|
Mala has a 12" of Lee "Scratch" Perry remixes out. Tempted to get it, but... I've spent too much on techno records these last few weeks. Someone should buy it and report back.
|
#
?
Oct 31, 2011 11:34
|
|
|
|
| # ? May 11, 2024 23:13 |
|
|
thepopstalinist posted:Mala has a 12" of Lee "Scratch" Perry remixes out. Tempted to get it, but... I've spent too much on techno records these last few weeks. Someone should buy it and report back. It's on the legendary On U Sound as well. Speaking of Dubstep remixes of old Jamaican stuff, Greensleeves have compiled all the remix 12"s they've released over the past year or so onto a CD for your convenience. While listening to it you can also play a fun guessing game of how many royalty points do the original artists get for the reissue/remixes (the answer is probably none. None royalty points).
|
|
#
?
Oct 31, 2011 12:25
|
|
|
28 Gun Bad Boy posted:It's on the legendary On U Sound as well. Speaking of Dubstep remixes of old Jamaican stuff, Greensleeves have compiled all the remix 12"s they've released over the past year or so onto a CD for your convenience. While listening to it you can also play a fun guessing game of how many royalty points do the original artists get for the reissue/remixes (the answer is probably none. None royalty points). Pretty good CD. The Cluekid and V.I.V.E.K. tracks were definitely the high points for me (which comes as no surprise considering their recent output). Contemplating buying the Lee Perry remix 12" as well, A-side is really nice.
|
|
#
?
Oct 31, 2011 21:09
|
|
|
Always wondered what happened to Cluekid. He had maybe my favorite track on this old trove of Klassic Dubstep vinyl rips a friend of mine procured around '08 ("Shamrock", I think it was. Basically "Cockney Violin" but Irish-themed). I kind of assumed he was bouncing between small-time classicist labels, like MRK1 has all these years.
|
|
#
?
Oct 31, 2011 22:32
|
|
|
I just recorded a really fun juke set. Lots of new tracks + an unreleased dubplate from some producers I'm friends with that you will def. want to keep an eye on. CHUMP CHANGE - JUKE MIX http://soundcloud.com/djchumpchange/juke-mix Clicks & Whistles - When I feel(Cedaa Remix) DJ Spinn - I Really Feel Murder Mark - Bad Bitches Drop it low (Slick Shoota Remix) Remarc - R.I.P.(Phillip D Kick's Footwork Jungle edit) Slick Shoota - POW Riddim 2011 Mess Kid - (Godzilla) Munchi - Mi Ta Bek Erykah Badu - Bag Lady (GIRL UNIT's Juke) Sines - Wiley Riddim CHUMP CHANGE - FLEET DJ Diamond - I choose you CHUMP CHANGE - THAT SOUND Highways - ???? (unreleased) Made live in traktor, no cue. If you enjoy the mix make sure to check me out on facebook http://www.facebook.com/djchumpchange
|
|
#
?
Nov 1, 2011 06:21
|
|
|
So last night legendery US producer Juju gave away a whole bunch of stuff for free. Yes free. Mostly unreleased plates but also a couple of his big hits like Punks, which really was a massive, massive tune back in the day. So grab it here (link should work okay but if not check his twitter in case it's been updated). Juju was probably one of the first waves of American Dubstep producers, along with the likes of Moldy, Mundo and Vaccine to name a few. Juju was an absolute class producer who I think only stopped producing to raise a family or some other silly thing like that. Honestly peoples priorities are so messed up nowadays I mean come on! Interestingly Juju was probably one of the first people to move over from the Drum & Bass scene. A scene where up until late 2006 or so paid no positive attention to Dubstep at all(and lots of negative attention). Seriously, people may link Dubstep and D&B, but if they do they really don't know there history and you probably shouldn't listen to them. I mean sure you could make a link back to Jungle, but even then that was the best part of 10 years before. But Juju came into the scene with respect, didn't go shouting off about how loving great he was and how runned tings in D&B so he should be king here, he put his head down and made some really good tunes that deserved the praise and popularity. Off the top of my head the only other people I can remember who came through with such respect were Martyn (who came up through Marcus Intalex's Soul:r/Revolve:r label) and Nick Argon (another Yank there!) who's Argon Records first couple of releases. A complete contrast to the later bunch of shite bandwagon jumping glory hunters that would make their way through *coughNerocough* It's also interesting with Argon to see the visual differences in the releases, with their D&B releases (admitingly I own nothing of that so going by Discogs etc) having that whole late Moving Shadow/Metalheadz/Metro-esque(was that Matrix's brother who did that artwork again?) thing going on. All very busy with different elements all mashing together, you know what I mean, all very tech. Compare it to the Dubstep releases which followed that Garage formula of being pretty clean cut and simple. Simple colours on the label, maybe with a simple pattern in the background. Dare I say it sometimes very Blue Note cover-esque. A complete different visual aesthetic compared to D&B.
|
|
#
?
Nov 1, 2011 12:55
|
|
|
Maguro posted:I just recorded a really fun juke set. Lots of new tracks + an unreleased dubplate from some producers I'm friends with that you will def. want to keep an eye on. I'm loving this! Thankyou, sir.
|
|
#
?
Nov 1, 2011 13:26
|
|
|
28 Gun Bad Boy posted:Juju Juju, as long as I've known him (since 2001-ish?), has been a big dub fan. Also a big punk fan too. Lost touch with him for a while, but his kids were getting bigger, and he was starting to surf a lot more. Also, for anyone on the whole "ooh, I'm too old to get in to producing" sentiment, I think he was about 34 or 35 when he first started producing. Martyn lives in the DC area, and rarely plays here. I think the last time I saw him play was almost three years ago, in Baltimore, and I've maybe seen him on two line-ups in DC since then. A shame too. Nick booked me to play at a huge warehouse rave in Oakland, back in 2000. Really nice guy, would play his radio show in Santa Cruz whenever I was in the Bay area. He had some high calibre dnb guests on there too, I played the show once with Stakka & Skynet. Lost touch with him for years, but it was cool to see him re-establish the label and develop it. Some great releases on it. And the third Quinn brother is The Plainclothesman. I'm not sure if he was a designer or a photographer. I think the Metro and early Virus sleeves were designed by Jon Black at Magnet Design, using photographs by Plainclothesman. The standard, early Virus sleeve is one of my favorite designs.
|
|
#
?
Nov 1, 2011 13:45
|
|
|
SUBFRIES posted:And the third Quinn brother is The Plainclothesman. I'm not sure if he was a designer or a photographer. I think the Metro and early Virus sleeves were designed by Jon Black at Magnet Design, using photographs by Plainclothesman. The standard, early Virus sleeve is one of my favorite designs. Well at least I'm not going completely senile and the other Quinn brother did have something to do with the graphics. That's one thing D&Bs greater popularity allowed for, graphics on everything. Printed sleeves and what have. Though I know that kinda faded out a wee bit by 03/04 when vinyl sales started to drop, though I think the big boys still kept it up. In comparison the later garage/Dubstep stuff the only label I can think of that didn't just stick the plate in a black disco bag was those around Ammuniton Promotions. So your Tempa/Shelflife/Soulja/Texture records all had printed sleeves. Not individual artwork mind, just label generic colours, and all of it came designed from Give Up Art who really gave the scene a real visual identity. Not exactly minimal but very straight to the point, with just a small flair of style to show off. And speaking of D&B turned Dubstep. I mentioned a while ago Ohm Resistance initially started putting out Dubstep under their Resist brand. Though it sadly only hit 2 releases and of that I only have #1(I think, I really need to catalogue everything). I don't think many people bought them, which is a shame as it's pretty decent. I think kinda Vex'd-ish. But check for yourself as I've just uploaded the A-side of that first release and that is Venez - Hot Bitches. And one last comment about the art, yes that is what's on the label, definitely following the Ohm Resistance style rather than blending in with the rest of the Dubstep artwork at the time. Might not have helped things, though in all honesty I never bothered. I think what probably done it in was more lack of promotion as I don't remember anyone really talking about it, and I never once heard it on the pirates.
|
|
#
?
Nov 1, 2011 15:14
|
|
|
HatchetDown posted:^^^ Aren't you just impressive with your grasp of sarcasm. I don't know why anyone wouldn't want to talk to you. I had fun for you dude, the fire alarm tripped like 2 or 3 times and killed the power so he did an extra long set for us, he went on around 1030 and didn't leave the stage till 2. Was my favorite show of the year so far and it seemed like there weren't as many kids as other shows. Thanks for the heads up on Zeds Dead I had no idea they were coming, just bought my ticket. I've only been to the Clubhouse never to insomnia and yeah I can see what you mean by not having the best patrons. You going to either day of Lights all Night?
|
|
#
?
Nov 1, 2011 18:12
|
|
|
the new mosca ep on 3024 is dope Mosca - Dom Perignon http://www.youtube.com/watch?v=rtOoOGO1bZE Mosca - Orange Jack http://www.youtube.com/watch?v=JAw3SFD-o6w&feature=related
|
|
#
?
Nov 1, 2011 23:10
|
|
|
Speaking of imperious DnB heads making the move to dubstep, is it just me or is Boddika kind of a dick.
|
|
#
?
Nov 1, 2011 23:53
|
|
|
Seeing as someone mentioned dubtechno/house I have to post this from the new andy stott ep. http://www.youtube.com/watch?v=GGN2h4pm32w The rest of the ep is pretty much all like that. lurching house grooves running at sub-dance music tempos with gnarled pitched down vocal snatches and lots of roughed up low frequency noise. http://www.youtube.com/watch?v=RIbe8uXS8m A lot of people seem to be raving about it but it really is pretty great.
|
|
#
?
Nov 2, 2011 00:01
|
|
|
This is gonna be a bit of a touchy question, but whats the word on Nero? My friend is probably shooting them in NYC this week and I've been asked to come along for free, so why the hell not. Thing is, I don't really like dubstep (although I've been getting into some of the other UK bass sounds, and I understand theres a difference between the bro stuff and the rest) but I can get down to it if the DJ and the music is good. I DJ myself so I'm gonna understand what they are doing even if I dont know the genre well, I'm just curious if I'm gonna be hanging out at the bar the whole time or if I'm in for something interesting.
|
|
#
?
Nov 2, 2011 00:18
|
|
|
Firaga posted:This is gonna be a bit of a touchy question, but whats the word on Nero? Nero used to be drum and bass, but these days their sets are all super-accessible party dubstep and electro. There are probably going to be lots of hot girls there if that's your thing
|
|
#
?
Nov 2, 2011 01:15
|
|
|
Firaga posted:This is gonna be a bit of a touchy question, but whats the word on Nero? Haha, touchy is a bit of an understatement. I'll say this upfront: I don't personally know the guys, though I think someone here interviewed them and said they were nice chaps, so I won't take too much out on them personally. I've also never seen them live, and in the States god knows what that'll be like. Probably either lovely people headbanging like they were at a Norwegian Death Metal concert, or doing all that peace and love hippy poo poo. BUT you know free is always good, chances are there'll be some nice looking lassies there that might block out the music a bit. And if your friend is photographing them there might be a backstage or VIP area you can just get pissed in and pretend you work for a big label. But a couple of quotes from the past couple of posts(mine included) sums them up if you ask me: thepopstalinist posted:Speaking of imperious DnB heads making the move to dubstep. 28 Gun Bad Boy posted:the later bunch of shite bandwagon jumping glory hunters that would make their way through *coughNerocough* As far as I'm concerned, they made shite colour by numbers Drum & Bass before they saw more money was in Dubstep, they blatently jumped ship and made just as shite colour by numbers Dubstep and proceeded to latch on to Chase & Status' coat-tails (who also make pretty poo poo Dubstep, though I will give them credit I liked that Kano tune and Blind Faith is, well, a blinder) on their ride to the majors and somehow came out of it with a loving number 1 single and number 1 album. And that's in the UK. One big chart. I ain't talking about no weird rear end American chart where they reached number 1 on the Imported British Modern Dance Chart(sponsored by Billboard Magazine). That's overall. loving beggars belief I'm telling ya. And you know what, let's get personal here. They really deserve to be hunted down in a Warriors style all-city manhunt for the sheer crimes against music they committed with their utter, utter, utter poo poo remixes of Sincere and Blinded By The Lights. I mean come on, they're original garage anthems and they just butchered them. In short: Utter shite music. Probably an utter shite crowd with chances of nice looking girls and plenty of Stella to take your mind off it. As always, post by me with the usual dollops of hypocrisy, hyperbole and general pettiness and crudeness. Except for the remix thing, that does warrant a bloody kicking.
|
|
#
?
Nov 2, 2011 01:25
|
|
|
28 Gun Bad Boy posted:plenty of Stella to take your mind off it. My friend from the UK told me that the only time anybody drinks Stella is before they beat their wives. Confirm/Deny
|
|
#
?
Nov 2, 2011 01:28
|
|
|
TWSS posted:My friend from the UK told me that the only time anybody drinks Stella is before they beat their wives. Confirm/Deny Well I'm not confirming that drinking Stella makes you beat your wife. She probably just deserved it in the first place irregardless of a couple of pints of Belgiums finest lager going down your throat. e: In reality 3rd to 6th year of high school is half-remembered blurs largely consisting of cans of Stella, those wee bottles of Finkenbrau(Lidl's own brand when we couldn't afford/get the Stella) and cheap resin sold by the local drug dealer who were thought must've been a bigshot 'cause he drove a Golf GTI. Ah hazy daze 28 Gun Bad Boy fucked around with this message at 01:39 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 01:32
|
|
|
Ahahahaha, okay. Amazing reply. I mean I kind of figured because I've had exposure to their crowd and productions before so I'm not surprised or upset. I guess its gonna be pretty fun watching the bros get all teary eyed with their hands in the air when the vocals in Innocent drop. Ah well, Stella it is.
|
|
#
?
Nov 2, 2011 01:42
|
|
|
Just make up for it by doing something cool afterhours.
|
|
#
?
Nov 2, 2011 01:54
|
|
|
This thread is still the best thread. Forgive me if this is a dumb question, but can you talk a bit about The Streets and how he fit into the scene at the time? It makes a lot more sense having read your guides, but I remember his second album being a fairly big deal in America (I think Pitchfork gave it best new music when it came out) even though looking back we had none of the context and it was just a weird dude kind-of-rapping about his ex-girlfriend and such. It seems like it probably meant more than that to you guys though, you called that song a garage anthem and looking at it now Skinner seems like he was coming from the perspective of a hardcore UK clubgoer in the first place.
|
|
#
?
Nov 2, 2011 02:18
|
|
|
That Wicked Walrus posted:This thread is still the best thread. Forgive me if this is a dumb question, but can you talk a bit about The Streets and how he fit into the scene at the time? It makes a lot more sense having read your guides, but I remember his second album being a fairly big deal in America (I think Pitchfork gave it best new music when it came out) even though looking back we had none of the context and it was just a weird dude kind-of-rapping about his ex-girlfriend and such. It seems like it probably meant more than that to you guys though, you called that song a garage anthem and looking at it now Skinner seems like he was coming from the perspective of a hardcore UK clubgoer in the first place. I think Mike Skinner just totally blew everyone away when he came along. I mean Original Pirate Material to this day is an album I can whip out at anytime and it just pure blows my mind. Basically I guess The Streets was kind of the only one talking about life around and outside the club. I mean you had PAYG or So Solid, but they were still more champagne and the dance kinda things. And the only other vocal stuff was obviously the female vocal thing which I mean in British dance music I don't think anyone really pays attention to what the vocals actually say beyond a phrase or two. So UK garage around 2001/02 had just gotten right up it's arse, all very glam and dress codes and champagne. They weren't really talking about like, life I guess then. The road stuff would become the focus a bit later on, when grime started to come through. So OPM came out and it was like peeling back all that poo poo that was added and bringing it down to the core of it all. Just pure soul(small s). Just some great music. Some simple music. Truly UK music with bits just nicked from everything. House, Hardcore, Hip-Hop, 2-tone etc it had it all. With lyrics that just fitted in with what the average person in the streets(no pun intended) were doing. And it wasn't a club album. Not a club album at all. But I think you needed to know the club and the lifestyle that surrounds it to really get it. At least in terms of UKG anyway which was easy over here as it had really dominated the charts for a good year or two at least before then. And OPM was pure undiluted garage. I mean it was on Locked On for god's sake, which was just the super heavyweight of good garage music(yeah okay I know 679/Atlantic had a bit of a hand in it but Locked On got him first). That's why I mentioned that about Nero and how they were in the chart. As in singular monolithic chart. I think it's important for a lot of the US folk to realise a lot of this bass music isn't some obscure, niche thing. I mean it can and has dominated the charts. That's why I included the chart positions in the second part of my guide, to show you how hard that was punching into the overall UK musical world. And even stuff like LFO hitting Top 20 which when you think of it is just total madness. A tune that's just bass and some bleeps that might have come from some old Yellow Magic Orchestra album for all I know. Mike Skinner hit the charts with beats he made in his bedroom(and even in the early 2000s I'd say the majority of tunes were still studio made. Not like Abbey Road but still in a studio - for a bit of fun here's D&B kings No U Turn Records studio to show you what I mean. Horsepower Productions had a studio next door as well) and some off-key, off-time lyrics about buying a pint of Kronenberg and playing a Playstation. Just mental when you think about it. Anyway A Grand Don't Come for Free was good as well and got much more publicity, though I much prefered OPM and I don't think it was anywhere near as hard hitting as OPM. Blinded By The Light though is a complete classic. I mean I say garage classic though I guess it's not really garage as such. But it's definitely a trueborn UK/Hardcore Continuum or whatever you want to call it track and it's definitely one of those tunes you just, if you haven't got the talent really just gently caress off and don't even try to touch it, don't remix it. You'll only embarass yourself. e: Here's some fun as well, the loving great MC version of Fit But You Know It. 28 Gun Bad Boy fucked around with this message at 03:34 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 03:31
|
|
|
Firaga posted:(I understand theres a difference between the bro stuff and the rest) What is bro dubstep?
|
|
#
?
Nov 2, 2011 03:32
|
|
|
FlyingCowOfDoom posted:What is bro dubstep? My understanding of it is that annoying obnoxious bleepy stuff that doesn't sound like it has any composition and usually has machine gun, chainsaw, and other loud annoying samples. Bros usually refer to these songs/artists as "filth" and "disgusting". Nobody has ever shown me what "real" dubstep is but I hear people fighting over it all the time.
|
|
#
?
Nov 2, 2011 04:00
|
|
|
Firaga posted:My understanding of it is that annoying obnoxious bleepy stuff that doesn't sound like it has any composition and usually has machine gun, chainsaw, and other loud annoying samples. Bros usually refer to these songs/artists as "filth" and "disgusting". I'll pull out number one in the list of my handy sayings. I personally don't really use the word Brostep. I just call it all Dubstep. Because it is all Dubstep. Some may have different influences but it's all still just Dubstep. There is just good Dubstep and bad Dubstep. It's all very zen really.
|
|
#
?
Nov 2, 2011 04:08
|
|
|
28 Gun Bad Boy posted:I'll pull out number one in the list of my handy sayings. I personally don't really use the word Brostep. I just call it all Dubstep. Because it is all Dubstep. Some may have different influences but it's all still just Dubstep. There is just good Dubstep and bad Dubstep. It's all very zen really. I agree with you, most people seem to be really protective of the name though.
|
|
#
?
Nov 2, 2011 04:15
|
|
|
Firaga posted:I agree with you, most people seem to be really protective of the name though. To be honest I think most people wouldn't mind it quite as much if it wasn't for the types of people who go to the more jump-up stuff dances. A lot of them don't really seem to understand dance music. As in they seem to think they're at some horrible mosher heavy metal gig. Seriously I've seen actual mosh pits start up. I mean I guess that's kind of a dance, but when that happened I pretty much said sayonara to the scene at the time and just stuck with Funky as it was. Well it's between the mosh pits and the terrible generic Youtube videos that's turned the scene into a joke. For some reason people get pissed at that. It's a mystery. I guess to be fair you can't really blame people too much for being overprotective. You can only take people calling Dubstep 'Dub' for so long before your mind just snaps. Really the old 'rule'(and I use that word very loosely) is Dubstep should be around 140-ish bpm(it could be 138, 144, 136 whatever) with as much sub-bass as you can handle. Simple. Check my thread OP for more details by the way if you're interested. Just to piss off folk out there I will say if you do really make sure your listening on something with decent bass and not just some laptop speakers. I'm not talking about some fancy Lynn speakers, just something - anything - with a bit of oomph.
|
|
#
?
Nov 2, 2011 04:28
|
|
|
Dude, that write up on the Streets is perfect. For real, your perspective here is so incredibly interesting. I love reading discussion of dance music that goes beyond the music itself, and your insight on the UK scene is really amazing to an American who wasn't there. quote:A lot of them don't really seem to understand dance music. I think this is a really great point too. I think a lot of people think that wobbles, filth, Skrillex, etc. are going to kill actual scenes but in general I think the fans of that music are not people who were hardcore into dance music in the first place. Like, people who like Skrillex for the most part are people who heard a couple of Daft Punk songs once and thought nothing of it, and dance music is kind of a novelty for them. This is a big generalization, and I know you can hear Skrillex in sets from legit DJs, but it's kind of just how I think about it. That Wicked Walrus fucked around with this message at 04:36 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 04:32
|
|
|
It's dumb to call actual dubstep dubstep at this point unfortunately because most people get a wrong idea of what you mean. The scene is too varied at this point anyway so a catch-all bass term is better, even for the old stuff. I feel like there's a lot more not-scrictly-dubstep releases than dubstep in stores like chemical-records. And yeah for most DnB producers it's totally a bandwagon thing and just an easy formula to copy for a B-side remix, Marytn and a few other exceptions aside. DnB itself is just poor at the moment in my opinion... some of the autonomic stuff is good but what else is there. Speaking of weird chart tracks wasn't there some garage/grime tunes made on Music 2000 on the PlayStation that charted? Dubstep is definitely a novelty thing in North America; like what happened with Happy Hardcore and DnB on a different scale thanks to the internet mostly i guess. Can anyone seriously imagine a lasting scene of this sound staying around for long? How many variations on these midrange heavy tracks can there be, not to mention how long will it seriously hold peoples interest. Maybe a DnB revival could be the next fad, people like going up in BPM after a while to be even more crazy. infinity2005 fucked around with this message at 04:47 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 04:37
|
|
|
28 Gun Bad Boy posted:To be honest I think most people wouldn't mind it quite as much if it wasn't for the types of people who go to the more jump-up stuff dances. A lot of them don't really seem to understand dance music. As in they seem to think they're at some horrible mosher heavy metal gig. Seriously I've seen actual mosh pits start up. I mean I guess that's kind of a dance, but when that happened I pretty much said sayonara to the scene at the time and just stuck with Funky as it was. I've seen those moshpits before. I think that's what turns me away from the genre, all the rage. I've seen people rip out sinks in bathrooms, nearly destroy stages and DJ booths, get into fights. Dance music should be fun not violent. It extends to the 4/4 stuff with all the stabby electro that usually goes hand in hand. I guess that's just my opinion though. What I find really weird is all the people I know who have never heard any EDM beyond Tiesto, and listened to quiet indie rock, are now raving about Skrillex and the rest of them. I understand the nu-metal heads, but it's like THE thing everyone is into now. Maybe people are just discovering that they like electronic music and just don't know anything else really exists. You can kind of see this in the brostep/dubstep arguments. Its like some people don't want to be associated with that crowd so they put their own label on things. Problem is it doesn't seem like a lot of them are sure of what they really want and like, and are just realizing there is more to it beyond what everyone is exposed to.
|
|
#
?
Nov 2, 2011 04:46
|
|
|
infinity2005 posted:It's dumb to call actual dubstep dubstep at this point unfortunately because most people get a wrong idea of what you mean. The scene is too varied at this point anyway so a catch-all bass term is better, even for the old stuff. I feel like there's a lot more not-scrictly-dubstep releases than dubstep in stores like chemical-records. These two statements are actually really interesting. I watched dubstep unfold in our local scene and at first it was just a blanket term. Now a lot of the original "dubstep" DJs wouldn't be caught dead being called that. It's kind of like, I guess you can call yourself a house DJ if you play electro or mainstream progressive, but really the different styles vary so wildly that it wouldn't make sense to just simplify it like that. Even my idea of some electro is very different than others. The second point is interesting too because we have a HUGE thriving all ages scene. We have tons of local promoters and djs and tons of big entertainment companies throwing "raves" for kids. It ranges from local dubstep and HHC djs to the big companies bringing in all the UK hardcore and hardstyle DJs. Other than Zeds Dead and The Killabits we don't really have any older dubstep djs that play for a crowd. We have some older Future Garage and UK Funky dudes that play to niche crowds but they generally don't fill up clubs. The majority of Dubstep DJs are either extremely young (18-20) or are older and have been throwing all ages parties for years. These guys usually spin all the other rave styles as well. This has some benefit I guess, since drum and bass is not completely dead and we have some respectable DJs still playing the genres, but I think eventually it will make room for the next big thing and it will take a back seat kind of like HHC and hardstyle. It's really difficult to take the genre seriously sometimes. This has extended to techno as well, since its seen as rave music by a large population here, which is quite unfortunate.
|
|
#
?
Nov 2, 2011 04:56
|
|
|
infinity2005 posted:It's dumb to call actual dubstep dubstep at this point unfortunately because most people get a wrong idea of what you mean. The scene is too varied at this point anyway so a catch-all bass term is better, even for the old stuff. I feel like there's a lot more not-scrictly-dubstep releases than dubstep in stores like chemical-records. More than a few tunes were made on Music 2000, though I'm not too sure what charted or whatever. Well I mean the catch-all Bass Music thing has really just came around as an actual term just because everything is just colliding with everything so much and creating so much that on the one hand could fit into one genre, but on the other could easily fit into 3-4 others. I definitely don't feel the word Dubstep should be abandoned and just handed over. You need to fight your corner rather than just give up. If it's shite music call it out and beat it down as far as I'm concerned. Like I said this is no peace and love hippy poo poo, this is like marching on the enemy frontlines, keep hammering the filthy huns back lads! This to me is kind of the crux of the whole thing. A lot of people who pull out the old "oh they just want clones of Anti-War Dub". No-one wants clones of Anti-War Dub. That was 2005. What people do want is tunes that continue to keep the wheel spinning, that keep making new fresh stuff, just like Anti-War Dub or Midnight Request Line or Night did. To keep up the develop and build and advance what's came before. Nobody just wants rehashes. One of the problem with the jump-up stuff is I don't get the feeling it's actually going anywhere. Take most of that stuff from say 2008 to now and in all honesty you can't tell when it was made. Was it made in 2009 or was it made yesterday? In comparison take something of say Martyn since we've mentioned him from 2008, and compare to something from now. To quote Bukem, a logical progression, but that's just it a massive progression. Like I said I think it's people who don't understand dance music in general. They're used to going to a gig, doors open at 7pm you're out at 10. Yeah they had that album out two years ago, no it's not really anything different to the new one. But dance music has never been about that. It's just total war. You had folks like Goldie putting himself in competition with Cool Hand Flex. One dropped a new tune, the other instantly counter-attacked with something else. Skream would be trading hits with Benga. There's Combs 60, there's Dutch Flowerz. Oh my days! All in the space of like a month, a week even. It's dubplate culture, make a tune, cut it, play it out the very same day. It saturates and gets into the dancers DNA so you're keeping them juiced up and kept up to speed. Just total amazement. Ultrabass sonical drug dependancy. Speeds of development that traditional band/rock 'n roll thing just can never keep pace with. e: And yes I think I did just make up the word Sonical. But I'll be damned if it doesn't sound good. 28 Gun Bad Boy fucked around with this message at 05:38 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 05:06
|
|
|
Firaga: are you in Australia by any chance? I guess the popularity of hard dance music as the main form of electronic meant that the obvious form of dubstep to be popularized would be the perceived hard dance version of it. You even got those gimmicky dubstyle tracks directly tying to do it. I'm familiar with the hardstyle/uk hardcore scenes and the former at least (latter not so much) has had problems with variety in my opinion; in the last few years because it's all being made from the same formula and heavily using the same Headhunterz style sound. But none of it even was as limited as this midrange dubstep formula. I think the very large popularity is a result of improved social networking, and electro-house and Daft Punk was the first example. Even on this forum you had like a million people pop up who suddenly loved them. Despite them not even seeming particularly relevant anymore here. 28 Gun Bad Boy you have a good point about releases. It's just completely different in a lot of places so fads are just of one particular sound then die off. But it doesn't help that the dance music that is commonly enjoyed in NA and wherever else is totally limited in scope. I don't know what direction midrange can take, i guess into Korn super horrible poo poo zone and not related to dance music for the best. But the term dubstep is well and truly gone i'm afraid it's impossible to actually explain or convince people.
|
|
#
?
Nov 2, 2011 06:06
|
|
|
infinity2005 posted:Firaga: are you in Australia by any chance? I'm in another commonwealth country, Canada. I visit the US on a regular basis and it's really interesting how different the scenes are just 8 hours away. I think in terms of release battles you need some very active DJs to do something like that. I don't think NA is quite there yet as most of our communities push away electronic music. Telling somebody I'm a techno/house DJ is a process because people think I spin HHC in a sweaty basement and wear bracelets that say PLUR. I think we are still finding our identity in the scene and thats reflected in the music. Even promoters are scared to take risks and try innovative things to create platforms for DJs to showcase their music to interested crowds. So you're left with most people just spinning what's popular in the same bar or small club every weekend. I actually think that with this mainstream EDM movement we are starting to embrace it as a culture which will give the underground more room to breathe and expand. The next thing we are going to have to figure out is how to present it seriously. Deep House thrives in this city because it's one of the only EDM genres that's not touched by the all ages scene. I mean among other reasons of course! But I think techno is suffering because it has a stigma attached to it as being rave music. I have a feeling dubstep and UK bass in general is going down that same path. Once people see electronic music as an artistic medium and something "normal" we can start opening bigger venues and throwing more interesting parties. I guess my point is, all this electro and dubstep is opening people's eyes to the existence of the music but at the same time it gives off a very immature impression. This isn't the 90's where all of a sudden you have a 10,000 person rave right under everyone's nose. All eyes are on the industry right now and it's incredibly difficult to throw an underground party that hosts any more than 300 people. It really all goes back to what 28 Gun Bad Boy said, and that is that most people just simply don't understand the music. Firaga fucked around with this message at 06:28 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 06:24
|
|
|
FlyingCowOfDoom posted:You going to either day of Lights all Night? As much as I'd love to I still haven't found a job yet and 100 bucks for just one day is too much. I might still try to snag an interview or two either way haha.
|
|
#
?
Nov 2, 2011 06:49
|
|
|
New track from myself and two good friends of mine, I'm pretty pumped about this one! HIGHWAYS + CHUMP CHANGE - AUTOLOADER http://soundcloud.com/djchumpchange/highways-chump-change 
|
|
#
?
Nov 2, 2011 12:43
|
|
|
Firaga posted:I'm in another commonwealth country, Canada. Firstly I'm actually kinda shocked the all-ages thing was a regular occurance. God knows why you'd want a bunch of youts running about the dance. I just associate kids with complete aggro - because when we were going out at that age it was complete aggro. To much risk of being jumped or getting into some other problems with the kids here, though that's not really upper-middle-class teens I'm talking about. Anyway I was actually saying a few pages back I definitely think now is the time this kind of dance music can really integrate more into North America. You've got a lot of good American producers now, a lot of good American DJs (the difference between the two sadly continues to close), and I think you have a lot of promotors putting on shows that aren't the whole jump-up thing. The trick is I think if everyone over there can whether the storm for the next few years something can latch on. Won't be cheap or easy. At the start you'll get like 15 people through the door but I geniunely think if they can keep pounding away at the door, keep highlighting and intergrating their 'brand' and the culture, it's bound to cut out it's niche. Will it be 2000 people every week? Probably not but I say it can easily get to a point where it can sustain itself and prove robust enough to survive and develop. You get 2-300 people in once or twice a month you create a wanting crowd as well as collect enough cash to bring in even more big names. And you know I think it's foolish to say America isn't ready. I mean those guys invented House, invented Techno. I know New York and Toronto were big on Jungle during the day (early/mid-90s), a little bit less so during the garage days. You had DMZ regularly over in NYC etc. So the priming has started, it just needs to be finished. Basically as I said before, getting a 1000 people in to see Skrillex or whoever once a year is bollocks. It might as well be Aerosmith or Ladysmith Black Mambazo. That way it's like a circus. It shows up once a year, everyone goes, claps their hands and leaves for it all to be forgotten about until next year. poo poo needs to be regular, like a drill instructer in the army. Keep on hammering it into them, indoctrinating them into what you're saying, so you change their attitude and you're left with a lean, mean dancefloor machine. And finally for complete perfection all that needs to happen is every high speed internet connection to fail in the North America and you'll be back to using god's own format - vinyl. e: You know you have a healthy scene when you can get 30 people in a pub's basement on a freezing cold Thursday night in December. 28 Gun Bad Boy fucked around with this message at 15:10 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 14:22
|
|
|
So a show with Hatcha AND N-type was just announced for December in Miami. That's gonna be awesome. Good way to end the year. Be on the lookout, they might be in a town near you!
|
|
#
?
Nov 2, 2011 22:08
|
|
|
28 Gun Bad Boy posted:God knows why you'd want a bunch of youts running about the dance.  But most of the all-ages related problems I see and hear about aren't aggro wannabe thugs, it's just dumb kids taking drugs they can't handle. There's the same apprehension about going to an all-ages show, but instead of violence it's just swarms of teenage e-tards that I'm worried about. 28 Gun Bad Boy posted:And finally for complete perfection all that needs to happen is every high speed internet connection to fail in the North America and you'll be back to using god's own format - vinyl. Edit: And now I want to see someone DJing with two phonographs and "heh, dubplates? I've got wax cylinders bitch." nibe fucked around with this message at 23:38 on Nov 2, 2011 |
|
#
?
Nov 2, 2011 23:28
|
|
|
|
| # ? May 11, 2024 23:13 |
|
|
nibe posted:
Spoken like someone who never experienced the horrors of places like the Archaos unders. So many Kappa trackies and fake Ben Sherman shirts. nibe posted:I've restrained myself from making this post, but I can't help it anymore - what is so god damned great about vinyl? Electronic music has technology at it's core and embraces new gadgets and gizmos at every turn, and yet some circles cling to a silly century-old dinosaur. I know it was integral to the Jamaican sound system/dub culture at the roots of these genres, and that being a Disc Jockey without discs might seem like sacrilege to the older folk, but The Times They Are a-Changin'. When you think about someone, even Mala, using Fruity Loops and all manner of digital signals and effects to produce a tune, and then turning around and needing it to be pressed into grooves on a piece of vinyl originally made to be played by this thing, to me it's oddly steampunky. I'll tell you what I hate about the whole digital download/file thing. It's not some weird vinyl sounds better thing. It's not an analogue vs digital thing either. I love CDs as well. Fantastic, I can be a lazy oval office and not have to get up to change sides or whatever, I can pop it in the Pioneer deck in the car. About the only physical medium I dislike is cassette which is strangely making a comeback, though that's probably just because I get flashbacks to being way too poor as a wee kid and taping poo poo off the radio onto a cassette. It just wasn't fun having to hear Tiger Tim talk shite on top of the new Jamiroquai or Blur single or whatever it would be.  Warning! Incoherent Rant With Many Holes In It TimePersonally my problems are with the whole digital download thing is the whole entire thing. Music, DVDs, video games or books. I simply don't want a loving file. And it totally boggles my mind why people want just a file. To pay money and not actually receive anything real in return. Downloading to me always gives me a complete lack of ownership. A complete lack of worth, attachment or investment in the article and what it may represent. I want to pay my money and in exchange get an actual product that has to be physically made. Global warming be damned. Files just do gently caress all for me, and I think for a lot of people as well. "Oh you can get it instantly via download" gently caress off! I'm not that lazy a oval office. I can wait for the postman or interact with living breathing humans and get the bus into town to the shops. Patience nowadays is a lost art. I buy vinyl, I buy a CD, a DVD whatever. To me that's money well spent. It makes me feel like, yeah I'm a part of something here(even if it is part of the legions of 80s American teen comedy fans). I've got it in my hand, it's mine, it's linked to me, that's mine, Capitalist thrall hey-ho. As far as I'm concerned owning a physical something makes you a million times more attached to it than what any file does. It makes you appreciate it more. I buy something digital - and I've had to in recent years - it's left me feeling just, what's the point? Is that it? Click and it's done? Seriously? Major, major let down everytime. It's Ikea furniture, it's shite. It's like seeing some freebie toy on the side of the Corn Flakes box and it looks loving kick rear end, you eagerly dig through the box and in the end it's some cheap plastic thing that looks nothing like on the box. And it's not because the song is bad, I've heard it on the radio, I've heard it in the dance, and totally loved it but getting it digitally just is pure anti-climactic. There's no excitment that you get when you put the needle on the groove, or take off the shrink wrap and admire the spotless shiny disc before you put it in on the tray. So what do you do when it doesn't seem worth it? When you might have well have saved the 3 quid that you feel you paid for nothing and just went on Soulseek? Now don't get me wrong, I'm as bad as the next person about downloading stuff but at the end of the day it's all worthless with no personal value to me. Delete it off the hard drive and oh well, nae baw hair. It's cool you can download peoples mixes and stuff, people can put it out and share and promote it, but well if you don't get it, hey no problem, chances are you never really missed out(and with regards to mixes and stuff, with tracklists alongside 99% of downloads you never do feel like you've missed out). Youtube as well, great I love it, but it just floats out there. It's not yours and it doesn't feel a part of you(well, me at least). All the poo poo I upload to Youtube you guys have seen here? That's straight from the vinyl or CD. I own that. I paid money for it, it's mine, my sweat and graft resulted in me buying that Heartless Crew single with the Sticky remix on one side and the sadly mediocre ShyFX remixes on the flip, I have it here in my hand in it's fancy UV laminated sleeve. I delete it off my Youtube account it ain't no skin off my back as hey, I own it in reality! I have an actual physical connection with the medium and with the music. I've bought into that and it makes me very happy. (Quick fun question, how many of you who have seen a track you liked on my guide went out and bought it. New or on eBay or your local second hand record store. Hands? Because that's what I do all the time, I see something on there, I buy the real thing) And then there is the other problems, the entry and supply side problems that come with digital music and distribution. Or lack and ease thereof, but that's kinda a different thing entirely, but it is something that causes me concern. Don't forget my whole technology computer programmer thing versus arts and craft but that's an even more long and incoherent ramble. And once again there is the most important reason. If I ever come down with a major drug dependency then I sure as gently caress can't sell my digital files, nobody will want my old out date junkie mp3 player. That original pressing of Anti-War Dub though, that poo poo'll get me my next fix. Vinyl and CDs, supporting you're local drug and Cash Converters-based economy. Oh and regardless of physical vs digital, never let yourself believe what Ritchie Hawtin says about needing the latest and greatest of gadgets and software to make the music. Dance music has never been about the technology for technologies sake. It's never been about having NI Massive v5.29 or whatever the latest software patch is. It's more about banding together, being part of something with like-minded people and using and appreciating what you got no matter how old and antiquated to take you somewhere new and exciting. It's taking the 1981 Ford Capri LS down to loving Dumfries and having a laugh while it stutters up any steep incline and you can't roll down the window 'cause it's a bodge job made of plexiglass. Sadly sometimes I feel that community spirit and the values it brings is too easily distorted nowadays with this constant need to push new technology and new updates and this and that on you. Having an arms race with the music itself is great, having it because of the latest software update? Not so much. Now where's my god damned walking stick...
|
|
#
?
Nov 3, 2011 01:39
|
|