have a couple things that never go released, either due to samples or labels just dissolving. Once I switched to playing stuff off CDs, the whole wait & cost of dubs just seemed ridiculous. I was also paying off major credit card debt around that time, so there was some guilt & regret at play. I always thought it was the shame things like that Vestax vinyl cutter/recorder never took off. I remember seeing it when it came out and I really thought like,"wow every serious DJ will buy one of those now, blank discs are only 3 for a tenner!" Of course I never really took into consideration that the actual machine was like £5-6k or whatever it was, while a pair of CDJs even back then were like half that or whatever.
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Oct 11, 2011 16:54
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An0 posted:Burial/Massive Attack tunes are due to be released and here's the first one up on youtube: http://www.youtube.com/watch?v=VisKkedFZjw&feature=player_embedded Wow the comments on that video. I've been saying this for a bit now but it seems like 'future bass' or whatever is becoming the new IDM to a certain sector of its audience. I'd expect to see more and more bleep bloop, "headphone listening" (scare quotes because I find this kind of thing less interesting than dancefloor stuff regardless of setting) stuff from now on. Gamest Mook fucked around with this message at 17:37 on Oct 11, 2011 |
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Oct 11, 2011 17:22
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Kuedo aka Jamie Vex'd has a new LP out on Planet Mu and I like it. It borrows heavily from Blade Runner and Vangelis at points, but I love that OST so I'm fine with it. He gets in on the juke trend, too, which works on the album. It's worth at least a listen, I think, unless you hate the "wonky" or whatever sound.
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Oct 11, 2011 20:29
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Mike_V posted:Kuedo aka Jamie Vex'd has a new LP out on Planet Mu and I like it. It borrows heavily from Blade Runner and Vangelis at points, but I love that OST so I'm fine with it. He gets in on the juke trend, too, which works on the album. It's worth at least a listen, I think, unless you hate the "wonky" or whatever sound. Quietly kinda surprised by this album. I'm not really a fan of the jukey bits from what I've heard, but the rest seems decent, if not (to thread it into the above comment) a bit on the IDM side. But at least it's kind of a more modern take on the better Artificial Intelligence stuff than any of the later stuff. Anyway it's a surprise as I really didn't like anything on the previous EPs he's released over the past wee while. A nice step up really.
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Oct 11, 2011 20:55
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the vinyl factory make me wish vinyl was dead. that is all.
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Oct 11, 2011 21:50
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Gamest Mook posted:Wow the comments on that video. I've been saying this for a bit now but it seems like 'future bass' or whatever is becoming the new IDM to a certain sector of its audience. I'd expect to see more and more bleep bloop, "headphone listening" (scare quotes because I find this kind of thing less interesting than dancefloor stuff regardless of setting) stuff from now on. But this is more like just a Burial thing, i mean his last collab was with Four Tet after all and that was ages ago now. I suppose you should include James Blake too but other stuff going under the future bass/garage term is still more dancey and not IDM, in my opinion at least.
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Oct 12, 2011 00:29
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infinity2005 posted:But this is more like just a Burial thing, i mean his last collab was with Four Tet after all and that was ages ago now. I suppose you should include James Blake too but other stuff going under the future bass/garage term is still more dancey and not IDM, in my opinion at least. Yeah I think it's more that the kind of thing Burial does can attract a certain type of person. Persons who find great enjoyment of the work Sublight Records released for instance. Blame it on the fact the music isn't so overtly dancey, and that he's primarily an LP over singles artist, that's what the tight arse beardstrokers love. Easy to Rapidshare. And it means they don't need to dance, the horror. Why yes that is a large tar dipped brush in my hand, why do you ask? For real though I used to worry about it a bit more back in the day, especially since you had the Planet Mu connection and those early comps on Rephlex and the whole Pitchfork columns, I was expecting to walk into a dance one day and find a lot of badly dressed guys with beards nodding their heads sageley as they revel in the intense musical virtuosity. Never happened then, not gonna happen now (hopefully).
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Oct 12, 2011 00:48
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I'd say Burial has more of the Radiohead connection - Thom Yorke got really really into IDM in the late 90's and drew heavily from it when his band went prog on Kid A (sort of a more... modern update of the whole "pseudo-classical" aspect of classic prog), and he's been repping proggy electronic music ever since, from Autechre to Four Tet up through Burial and now to Flying Lotus and Floating Points and Blawan. You look at the "office charts" he puts up occasionally and it's all stuff that would fit in this thread. He's a real head. So I imagine the hardcore American Radiohead fans, the ones who take seriously the connection between Kid A / Amnesiac and modern architecture or whatever, would follow that thread and end up as that sort of bass music fan. I can't really judge - I basically got into electronic music via Aphex Twin's Nine Inch Nails remixes and got into bass music because IDM had been dead for several years and all of a sudden it kept being brought up to describe this new low end-heavy music out of London (it was a few years before it dawned on me that the IDM term is more or less useless). But I've never listened to this music to be cool, this is the stuff I was always meant to be into. Basic Chunnel fucked around with this message at 04:01 on Oct 12, 2011 |
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Oct 12, 2011 03:59
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Maguro posted:Hahaha the sound around 10:14 in this video is like a handshake from burial. yeah, you've got the Teardrop snare as well lol Zed Bias will be on Benji B's show tonight, 2-4am UK time: http://www.bbc.co.uk/programmes/b00v4tv3 Old Zed Bias: http://www.youtube.com/watch?v=UAKQvcIWMmE (I Do) New Zed Bias: http://www.youtube.com/watch?v=8Ih-bFkGz1Q (Music Deep Inside)
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Oct 12, 2011 09:48
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It's kind of annoying that I can't listen to some shows that stream from the UK because of restrictions, but whatever. I don't remember if BBC is part of this or if it's just Kiss FM. Anyways, I was wondering where he went to, but TRC has a new EP out called Leak EP that's got some nice instrumentals: 155 - http://www.youtube.com/watch?v=Ftko3eRRTMg Hardest Hustle - http://www.youtube.com/watch?v=vOhlBimoIpI&feature=related Sex - http://www.youtube.com/watch?v=pRrLgVj4rD0&feature=related Preditah also has a new EP out called Eightsome that I haven't listened to, but I imagine I've heard all the tracks on Rinse over the past several months.
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Oct 12, 2011 23:55
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Mike_V posted:It's kind of annoying that I can't listen to some shows that stream from the UK because of restrictions, but whatever. I don't remember if BBC is part of this or if it's just Kiss FM. To be fair the majority of the time it's not like you're missing much with Kiss. Blame it on commercial restrictions or whatever. I say it's revenge for us not being able to watch Hulu. And speaking of new releases, Mark De Clive-Lowe has a new EP out in preparation for his new album out next month on Tru Thoughts. This is out on his own label though.
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Oct 13, 2011 00:04
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I haven't listened to it yet, but El-B did a guestmix on DJ Q's show: http://www.bbc.co.uk/programmes/b015n5rj#segments
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Oct 13, 2011 11:24
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Loving the huge commercial trance/eurodance influence on the new Rustie. Who would've thought there was something of worth to be re-appropriated in there? Well 'Only Girl in the World' was already great I guess.
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Oct 13, 2011 16:12
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http://www.redbullmusicacademy.com/worldtour/london/ Who is everyone going to be watching tonight? I think I'll be watching the Hessle show most likely, though I'll probably watch some of the Jackmaster set and maybe some of the Night Slugs set, it'll be hard to choose though,
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Oct 13, 2011 16:16
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Gamest Mook posted:Loving the huge commercial trance/eurodance influence on the new Rustie. Who would've thought there was something of worth to be re-appropriated in there? Well 'Only Girl in the World' was already great I guess. rustie's not the only one: http://www.youtube.com/watch?v=26h_PP0ijq0 http://www.youtube.com/watch?v=YXxhjM_O09M blame timbaland or something
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Oct 13, 2011 16:30
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Gamest Mook posted:Loving the huge commercial trance/eurodance influence on the new Rustie. Who would've thought there was something of worth to be re-appropriated in there? Well 'Only Girl in the World' was already great I guess. You can probably blame it all on a adolescence were the Euphoria series was everywhere. It's like delayed response/repressed memories Stockholm syndrome. It's an evil thing but you just can't help but apologise for it while loading up your JP-8000 samples. Seriously over a decade later and I still have the occasional PTSD-induced nightmare from everyone playing nothing but loving Darude and ATB from the years of 1999 to 2002. I can't even escape it nowadays as they seem to be the only CDs my brother in law still has. Driving to work in the van is torture.
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Oct 13, 2011 16:35
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Anyone heard about a new coki ep/single coming out? I swear I saw something about it coming out before xmas time?
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Oct 13, 2011 17:00
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a milk crime posted:http://www.redbullmusicacademy.com/worldtour/london/ Wait, are they streaming this online?
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Oct 13, 2011 17:10
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Gamest Mook posted:Loving the huge commercial trance/eurodance influence on the new Rustie. Who would've thought there was something of worth to be re-appropriated in there? Well 'Only Girl in the World' was already great I guess. Yep. 'After Light' particularly has been sending people crazy when I play it out. Love it.
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Oct 13, 2011 18:22
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a milk crime posted:http://www.redbullmusicacademy.com/worldtour/london/ I'm only getting audio - is there a seperate page for video or something? (lol string quartet arrangements for Woo Riddim on the Deviation pod, Ms Dynamite is making monkey sounds, Janet Jackson on the Jackmaster pod, and some jungle tune with a dominator synth in Zinc's pod. everything seems about the way it should be)
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Oct 13, 2011 20:13
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So Damu's first LP quietly sneaked out today on Blackdown's Keysound Recordings label and it's sounding pretty decent. Definitely fits into that Joy O/Koreless/Jacques Greene kind of sound, so fans of those give it a go. The album also utilises the Keysound/Blackdown Grime players rotodex and pulls in Trim to do vocals on a track too.
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Oct 14, 2011 14:01
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28 Gun Bad Boy posted:...Seriously over a decade later and I still have the occasional PTSD-induced nightmare from everyone playing nothing but loving Darude and ATB from the years of 1999 to 2002. I can't even escape it nowadays as they seem to be the only CDs my brother in law still has. Driving to work in the van is torture. I am so very sorry. (That bullshit was like, the majority of my high school years right there.)
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Oct 14, 2011 21:16
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So yeah you can work off your christmas dinner at fabric, apparently this is all the rinse djs in one night. (more or less)quote:FWD>>+Rinse That is one hell of a lineup.
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Oct 16, 2011 15:25
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Kids React to Dubstep...and kids say the darndest things, don't they?
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Oct 16, 2011 20:07
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The so solid crew track posted in the last history of music thingy is such a banger https://www.youtube.com/watch?v=BLbGNVxlbv0
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Oct 16, 2011 20:19
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qwako posted:The so solid crew track posted in the last history of music thingy is such a banger https://www.youtube.com/watch?v=BLbGNVxlbv0 When I used to very, very occasionally and very, very badly DJ the instrumental was rarely out of the bag. It actually fits in really well with early 2006 halfstep Dubstep stuff. Ultra minimal but with maximum bass.
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Oct 16, 2011 21:32
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Martin Clark is posting his interview with Elijah and Skilliam in anticipation of Rinse 17. Part 1 of 4 is up (apparently it's the longest interview he's ever done in his career). The first part is pretty interesting - how the two met, got started DJing, and became part of Rinse. Each part of the interview will have bonus content. This week's content is their set from Plug, which Elijah gave out a few weeks ago via DM. Did anyone else snag the Formula 002 test pressing that was briefly up in the Butterz shop? Can't wait to hear it.
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Oct 17, 2011 01:00
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| # ? May 10, 2024 06:38 |
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Decline posted:Martin Clark is posting his interview with Elijah and Skilliam in anticipation of Rinse 17. Part 1 of 4 is up (apparently it's the longest interview he's ever done in his career). The first part is pretty interesting - how the two met, got started DJing, and became part of Rinse. Each part of the interview will have bonus content. This week's content is their set from Plug, which Elijah gave out a few weeks ago via DM. The link for anyone interested. One reason I really love interviews done by the likes of Blackdown and Joe Muggs etc is just the sheer epicness of it. I don't want a half dozen questions, I want proper War & Peace length full detail things. And because Martin etc are part of the scene and so knowledgeable and familiar with it, that's what they can do. His interview with Loefah(and Kryptic Minds I think it was as well) was another good one. Really connected with me as at the time I think my mindset was totally the same as his, and I know many others were as well.
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Oct 17, 2011 01:18
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