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Ekoplekz does a lot of tape releases but he's not even really a UK Bass artist, he just seems to have a lot of friends in the scene and releases stuff on their labels. He did a collab album w/ Bass Clef this year which was pretty gonzo, in a good way
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Nov 12, 2012 08:14
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Kahn & Neek have a grime tape out in pro packaging and that. Eh!
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Nov 23, 2012 21:23
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Surprised by how much I'm enjoying the new Starkey LP, considering how cold I've been to his preceding Civil Music EPs. It's a lot more focused.
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Dec 1, 2012 06:25
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RIP Offshore https://www.youtube.com/watch?v=YHqQ8KSkjmI
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Dec 5, 2012 22:42
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New Biome EP for Mindset is the only thing of his I've ever liked. Gantz has also had a string of strong singles. Sort of an odd time for me to get into more minimalist sounds that are more bass-y and less D&B-derived.
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Feb 1, 2013 23:33
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Yeah I feel like the dudes that usually show up on Osiris or Dubstep For Deep Heads (who signed off on that name, I mean really) tend to play it a little too conservatively, like they could be stretching out and adding in personality at the margins, but they're too focused on nailing that particular tone in a very particular way. Broad genre signifiers aside, a distinctive sensibility on the part of a producer is what makes a track work for me.
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Feb 2, 2013 02:42
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Still not sold on Boddika. The Endian track is real good tho
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Mar 17, 2013 01:59
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28 Gun Bad Boy posted:Plus all the usual labels like L2S Recordings, Frijsfo Beats and Slime. Though they're all digi-only labels sadly so I don't really keep too up to date on them. https://www.youtube.com/watch?v=E6Qiylvj1Hg
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Mar 25, 2013 02:51
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Pinch's new wax-only label just popped up, first release is from Elmono. Americans pay 100%+ shipping, FYI
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Apr 23, 2013 12:02
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28 Gun Bad Boy posted:I like the single though, both tracks kinda wear their influences on it's sleeve but I can dig that. Contemporary Dubstep that's managed to keep up to date by hoovering up more recent musical developments instead of just half-step plod plod for the deep heads could've been made in 2006.
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Apr 23, 2013 21:46
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I still throw some conspicuous-rear end transitions but I tried my hand at an honest-to-God mix for the first time in forever. A little schizoid in the middle but not as schizoid when I was trying to mix Robyn with "The Beach At Redpoint" back in '08 or w/e *edit hmm some of these transitions were definitely different in the editor Basic Chunnel fucked around with this message at 01:42 on Apr 24, 2013 |
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Apr 24, 2013 01:35
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Not real huge on Disclosure but one of em did wear a Zed Bias tee in a promo photo so bully for them I guess. Kode 9 is a lil bit late on the trendhopping right now but he's well sharp anyway https://www.youtube.com/watch?v=h5gcqYaMu98
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May 1, 2013 07:48
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28 Gun Bad Boy posted:You know here's a question for all you over the pond. I always wondered how or where Grime entered into the American musical awareness bubble. I mean pre-Youtube and all that jazz. What made it over there first? Or what made a bit of a splash first? Who do you remember first picking it up? Where do you remember first hearing it? If it's by some kind of pre-general internetty way it'd be doubly cool to find out. I believe Lady Sovereign and Miss Dynamite also had minor one-hit wonder status (or at least brief music journalist buzz) around that time too, but tbqh I think most of the interest in LS came from her apparent whiteness and her stature / gender that didn't fit into hypermasculine black music stereotypes around rap. She was bandied about as a "female Eminem" and never really taken seriously even by people who held her up as some kind of mold-breaker. Basic Chunnel fucked around with this message at 03:58 on May 7, 2013 |
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May 7, 2013 03:50
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Didn't somebody link a Coki interview a few months back where he says basically the exact thing (but in reference to brostep) that Blackdown lambasts Disclosure over? He also seems to have an apparent disdain for Pre-UKG forms of electronica and their cyclical, non-progressive natures. Had I not known better I would have suspected that this is a bit of agitprop designed to bring more exposure to the still-fledgling 130 BPM trend he started / hitched his apple wagon too. The guy knows more about the assorted scenes than I'll likely ever know but I never much cared for his analysis or his taste as a curator.
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May 21, 2013 12:01
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xposting from PHIZ https://www.youtube.com/watch?v=OfeOtcgjL50 Hey it's a guy from 4hero. Does he sound like Chicago Detroit Redruth-era Vibert, or does Chicago Detroit Redruth-era Vibert sound like him? Also dunno if you all missed it but last Sunday B.YRSLF Division released a p. substantial free compilation of new and old club music things. Gotta like em on Facebook is all. They're probably my favorite of the post-Night Slugs / Monkeytown baby boom of club music imprints, tho I guess Clek Clek Boom's alright.
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May 24, 2013 21:00
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Just checking: Does anybody know if the vox in that new Sophie single are sampled or original? No one I know seems to be able to place it.
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Jun 27, 2013 05:59
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Short trax play better with the rock press
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Jun 27, 2013 21:18
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Got mixed up in a mix exchange and am currently in the throes of nostalgia as I compile babby's first 130bpm mix. https://www.youtube.com/watch?v=KUBrAfUexPY https://www.youtube.com/watch?v=e5JkNXPlAsM https://www.youtube.com/watch?v=vbyw3X3PSHk like it's not even "classic" stuff, just things that I picked up way back when.
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Jul 18, 2013 07:34
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There are some pretty colossal female talents in grime right now if you ask me. Was hanging out in a plug fm room with a friend and he played this and it was good https://www.youtube.com/watch?v=ev458ENOqZY Roxxxan !!
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Jul 26, 2013 10:36
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SUBFRIES posted:And, kind of along these lines, if any of you remember Cosmin TRG's last EP on Tempa (here: http://www.beatport.com/release/now-you-know/215074), who are some similar artists to this style of house or whatever it is? Also more recent Contakt stuff, maybe
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Sep 17, 2013 09:26
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Was just listening to Franks the other day, had it in a continuous 130bpm mix I'd made and almost tore my hair out trying to place it. Archives to the rescue. Great track
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May 3, 2016 05:43
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Maguro posted:You have a link to the mix? Glad you finally found the tune haha. All of my new releases are gonna be 160bpm for the time being, but I'd like to make more 130bpm stuff once I finish the Juke EP I'm currently working on. Somewhat scattered in terms of what's actually featured (that's what you get when you adhere to machine-read BPM and key strictures), but there are some transitions I'm still fond of. Basic Chunnel fucked around with this message at 05:13 on May 15, 2016 |
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May 15, 2016 01:29
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Good, comprehensive chapter. Helpful in that I'd actually been trying to remember the first time I'd heard of dubstep, and it must have been some time around late '07 because I torrented a pack of vinyl rips that included the D1 track featured above. Had Skream and Benga and Mala and the like but it wasn't a perfect overview. My favorite of the lot was an old Bass Clef track, I think he's been underrated for more or less the entire time I've known him. https://www.youtube.com/watch?v=4b9JbooH8ao He had a tape split with Ekoplekz a few years back that was excellent but not particularly step-y. I guess it gets to where I came from on it - I grew up in a little rural American town without so much as a used CD shop, so my intro to electronic music was, like, the Trainspotting soundtrack (which was great). No dances meant it was all headphone listening, and so IDM it was. Around '06 / '07 I got tired of trying to daisy chain artists I liked to other artists (the internet's taste was not discriminating when it came to IDM, most of it is dross in one form or another) so I started hunting label compilations and it was like hitting ten birds with the stone I'd been throwing at one. Since I was already an IDM head I went straight for Planet Mu and their 200 compilation. Had a lot of heavyweights on it - Darqwan and Pinch and Benga and Distance are all represented, plus some more Mu one-foot-in-the-prog types, namely Ital Tek and Boxcutter, the former of whom still puts out good stuff with regularity. I was hooked by the Vex'd remix of Distance's "Fallen", which has lost 0 punch since it came out: https://www.youtube.com/watch?v=LvANW7mliBQ Somehow I never got so into Vex'd, maybe if I had come around to greyscale techno a few years earlier I would appreciate their none-more-black aesthetic, but I was pleased as punch when they featured a Downward Spiral deep cut on one of their DJ mixes. Another standout track (and one of the many weird one-off outliers on Planet Mu) was from Parson, out of Houston. Throwing the ketamine-soaked dubstep sound in a pot with Screw music seems like a no-brainer but Parson was seemingly the only one to do it with panache. He seemed to drop off the face of the Earth after it, I think he hung out at SXSW for a few years but he was associated with "drumstep" and Run DMT and all that youtube-driven cashgrab noise once bass blew up stateside. Not cool enough for the Mu, clearly. https://www.youtube.com/watch?v=mEeQqPWaSgc Planet Mu's kind of a magpie, always trying to be a tastemaker and batting about .500 in that regard (Wins: breakcore [which I hated], dubstep, footwork. Losses: electro-folk, lo-fi house, whatever avant garde stuff they're playing with now), but there's no denying Mike Paradinas' eye, he's made a lot of careers. So many producers get their foot in the door with a one-off single or LP on the label and you forget about it, to the point that there are labels that apparently exist solely to pick up what Paradinas puts down (looking at you, Ninja Tune). But all the best Vex'd stuff was on the Mu imprint, Jamie Vex'd is still there under the Kuedo moniker. They even rode the post-dubstep "bass" wave for awhile. Mike's not averse to picking up an imitator for a quick buck. And I'll always have a soft spot for a label man who openly regrets featuring Machinedrum. https://www.youtube.com/watch?v=X0zZPv97YPA I never actually ventured much farther than Planet Mu even when my awareness of the scene was at its peak. By the time I came around to "dungeon" stuff it was already on the wane and I never cottoned to either Mala or Burial, which I guess makes me an outlier. By the time Pinch was making house trax and Boddika hosed off from Instra:Mental to make boring electro I knew the scene was well and truly done. More recently I've been noticing that the Instra:Mental / Autonomic sound has been having a bit of a renaissance, mainly because so many of its samey, prolific mainstays (Vaccine, ASC) have gone quiet, regressed back to straightforward DnB, or gone ambient, and so Exit records in particular has been picking up on the Om Unit side of that sound, which seems to be flourishing via acts like Fracture and Sam Binga. Truer to jungle, you might say, and still identifiable in that vein, but when they feature toasters it fits in pretty well with a more general bass-y feel. https://www.youtube.com/watch?v=DOkHf2Vpx_E
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Jul 25, 2016 19:25
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I'm reminded now of the actual dubstep compilation that Planet Mu put out, 10 Tons Heavy which I got around the time of its release. Featured a full DJ mix from Benga and Hatcha on the flip. Hatcha was one of those names I kept hearing but never bothered to actually track down. "Qawwali" was licensed to appear on the singles side, that's where I first heard it. One guy I'd nearly forgotten about was Milanese, who iirc was another producer for Virus Syndicate that Paradinas scooped up alongside MRK1. People still ask about "Caramel Cognac" when I play it, it's aged exceptionally well. Seemingly another guy who made an appearance on the Mu and then disappeared. https://www.youtube.com/watch?v=-0KTKlCQTjE In retrospect it's hard to say what exactly delineated tedious American dubstep from UK jump-up stuff. Awareness and recognition of lineage, maybe. Or as 28GBB suggested years ago, it was a "master for the medium" thing and the yanks just punched the mids up to make the most of laptop speakers. Personally I think it's because so many US producers came to the music as a way to make hip hop production louder. And so much hip hop, lacking strong caribbean roots, just doesn't swing like garage, and so the music just lays flat on the ear, all frosting and no cake. Doesn't help that the style was approached as a very simple template, of course. Or the endless, worthless pop remixes fighting for youtube dominance. Or the absence of radio to pull it all together. But it's not the Americans' fault, really. All things die except House. House always finds its way back to the dancefloor. And thank god. Basic Chunnel fucked around with this message at 19:40 on Jul 25, 2016 |
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Jul 25, 2016 19:38
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Is that Andrea the guy from Demdike Stare or someone else using the (extremely generic) name
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Oct 29, 2016 20:20
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Hey I never signed up for a Bruk thread
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Dec 17, 2016 02:01
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When you make a lot of tracks via a PS2 music maker program a lot of it is going to sound like classic MIDI. Plus, they grew up on those soundtracks. Joker plays Streets of Rage songs in his sets
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Jan 17, 2017 21:57
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JSL / Kraken released one of my more fondly remembered jump-up from years ago, #11 in their catalogue I think? B-side. https://www.youtube.com/watch?v=uLSCHcNRAOs Reminds me vaguely of old Benga.
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Mar 22, 2017 22:00
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It's funny, living in the middle of nowhere out USA way caused me to instinctively mistrust Untrue and how it, like that one Four Tet album before it and Jamie XX / Nicolas Jaar albums after it, was picked out as the tasteful(ly alienated) paragon of a deep and neglected scene by the music press. It caused me to dig deeper and find all the stuff that was apparently pedestrian at that time. Personally I found the album itself pretty listless and enjoyed more the smuggling of his style into more dance-forward music later on, especially by D&B refugees (dBridge, Synkro, etc) Funnily enough I felt like that one Four Tet / Burial collab 12" was the best thing either one has made. Really brought out the best in one another.
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Nov 13, 2017 19:50
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