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paolo
10-12-2012, 05:00 PM
Can't believe nobody's done a thread on this already

My favourite - Silent Servant - Negative Fascination

Honourable mentions - Julia Holter, X-TG, Raime, Carter Tutti Void, Actress, Shackleton, Kassem Mosse and Mix Mup, Traxman, Young Smoke, Hype Williams

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connect_icut
10-12-2012, 05:14 PM
Can't do mine until I find out if this My Bloody Valentine album is really coming out on Friday.

hucks
10-12-2012, 05:36 PM
Thank fuck someone did this. I need some recommendations - I've had a shocker this year in terms of finding out new stuff and that. My favourite might turn out to bet the Ruff Sqwad comp I got today, and that can't be right, it's 8 years old.

I also liked LV. Actually I liked Frank Ocean too, so that's 2.

baboon2004
10-12-2012, 06:28 PM
This is the first year for me where I've felt like I haven't got a clue what's going on in music. Too much stuff produced, no time to catch up. Just flicked through a couple of annual best-of lists and...nope, no clue about most of it. How can anyone keep up, for that matter?

Hype Williams/Blunt/Copeland have provided a soundtrack for that fogginess.

e/y
10-12-2012, 07:06 PM
Favourites: Laurel Halo - Quarantine (Hyperdub), Taylor Swift - RED, Kassem Mosse / Mix Mup - MM/KM (The Trilogy Tapes), Bee Mask - Pears LP (Spectrum Spools), Raime - Quarter Turns Over A Living Line (BEB), Shackleton - Music For The Quiet Hour

rest:

Lee Gamble - Dutch Tvashtar Plumes & Diversions 1994-1996 (Pan)
Russel Haswell - Factual (Editions Mego)
Container - LP (Spectrum Spools)
Ruff Sqwad - White Label Classics
Holly Herndon - Movement (Rvng Intl)
Legowelt - The Paranormal Soul (Clone)
Caribou - Jialong
Pangaea - Release (Hessle)
Aaron Dilloway - Modern Jester
Bee Mask - Vaporwave / Scanops
Lukid - Lonely At The Top (Werkdiscs)
Madteo - TTTree Low G. Tapes: Mad Dip Revue (The Trilogy Tapes)
Vatican Shadow - Ghosts Of Chechnya / Kneel Before Religious Icons (Hospital Productions) / (Type)
Future - Pluto
OPN / Rene Hell - Music For Reliquary House / In 1980 I Was A Blue Square
Gunplay - Bogota Rich
Lil Durk - I'm Still A Hitta
Flaming Tunes - s/t (BEB)
Suzanne Ciani - Lixiviation Ciani/Music Inc. 1969-1985 (Finders Keepers)
Helm - Impossible Symmetry (Pan)
Grimes - Visions
Miguel - Kaleidoscope Dream
Actress - RIP (Honest Jon's)
CFCF - Exercises
Hype Williams - Black Is Beautiful (Hyperdub)
Jam City - Classical Curves (Night Slugs)
Lana Del Rey - B2D
Nicki Minaj - Pink Friday (1st half)
Rick Ross - Rich Forever
Robert Turman - Flux (Spectrum Spools)
Zelienople - The World Is House On Fire (Type)

Still need to listen to some of the ones in the second list more than 4-5 times each, plus lots of more stuff I want to check out (Terrence Dixon, Dro Carey/Tuff Sherm, Silent Servant and what seems like dozens more).

Leo
10-12-2012, 07:11 PM
As often happens, lots of the stuff I listened to the most this year wasn't new. But of the new stuff...

2012 albums I enjoyed:
X-TG -- Desertshore/The Final Report (partly for the music, partly because it's a beautifully packaged tribute to Sleazy)
Liars -- WIXIW
Jam City -- Classic Curves (lots of tracks that don't sound quite right, which i kind of dig)
Bass Clef -- Reeling Skullways
Chromatics -- Kill for Love
LHF -- Keepers of the Light
The 2 Bears -- Be Strong (their Rinse shows too...yeah, kind of lame I know but just find them really enjoyable and fun to listen to)
Andy Stott -- Luxury Problems (more interesting and listenable than his previous two)
(Would love to include the Ruff Sqwad comp but sticking with new releases.)

2012 singles/EPs i enjoyed:
Swindle -- Do the Jazz, Pineapple
Blawan-- He His She She (mental, what do you even call this shit?)
Fatima Al Qadiri -- Genre Specific Xperiments and Desert Strike EPs (awesome in its fakeness)
Rollo Jean -- San Tropez, Cellar of Love

blacktulip
10-12-2012, 07:24 PM
I pretty much just listened to a fuckload of old ZZ Top this year. It was a very good year.

Leo
10-12-2012, 07:42 PM
I pretty much just listened to a fuckload of old ZZ Top this year. It was a very good year.

"tres hombres" is an all-time fav.

blacktulip
10-12-2012, 08:29 PM
"tres hombres" is an all-time fav.

That was my starting point - breathtaking record!

Benny B
10-12-2012, 08:31 PM
I can only think of two albums that i've heard from this year, Swans - The Seer and the Kendrick Lamar album - both excellent. quite surprised there hasn't been more talk about the Kendrick album on here actually.

edit: oh yeah The Nicki Minaj one too, some genius stuff on that.

Roshman
11-12-2012, 12:39 AM
Albums / EPs / Singles

LHF - Keepers of the Light
Girl Unit - Club Rez
Untold - Change in a Dynamic Environment
Scratcha DVA - Fly Juice EP
Beneath - No Symbols 1 & 2
Lana Del Rey - B2D
Rick Ross - Rich Forever

Phaedo
11-12-2012, 03:08 AM
Kendrick Lemar - Good Kid, M.A.A.D City
Wiley - Its All Fun and Games Till Vol. 1
Shackleton - Music For The Quiet Hour
Actress - RIP
Kassem Mosse + Mix Mup - MM/KM
Pangaea - Release
Lukid - Lonely At The Top

hucks
11-12-2012, 08:24 AM
Favourites: Laurel Halo - Quarantine (Hyperdub), Taylor Swift - RED, Kassem Mosse / Mix Mup - MM/KM (The Trilogy Tapes), Bee Mask - Pears LP (Spectrum Spools), Raime - Quarter Turns Over A Living Line (BEB), Shackleton - Music For The Quiet Hour

rest:

(a big ol list)

Still need to listen to some of the ones in the second list more than 4-5 times each, plus lots of more stuff I want to check out (Terrence Dixon, Dro Carey/Tuff Sherm, Silent Servant and what seems like dozens more).

See, that's kind of how I felt about almost everything this year. I was just looking at what I bought in the early part of the year and I almost can't remember listening to any of it. New albums have a half life of a week for me now. My attention span is worse than it was when I was a teenager.

crackerjack
11-12-2012, 08:40 AM
Kendrick has singlehandedly made me think I should start paying proper attention to hip hop again. On which note I also like the Roc Marciano a lot.

Peaking Lights's schtick is something I can listen to all day

Also like the Actress and that weird Sun Araw thing with Congos a lot.

Frank O was pretty cool, too.

rubberdingyrapids
11-12-2012, 08:57 AM
rick ross - rich forever
actress - RIP
rustie - glass swords (from 2011 but i played it more this year)
kendrick lamar - good kid maaad city (i think i might prefer his crew as mcs though)
drake - take care (2011 again but it came out at the very end)
weeknd stuff
jj doom
gunplay
bigg jus (prob album of the year for me)
scratcha dva (not the vocal tracks)
dj diamond/parts of traxman's album
nicki minaj
bambouno
hype williams' album might be 2nd album of the year for me
nas - life is good (not amazing as an album, but i still love nas, even when hes going a bit nostalgic/MOR like he is here)
Konx-om-Pax - Regional Surrealism (this seems really underrated)

feel like theres an absolute ton of albums that ive not heard this year that ive wanted to but just havent got the time (still not heard the LV though im not their hugest fan tbh). ive gone back to a discman this year too so have spent quite a bit of time listening to loads of cds ive bought over the years but never really bothered with.

i still want to hear miguel, how to dress well and kevin rowland's new one. wanted to like the cooly g album way more than i did but her vocals ruined it for me.

jimitheexploder
11-12-2012, 11:03 AM
LV - Sebenza
DJ Rashad - Teklife Vol.1
Kassem Mosse & Mix Mup - S/T
Madteo - Noi No
Bass Clef - Reeling Skullways
Actress - RIP
LHF - Keepers of the Light
Henny Moan – The Coming Thaw
Dean Blunt – The Narcissist II
Nick Edwards – Plekzationz

dd528
11-12-2012, 11:03 AM
I've been thinking about this a lot recently as this is the first year in a while were a lot of my time has been spent listening to whole albums, rather than mostly individual tracks or EPs or mixes.

The two that I keep coming back to are LHF - Keepers Of The Light and Cooly G - Playin' Me. I am completely enraptured by either, within seconds, every time I press play.

Leo
11-12-2012, 12:19 PM
See, that's kind of how I felt about almost everything this year. I was just looking at what I bought in the early part of the year and I almost can't remember listening to any of it. New albums have a half life of a week for me now. My attention span is worse than it was when I was a teenager.

funny that, me too. this year, i bought albums by artists i really love -- actress, cooly g, shackleton, last year's kode9 -- and doubt i played them more than a handful of times each. used to listen to a lot of albums on the ipod when out and about but now find that time sucked up by the multitude of weekly free mixes (fact/RA/xlr8r/rinse podcasts, etc.) maybe i just need to focus instead of trying to keep up with everything, which is impossible.

Blackdown
11-12-2012, 01:01 PM
The only albums I loved truly, wholly & unconditionally this year were LV, Cooly G, LHF and our own.

Gombreak
11-12-2012, 02:28 PM
Helm - Impossible Symmetry
Bee Mask - When We Were Eating Unripe Pears
Ekman - LP
Ukkonen - The Isolated Rhythms of...
Villalobos - Dependant & Happy
Deep Magic - Closed Eyes
Raime - Quarter Turns Over A Living Line
Lussuria - American Babylon I/II/III
Scott Walker - Bish Bosch
Rene Audiard - Pechorin
Dariius - Dariius
Prostitutes - Psychedelic Black
Don't - AR005
Aaron Dilloway - Modern Jester
Porter Ricks - Biokinetics reissue
Silent Servant - Negative Fascination
John Bender ‎– Memories Of Mindless Mechanical Monologues 1976-1985
Ιlg - Mil Pluton
MM/KM - s/t
Kareem - Mesmer
The Haxan Cloak - The Men Parted The Sea To Devour The Water
Trepaneringsritualen - Deathward, To The Womb
Todd Terje - It's The Arps
Shackleton - Drawbar Organ EP/Music For The Quiet Hour
Nina Kraviz - s/t
Rolling Acres - Tape #5
MB - Neuro Habitat reissue
LIES - American Noise
Tin Man - Neo Neo Acid
Frozen Border - Minutes In Ice

allegiant
11-12-2012, 04:11 PM
Andy Stott - Luxury Problems
Lee Gamble - Diversions 1994-1996
Kuedo - Work, Live & Sleep in Collapsing Space
Demdike Stare – Elemental
Vatican Shadow - Everything
Actress - RIP
Terrence Dixon - From the Far Future Pt. 2
LHF - Keepers of the Light
OPN / Rene Hell - Music for Reliquary House / In 1980 I Was a Blue Square
Dean Blunt – The Narcissist II
Raime - Quarter Turns Over a Living Line
eMMplekz - IZOD Days
Silent Servant - Negative Fascination
Young Smoke – Space Zone
Shackleton - Music for the Quiet Hour / Drawbar Organ EPs
PCA - Sleep Games
Konx-om-Pax - Regional Surrealism
Vessel - Order Of Noise
Mika Vainio – FE3O4 Magnetite
Blawan - Long Distance Open Water Worker
Holy Other - Held
NHK'Koyxen - Dance Classics I & II

Should also mention Old Apparatus, Rashad, 1991, MWC & Rrose. Enjoyed a lot of their stuff.

slim jenkins
11-12-2012, 04:34 PM
Currently assembling my list (bet you can't wait) but replaying Monolake's Ghosts album right now - it still kicks arse!

sgn
12-12-2012, 03:17 AM
Kendrick Lemar - Good Kid, M.A.A.D City
Juju & Jordash - Techno Primitivism
Voices From The Lake - s/t
Vessel - Order Of Noise
Jeremih - Late Nights With Jeremih
Kyle Bobby Dunn - Bring Me The Head Of Kyle Bobby Dunn
Actress - RIP
Paco Sala - Ro-Me-Ro
BAT & OND TON - s/t
Basic House - I'm Not A Heaven Man
ScHoolboy Q - Habits & Contradictions

Like some of you, there's a ton of stuff by artists I usually like (LHF, Lukid, Dean Blunt, Gerry Read) plus albums that I think I will like based on everything I've heard/read about them (Lee Gamble, NHK'Koyxen, Madteo, Miguel) that I haven't gotten to yet.

Aww Nein
12-12-2012, 04:04 AM
perhaps it reflects badly on me, but i feel i spend most of my time listening to soundcloud and youtube in a pretty random stream of consciousness way, mainly because ive not been using my headphones when walking about.
the Rashad teklife vol 1 album was a pretty big event for me though, as a kinda culmination of all the juke love of the previous year.
apart from that its mainly albums i have a personal relationship to in some way, namely
brood ma - fission
and
recsund - real life status
which are both by friends and so hold more interest to me

Aww Nein
12-12-2012, 04:33 AM
also the Lee Gamble Diversions record, and a lot of Dem Hunger/Wanda Group cassette releases

Nick Gutterbreakz
12-12-2012, 09:16 AM
Nick Edwards – Plekzationz



eMMplekz - IZOD Days


aw thanks guys! its been ages since i logged-in here (as you can probably tell from my user-name) but nice to see a bit of love for my latest efforts.:D


and a lot of Dem Hunger/Wanda Group cassette releases

yeah! probably my fave artist right now (so much so, i did a split tape with him). i don't listen to a huge amount of new stuff, but here's a few i really enjoyed this year...
Vindicatrix - Mengamuk
Helm - Impossible Symmetry
Thought Broadcast - Emergency Stairway
Red Math - Obsolete Systems
and various tapes/eps/tracks by Time Attendant, Libbe Matz Gang, IX Tab, Innercity, Eric Lanham, KTL, CHXFX, Pete Swanson, Heatsick, Lata, SND...

i'm here https://ekoplekznews.wordpress.com/ or here https://www.facebook.com/Ekoplekz
(https://www.facebook.com/Ekoplekz) if anyone wants me ;)

IdleRich
12-12-2012, 12:49 PM
In a purely selfish way, from someone who has hardly bought anything new this year it would be nice if people wrote a little bit about some of the more obscure albums and why they like them. Anything to avoid it just being a load of lists really.

blacktulip
12-12-2012, 03:02 PM
I would be really into that too. End-of-year listmania is pretty much the only time I pay attention to newish music.

slim jenkins
12-12-2012, 05:16 PM
Some writing here. But since you have to actually click on the link and go all the way there, you probably won't bother. And I don't blame you. But I couldn't be arsed to type out the list here.

My albums of the year... (and yes, Nick, you're included...shameless self-publicist that you are...;) )

http://includemeout2.blogspot.co.uk/2012/12/what-youve-all-been-waiting-foralbums.html

matt b
12-12-2012, 05:41 PM
Here's my top three most listened to, according to my itunes:

Earth- Angels of Darkness, Demons of Light II
I think this has become one of my favourite records of all time. Slo-mo, partly improvised, country influenced, drone. Amazing.

The Horse Loom- S/T
One man guitar and voice folk music. The one man is the guitarist from Crane and Unit Ama, so there's a roughness and a hardcore-punk aesthetic which lifts it up more than one notch. Late night crying music. Amazing.

Esbjorn Svensson Trio- 301
A more obviously jazz version of the Necks. You can imagine that when they played live, the audience politely clapped at solos in all the right places. That doesn't happen at Necks shows, because there are no solos.

Got to make tea now, but might add some more later.

IdleRich
13-12-2012, 09:37 AM
"Some writing here. But since you have to actually click on the link and go all the way there, you probably won't bother."
I will do (have to now I've asked for it really) but I've just noticed that there is a worst of the year thread and that looks like a lot more fun right now.

Leo
14-12-2012, 01:36 PM
always forget stuff, should have also included:

preditah - circles
flosstradamus -- roll up (baauer mix)
baauer -- harlem shake
andres -- new for U

baboon2004
14-12-2012, 02:50 PM
http://includemeout2.blogspot.co.uk/2012/12/what-youve-all-been-waiting-foralbums.html

this is really good thanks - a very different selection of albums from the norm.

The Cooly G album is amazing - just got into it over the past couple of days. Her vocals really work for me - a future classic I reckon

Sectionfive
14-12-2012, 04:27 PM
andres -- new for U

number one on the fact list


http://www.factmag.com/2012/12/13/top-100-tracks-of-2012/

sgn
15-12-2012, 09:14 AM
number one on the fact list


http://www.factmag.com/2012/12/13/top-100-tracks-of-2012/
As it should be.

paolo
15-12-2012, 11:45 AM
Missed that Andres track when it came out but it's just gorgeous

<iframe width="560" height="315" src="http://www.youtube.com/embed/13giBN6Un6g" frameborder="0" allowfullscreen></iframe>

Number one on the paolo list

yyaldrin
15-12-2012, 01:36 PM
These are the albums that come to my mind but I'm sure I'm forgetting about a lot of stuff. Guess most of them are quite obvious and already mentioned:

Frank Ocean - Channel Orange
Jeremih - Late nights with Jeremih
Actress - R.I.P.
Traxman - Da Mind of Traxman
DJ Rashad - Teklife Vol. 1
Young Smoke - Space Zone
Julia Holter - Ekstasis
Dean Blunt and Inga Copeland - Black is Beautiful

And surprisingly, because I only know this for a few days:

Byrd Villain - SexTape. Someone posted this in the dancehall thread some days ago and since then I'm hooked on this. It's free to download and it has 28 tracks and not all of them are that good but some of them are just so catchy. Stand out tracks: Bully Mi, Who Are You, The Fuckening, No Man At All, Ano My Gal and Up. Thanks for whoever it was that posted this, this is my "discovery" of the year.

Some of the tracks I've bookmarked and I really liked this year:

Future ft. Gucci Mane ft. Jeremih - Diamonds https://www.youtube.com/watch?v=FTR9GljoVLs
Future - Turn on the Lights https://www.youtube.com/watch?v=zIrhcTkHX_A
Cas - Leon Best https://www.youtube.com/watch?v=DtxoNkhKBes
Champion - Crystal Meth https://www.youtube.com/watch?v=nD5jg5IcyfU
Popcaan - Party Shot https://www.youtube.com/watch?v=WrZnDJCi24s
Busy Signal - Bigger Heads https://www.youtube.com/watch?v=YsTqYKyO5Aw
Cham ft. O - Tun Up https://www.youtube.com/watch?v=Gz1iBK3IDvQ
ZJ Liquid - Dah Wine Deh https://www.youtube.com/watch?v=VVt5ezGF4J0
Nawti - Olu Maintain https://www.youtube.com/watch?v=4oa5KVZtAnU
Keche - Aluguntugui https://www.youtube.com/watch?v=oFNd6B83jzQ

+ Loads of juke/footwork.

Looking at other lists I apparently missed this whole "dark" techno hype.

yyaldrin
15-12-2012, 01:37 PM
Oh and people I missed this year: Zomby and Kuedo.

paolo
15-12-2012, 04:18 PM
The Fuckening wins title of the year definitely :D

stephenk
15-12-2012, 08:46 PM
Byrd Villain - SexTape. Someone posted this in the dancehall thread some days ago and since then I'm hooked on this. It's free to download and it has 28 tracks and not all of them are that good but some of them are just so catchy. Stand out tracks: Bully Mi, Who Are You, The Fuckening, No Man At All, Ano My Gal and Up. Thanks for whoever it was that posted this, this is my "discovery" of the year.



do you have a link to this? i keep finding dead mediafires...

blacktulip
15-12-2012, 09:24 PM
Thanks to everyone who mentioned Cooly G, especially dd528. Been listening to it a bit and quite like it.

connect_icut
16-12-2012, 04:38 AM
Okay, fine! :mad:

http://bubblegumcage3.com/2012/12/15/albums-of-the-year-2012/

1. Sylvain Chauveau & Stephan Mathieu – Palimpsest (Schwebung) LP
2. Scott Walker – Bish Bosch (4AD) 2LP
3. Holly Herndon – Movement (RVNG Intl.) LP
4. The Automatics Group – Summer Mix (Entr’acte) CD
5. Woebot – Hallo (Hollow Earth) CD
6. Actress – RIP (Honest Jon’s) 2LP
7. Oren Ambarchi – Audience of One (Touch) 2LP
8. Fieldhead – A Correction (Gizeh) LP
9. Moritz von Oswald Trio – Fetch (Honest Jon’s) 2LP
10. Mark van Hoen – The Revenant Diary (Editions Mego) 2LP

Also....
My Bloody Valentine – EPs 1988-1991 (Sony) 2CD
My Bloody Valentine – Isn’t Anything (Sony) CD
My Bloody Valentine – Loveless (Sony) 2CD
Diamond Version – EP1 (Mute) 12″
Diamond Version – EP2 (Mute) 12″
Burial – Kindred (Hyperdub) 12″
Disco Inferno – The 5 EPs (One Little Indian) 2LP
Ian Crause – The Song of Phaethon (no label) download
Plays:four – Lay Doe (no label) download
Tim Hecker & Daniel Lopatin – Instrumental Tourist (Software) LP
Oneohtrix Point Never/Rene Hell – split (NNA Tapes) LP
Oren Ambarchi & Robin Fox – Connected (Kranky) LP
Oren Ambarchi – Sagittarian Domain (Editions Mego) LP

Sectionfive
16-12-2012, 04:14 PM
Best of 2012 mix by Tu-ki & Olan from All City records

http://soundcloud.com/allcitydublin/check-one-two-all-city-012

Jai Paul - Jasmine (XL)
El-P - Drones Over Brooklyn (PIAS)
Harmonic 313 - Lion (Warp)
Shining - Hey You (Young Turks)
Antibalas - Dity Money (Dapto ne)
Actress - Caves of Paradise (Honest Jons)
Theo Parish - Black Mist (Running Back)
Boddika - Acid Jackson (Swamp81)
Scuba - NE1BUTU (Hotflush)
Objekt - Porcupine (Hessle)
Kendrick Lamarr - Cartoons & Cereal
Blackhouse - Modulating (Mellow Music Group)
Shabazz Palaces - A Mess, The Booth That Soaks In Palacian Musk - Live at KEXP (Sub Pop)
JJ Doom - Wash Your Hands (Lex)
Danny Brown - Fields (Fools Gold)
Lukid - Bless My Heart (Ninja)
Dean Blunt / Inga Copeland - 2 (Hyperdub)
Burial / Four Tet - Nova (Text)
Joy O - Elipsis (Head High Remix) (Hingefinger)
Alden Tyrell - Rush (Clone)
Sunil Sharpe - Shudder Blaze (Sheworks)
MMM - Meets Tshetsha Boys (Honest Jons)
Girl Unit - Club Rez (Night Slugs)
DJ Format feat Edan - Spaceship Earth (Project Blue Book)
Bullion - Family (Deek)
GB (Gifted & Blessed) - 7 in 24 (All City)
Falty Dl - Hardcourage (Ninja)
Daphni - Yes I Know (Jialong)
Waajeed - Scorpio (Dirttek)

slim jenkins
17-12-2012, 12:29 PM
Part 2 (with extra writing)

http://includemeout2.blogspot.co.uk/2012/12/albums-of-year-redux-with-extra-writing.html

Local Authority
17-12-2012, 01:42 PM
I haven't actually found anything that has blown me away this year, until revisiting RIP last week. The transition a lot of producers have made into house and techno stripped them of their previous innovativeness. But I have high expectations of electronic music since the amazing 2008-2010 period.

Best things I've heard this year have to be;

Actress - RIP
Aluk Todolo - Occult Rituals
Bee Mask - When We Were Eating Unripe Pears
Blut Aus Nord - Cosmosophy
Commodo
Cut Hands
Dean Blunt & Inga Copeland - Black Is Beautiful
Dement3d Records
Omar S / FXHE
Hessle Audio
Kendrick Lamar - Good Kid, M.A.A.D City
Lee Gamble - Diversions 1994-1996
L.I.E.S
Livity Sound
Kowton
Mala - Stand Against War
Pan Records
Planetary Assault Systems
Prologue Records
Rrose / Eaux
Sex Tags / Wania
Shackleton - The Drawbar EP's/Music For The Quiet Hour

I'm starting to feel a lot of the excitement that defined the 2008-2010 period resulted in high expectations that could never have been fulfilled. We're now stuck with a lot of artists trying to push things forward by building on the house/techno framework and striving for some kind of authenticity in a world where everyone's opinion matters because of the internet.

This is just a small list of artists who have done it for me this year. Either by having a clear vision of who they are, or not giving a fuck about anyone else's expectations. Mostly a mixture of both.

Another thing that's defined this year is the hype/pr machine. But I think that's for another conversation.

There's still a lot I need to listen too so this list is still incomplete.

connect_icut
17-12-2012, 05:34 PM
The lists I've read this year have been wildly divergent but most of them (including mine) seem to feature Actress in a fairly prominent position.

Local Authority
17-12-2012, 08:06 PM
Probably because it's the only piece of work this year that doesnt sounds like anything else.

connect_icut
17-12-2012, 08:13 PM
Probably because it's the only piece of work this year that doesnt sounds like anything else.

I'd argue that at least 80% of my top ten has its own unique sound. Is there really anything out there that sounds like Bisch Bosch?

Local Authority
17-12-2012, 08:24 PM
I meant within the dance music spectrum but admittedly there's still a lot I haven't heard.

Slothrop
17-12-2012, 08:41 PM
Probably because it's the only piece of work this year that doesnt sounds like anything else.
I like it, but doesn't it basically sound like a better executed version of quite a lot of 00s moody / housey IDM stuff?

connect_icut
17-12-2012, 08:53 PM
I meant within the dance music spectrum but admittedly there's still a lot I haven't heard.

I guess that makes sense. Some of the things on my list come from dance music but they're definitely outside or "after" it now.

Local Authority
17-12-2012, 10:23 PM
I like it, but doesn't it basically sound like a better executed version of quite a lot of 00s moody / housey IDM stuff?

Examples?

Gombreak
17-12-2012, 10:39 PM
That 6 minute twinkly Jardin track just kills any enjoyment I have with R.I.P. I'd just much rather listen to Splazsh whenever I want to listen to Actress.

stephenk
18-12-2012, 02:54 AM
r.i.p is a hot meandering mess and people need to get off his dick if he's ever going to make something concise and beautiful again

edit that's harsh but i was disappointed

Slothrop
18-12-2012, 08:57 AM
Examples?

Ooh, now I'm on the spot...

Lusine was the one I had in mind particularly but I remember there being other similar stuff around. And the beatless bits go a bit Boards of Canada at times. I'm not saying that it's derivative, just that if it had come out on Ghostly International in 2005 I'd have been impressed but not shocked, and it seems a bit weird that some people are reacting like they've just heard Stockhausen for the first time...

yyaldrin
18-12-2012, 09:02 AM
do you have a link to this? i keep finding dead mediafires...

http://www.sendspace.com/file/7ibymx

Gombreak
18-12-2012, 10:12 AM
r.i.p is a hot meandering mess and people need to get off his dick if he's ever going to make something concise and beautiful again

edit that's harsh but i was disappointed

Pretty much.

wise
18-12-2012, 10:43 AM
Actress gives great interview but he's seriously over hyped

baboon2004
18-12-2012, 10:50 AM
I listened to R.I.P. at the weekend for the first time since it came out, and it isn't too memorable - it's like he took away a lot of the things that made him distinctive, and he ends up sounding mediocre. But Splazsh is an album that was justifiably hyped imo

Local Authority
18-12-2012, 01:34 PM
Its a difficult album to get into for sure, at first those were my impressions too. It sounded like a child got his hands on some paints and scribbled whatever came to mind. I remember listening to it on acid and pills and it resonated slightly, it was very colourful but since then I barely listened to it.

Then I put it on last week and imagined it within a club context, like over the fabric room 1 soundsystem and it made more sense. It's not what you'd imagine club music to be but it would be one of those defining moments within a set. The colourfulness of it came back to me as well and if you listen to it as a piece within itself, outside of any context, it can be very beautiful at times.

It's a different discussion, still slightly related to this though, but do you think its healthy to compare music against each other when you're trying to enjoy it?

stephenk
19-12-2012, 06:50 AM
http://www.sendspace.com/file/7ibymx

nice, thanks

Esp
19-12-2012, 02:38 PM
I listened to R.I.P. at the weekend for the first time since it came out, and it isn't too memorable - it's like he took away a lot of the things that made him distinctive, and he ends up sounding mediocre. But Splazsh is an album that was justifiably hyped imo

A lot of R.I.P. reminded me of those 'click on the boxes and make music' apps:
http://www.jeffwu.net/?page_id=967

baboon2004
19-12-2012, 03:06 PM
it's spookily similar.

blacktulip
19-12-2012, 03:51 PM
I have tried to listen to Actress so many times and just can't figure out why everyone is so keen on him. The last time I had a serious interest in dance music was in the late 90s and I can't say as things have moved on much on this evidence.

Also, got bored of Cooly G on the third listen or so. It was so 1995 that I can only understand listening to it as a nostalgia trip. Total Rob Playford vibe with numb synth lines fading in and out and even simpler drum patterns.

Went back to Bill Evans. Sorry 2012, we're done.

connect_icut
19-12-2012, 08:54 PM
How did I manage to unleash all this pent-up anti-Actress sentiment?

woops
19-12-2012, 09:17 PM
what i like about the actress album is that there are plenty of spacy bits, poppy bits, tracks with no beats.
it doesn't sound genrified to me. it sounds like he's not really caring about genres.
it's not going for boring 'dark' atmosphere

Blackdown
19-12-2012, 10:28 PM
I dont get Actress either... it sounds unfinished, unarranged and disorganised, and not in an interesting way. But lots of people like it, so fair play.

rubberdingyrapids
19-12-2012, 10:41 PM
i liked RIP. it works for me as it has a 'blankness' about it. it doesnt do anything. it doesnt say anything. its just 'there', a space to be filled (and it lets you do that). what ambient music is supposed to be i thought.

blacktulip
20-12-2012, 02:54 PM
It's supposed to be good though.

Slothrop
20-12-2012, 03:34 PM
How did I manage to unleash all this pent-up anti-Actress sentiment?

I'm quite appreciating the balanced discussion, actually. If I wanted loads of people saying "yeah it's massive innit" I'd go to dubstepforum.

blacktulip
20-12-2012, 04:26 PM
One thing I loved about Actress while I was doing my homework was his background as a kid trying hard to make it as a professional footballer then getting injured so applying himself wholly to music - music dripping with warehouse psychedelic ambitions and rave gravy. I just genuinely wish I could appreciate that music.

stephenk
20-12-2012, 07:22 PM
the first two albums and many of the singles had a genuinely futurist feeling, the kind of looped rush of proper detroit techno - tunnel vision, beyond any rough edges or "lo fi" that people loved to dwell on, the tracks were self-contained, they didn't need to change much...the new album is different and i think lesser because he is indulging himself, both in the kooky paradise lost theme and the constant noodling.

before his tracks felt like sketches because they didn't change much, but they were going somewhere. and now his tracks still feel like sketches, but they change constantly, and yet go nowhere. they lack that focus that made him so appealing in the first place.

that said i do like r.i.p more than a lot of other albums i heard this year, i just loved the last two so much it represents a kind of comedown for me. i think "caves of paradise" is a cool track...

blacktulip
20-12-2012, 07:57 PM
The Donnie & Joe Emerson record was fucking excellent now I come to think of it.

http://lightintheattic.net/releases/705-dreamin-wild

Also loved the Jakob Ullmann set on Edition RZ and the Laurie Spiegel reissue. I spent a lot of time listening to Gas earlier in the year too, getting geeky over which edits and masterings are superior.

Corpsey
20-12-2012, 08:50 PM
I like this one (http://www.youtube.com/watch?v=VhA-MIr2qGQ) off R.I.P., and at least a few others. I see it as a continuation of the same aesthetic he established on the other albums, only with most of the beats taken out. I can see people who want weird DANCE music might think its pointless, but I've always heard his music as being weird music full stop no comma...

I haven't really been keeping up with dance music this year so maybe its been drowned in irritating hyperbole but I enjoyed it on first listen.

Gombreak
20-12-2012, 10:01 PM
...the kooky paradise lost theme

Ah, I'd forgotten about this. I come from the opposite angle in regards to it though. I think the joy of his other albums is how open-ended they are for interpretation- Splazsh and Hazyville both bounce about all over the place in terms of cribbed genres and theme. I felt like R.I.P was too restricted by that imposed 'narrative' woven through it, there was a storyline being expressed and we had to sit and follow it like it was a book reading, instead of this kaleidoscope of sound (R&B concrθte? pitchfork you bastards) that as a listener I could pick at and take my own slant from.

Gombreak
20-12-2012, 10:03 PM
One of the other things about Splazsh and Hazyville was that I had a different favourite song from it every other day, whilst I've never experienced that with R.I.P

rubberdingyrapids
20-12-2012, 10:17 PM
i like RIP more than splash as it doesnt have the irritating distortion and faux lo fi FX all over it. plus theres something both empty but also so open about it that means every time i hear it again, its almost like the first time which keeps it totally fresh.

datwun
21-12-2012, 05:12 PM
I really didn't listen to many full albums this year... Da Mind of Traxman and Bangs and Works vol. 2 were both great though!

2012 was far more defined by mixtapes for me.

LOVED the Champion mix for XLR8R - http://www.xlr8r.com/podcast/2012/02/champion
The big where he drops Mosquito Man from Lighter VIP was one of the biggest 'jawdrop' moments of the year for me, and when he replicated it at his AMAZING set at Butterz at Cable that was one of my rave highlight of the year, if not ever!

http://www.gifsoup.com/view6/3553144/peak-o.gif
I'm the beardy brare with glasses on the left

I only discovered Beneath's mix for Blackdown this year, so I count it along with his Fact mix as one of the musical peaks of my year:

http://blackdownsoundboy.blogspot.co.uk/2011/10/beneath.html
http://www.factmag.com/2012/05/07/fact-mix-328-beneath/
Both were pretty seminal as they led to us booking him for a rave!

Actually Blackdown smacked it as far as introducing new music this year! The Mista Men mix over at his blog soundtracked my exam term, I used it as an alarm clock and it probably stopped me from offing myself: http://blackdownsoundboy.blogspot.co.uk/2012/05/meet-mista-men.html

Really enjoyed the Emancipate EP by Narrows when it came out right at the beginning of the year - thought it a very auspicious start!
http://www.youtube.com/watch?v=S0_1Jyv9J-Q

The single biggest moment for me musically of the year was Marcus Nasty's June 6 Rinse show. I listened to it as a podcast, on decent headphones just after my final exams, and when the bass came on for the Cause & Affect mix of Let's Go Back, I had the biggest musical epiphany I've had since getting in to dance music mid-2009. Apart from footwork, which took me a while to get into, there's not been a single sound which has developed in that time which is so distinct, so appealing, that an entire scene has formed around it.

Since listened to that mix I went on to track down nearly every track on it, branching out through artists' back catalogues, trying to piece together the topography and who's who of Jackin. I've listened to it maybe 50 or more times, and I now rate artists I learned about through there - Lorenzo, Hannah Wants, Tom Shorterz, Nick Hannam - as some of my favourite producers. I went from sustaining my interest in music by a combo of maybe 3-4 new fairly interesting 'UK bass'/funky releases a month + hunting for garage/bassline/grime/funky bangers which passed me by the first time around with my sets being maybe 30% new stuff, 30% stuff from the last couple of years, and 40% old classics, to be constantly suprised and amazed at the amount of great new jackin which comes out every single week, and playing sets which are 80%+ tunes from the last few months.

Lorenzo in particular's had maybe 30 - 40 absolute bangers to his name this year. I can't think of anyone who's come even close.

Roshman
22-12-2012, 01:54 AM
http://www.gifsoup.com/view6/3553144/peak-o.gif


Big up the DJ Referee in the field signalling for the wheel.

datwun
22-12-2012, 01:10 PM
Yup! he was really good. Also note the guy with the giant flame thrower of a lighter near the stage.

ALSO: Me and Jambie will be going in on www.innacityfm.com from 6-8 this evening, on a BEST OF 2K12 TIP!!! Get locked, it'll be good! Requests on the chatroom or here and YES we will be playing Ephoria by Loreen.

connect_icut
22-12-2012, 06:06 PM
One of the other things about Splazsh and Hazyville was that I had a different favourite song from it every other day, whilst I've never experienced that with R.I.P

Listen to "Raven". Love it when that flutey keyboard sample comes in. That was the exact moment RIP clicked for me.


One of the other things about Splazsh and Hazyville was that I had a different favourite song from it every other day, whilst I've never experienced that with R.I.P

Me too. I feel like Splazsh occasionally fell back on gratuitous use of sidechaining and other lo-fi techniques, whereas RIP displays increased confidence as a producer. Now, he really knows when to just let things be and when to drop in that flutey keyboard sample.

Local Authority
25-12-2012, 04:53 PM
Petre Inspirescu - Gradina Onirica (http://http://www.juno.co.uk/products/gradina-onirica/477680-01/?no_redirect=1)

Only heard the samples but so far it could be one of the most beautiful albums released this year. Did anyone see him play at Fabric the other week?

Ron Morelli's RA mix could be one of the best of the year too.

paolo
26-12-2012, 10:21 AM
I think RA went for Levon Vincent's Fabric CD as their mix of the year and I'd have to agree with that

datwun
27-12-2012, 04:32 PM
Giant big Year in review wot I gone and done, if anyone's interested!

http://dominjapanround4.blogspot.co.uk/2012/12/2012-in-music.html

Pandiculate
27-12-2012, 05:44 PM
Giant big Year in review wot I gone and done, if anyone's interested!

http://dominjapanround4.blogspot.co.uk/2012/12/2012-in-music.html

good read, welcome to Japan!

SecondLine
27-12-2012, 05:57 PM
good read man, thanks.

I disagree with bits of it though. Particularly that Jackin is superior to the current London stuff because it is not internetty:



The difference between this music history in a blender [approach of Jackin] and the internetty mush I decry in London-centric UK Bass, is that Jackin is the response to a specific Northern tradition, it's not a random assortment of influences gathered from soundcloud and youtube (thought the artists are all very much plugged in, the music disseminated through 2k12 digital channel), but local influences absorbed into the music through a regional IRL scene, and absorbed through the memory of other local scenes. Simply put, jackin is exactly what you'd expect Northern rave music to sound like in 2k12, and it's strong because of its basis in The Real.

This view that anything which occurs online is inherently 'unreal' compared to IRL interaction, and therefore its products are less legitimate, is really widespread & I find it frustrating. The vast majority of 20 & 21C musical activity has been shaped by trans-/super-geographical flows made possible by new technology & new media - flows of immigration, import/export markets for recorded music, radio, TV - or rather the intersection of those flows with locally constrained cultures, usually in cities. In particular, UK dance music culture has been largely built on the way new media can disrupt entrenched hierarchies - thru pirate radio, rave hotlines etc.

The internet is no different from these older tools - or I should say it's only a difference of degree, not of kind. Hearing something you like on YouTube that then influences your music isn't fundamentally different from discovering it in your local record shop, hearing it on a radio set or whatever else. It doesn't suddenly become an illegitimate form of cultural dissemination just because its reach exceeds certain material limits (cost of transit, radio broadcast range or whatever other arbitrary ceiling you choose).

Obviously that's not to say the web's potential to have a fragmentary effect on culture isn't huge. And there is a risk that cultural activity can become atomised, fatally decontextualised, all the things you accuse 'UK Bass' of being. Trap is a good example of how the web's flattening effect can result in ugly cultural misappropriation. Though even there, you could argue that the unthinking scavenge/recycle approach at work isn't so different from the UK's adoption of techno in the early 90s, which plenty of Detroiters saw as nothing less than cultural rape (not to say that trap hybrids 2k12 are remotely as musically important or interesting as hardcore, obv).

There's clearly some compromise to be struck between decentralised web-culture and the localised, material scenes that have generated so much good dance music in the past few decades. But finding that compromise doesn't involve elevating a young, still-developing tradition (call it the 'scenius' tradition) to the status of a sacrosanct cultural norm. If you're forever holding out for locally-grounded, scenius-driven scenes that follow the precise model laid out by Reynolds in the late 90s then you're obviously going to be bitterly disappointed.

Finally, saying of Footwork that


There is quite literally no other movement across the arts - music, literature, visual culture - that is more radical, more important right now.

when it has existed in much the same form as it does now for over a decade is, to me, worrying. I love footwork but you could argue that its radical moment has already passed, and we're all now just uncovering and enjoying the results, working through the implications of it. I haven't heard a UK or broader US interpretation of the form that didn't sound precisely how you would expect a collision of those two cultures to sound. Some of that jungle/footwork hybrid stuff is great but I can't imagine a whole scene of it being any less moribund that house-derived 'UK bass'.

OK. Sorry for the rant. Clearly got too much time on my hands this festive season ;)

Local Authority
27-12-2012, 06:11 PM
I think RA went for Levon Vincent's Fabric CD as their mix of the year and I'd have to agree with that

Levon Vincent's mix was one of the best mixes this year, but third to Zip's and Ben Klock's for me. It lacks the variation or intensity of either. Hearing Ben Klock's reworking of Josh Wink's Are You There after the Burial edit and that Marcel Dettmann song was easily one of my better musical moments this year. In one that went by fairly slowly.

datwun
27-12-2012, 06:59 PM
good read, welcome to Japan!

Thanks G! Where abouts in Japan are you based? I'm moving to Tokyo to teach English~


good read man, thanks.

I disagree with bits of it though. Particularly that Jackin is superior to the current London stuff because it is not internetty

There's clearly some compromise to be struck between decentralised web-culture and the localised, material scenes that have generated so much good dance music in the past few decades. But finding that compromise doesn't involve elevating a young, still-developing tradition (call it the 'scenius' tradition) to the status of a sacrosanct cultural norm.

Jackin is that compromise! It's disseminated all digitally, the artists communicate through facebook and soundcloud - not pirate radio - and its interest in OLD pop songs is clearly a part of our current retromaniacal cultural moment.

Still the difference is that the curational element of jackin doesn't take place in that totally decentralised, post-geographic manner of too much UK bass, but is composed of the musical elements which make up a Northern, British dance tradition. I can't help but find the links that tie jackin to bassline, happy hardcore, speed garage, northern soul (diva vox, pumping 4x4 riddims, big bass) infinitely more appealing than the decontexualized mush coming out of the post-dubstep diaspora.

The other difference is its stronger ense of teleology, because with its more coherent sound pallet it's far easier to register changes in time than with the anything-goes UK bass stuff (for example, Jackin from 2010 sounds VERY different to the stuff coming out now).

Furthermore it's just great rave music! Which is more than can be said for the once great Hessel Audio :(




Finally, saying of Footwork that


when it has existed in much the same form as it does now for over a decade is, to me, worrying. I love footwork but you could argue that its radical moment has already passed, and we're all now just uncovering and enjoying the results, working through the implications of it.

It's not fair to say that it's existed unchanged for over a decade, I don't think. As I understand it, people say that DJ Roc first started tweaking Juke into what we now call footwork around 2003, which would mean it's just reaching 10 about now. And then if you compare the stuff coming out today with the stuff even from 2008 it's clear it's moved forwards a lot.

I do see what you mean that it's older than genuinely acknowledged, but I think the sounds are moving forwards and it's actually just getting better and better. I do agree that it might be worrying in a meta-cultural sense that this is the most exciting it gets (if anyone knows of anything more radically happening I'd love to hear it!), but as long as it constitutes a living, forward moving scene, and hasn't yet sunk into self-pastiche, I say supporting and advocating for footwork is still worthwhile.



Some of that jungle/footwork hybrid stuff is great but I can't imagine a whole scene of it being any less moribund that house-derived 'UK bass'.


It would at least be more fun on the dance floor! You are right of course that as of yet, footwork/jungle remains footwork + jungle and hasn't achieved an alchemical melding into something fundamentally different. What I like about the footwork/jungle mashup, in the current context of UK dance floors, is that the 160 bpm speed represents at least a step away from safety, away from sensible. Whereas stuff like Adison Groove (which I do enjoy!) is quite clearly retrograde compared to the original thing, I'd argue Dream Continuum add to and expand upon the footwork tradition.



OK. Sorry for the rant. Clearly got too much time on my hands this festive season ;)


I very much enjoyed your rant, and am glad you took the time to read and critique my article! Happy holidays!

SecondLine
27-12-2012, 08:17 PM
yeah I get what you're saying about jackin', but I do worry that the merit you find in it is a little too closely mapped to the ways in which reynolds says that hardcore/jungle/garage etc. were good. For me that's an aesthetic framework that only has v limited traction in contemporary music - but then it all comes down to taste doesn't it really. I can see something in Jackin' for sure but it doesn't really do it for me. Likewise for you, probably, a lot of the things I rave about.

Also I'd say that the problem with 'UK bass' isn't that its reference points are 'decentralised' or that it lacks a geographical centre so much as that it is conservative, unimaginative - just shit, basically. shit music exists in all times & places (I'm thinking of, y'know, Dusky here, not Hessle Audio who I think are great still :D).

bassbeyondreason
27-12-2012, 08:51 PM
Been a bit out of the loop this year cause of jail and that, but (in no order):

Richard Dawson - The Magic Bridge (vinyl came out this year so I'll count it)
Scott Walker - Bish Bosch
Earth - Angels of Darkness, Demons of Light II
Drcarlsonalbion - La Strega and the Cunningman in the Smoke
Aesop Rock - Skelethon
Gunplay - Bogota Rich
TKO Capone - Duck Season
Sylvain Chauveau & Stephan Mathieu – Palimpsest
Bobby Womack - The Bravest Man in the Universe
Art of Burning Water - Love You Dead
Unsane - Wreck
Mark Eitzel - Don't Be a Stranger
Hladowski & Joynes - The Wild Wild Berry
The Young'uns - When Our Grandfathers Said No
Emily Portman - Hatchling

bassbeyondreason
27-12-2012, 08:54 PM
Oh, and Jandek - Maze of the Phantom is nuts. Jandek goes cosmic free jazz!

HMGovt
27-12-2012, 11:17 PM
Giant big Year in review wot I gone and done, if anyone's interested!

http://dominjapanround4.blogspot.co.uk/2012/12/2012-in-music.html

Great review. Putting many of these through the big speakers, cheers.

banshee
28-12-2012, 12:24 AM
Giant big Year in review wot I gone and done, if anyone's interested!

http://dominjapanround4.blogspot.co.uk/2012/12/2012-in-music.html

Don't agree with all of that but everything you say about jackin is SPOT ON. where do you go raving?

continuum
28-12-2012, 02:34 PM
Giant big Year in review wot I gone and done, if anyone's interested!

http://dominjapanround4.blogspot.co.uk/2012/12/2012-in-music.html

Great review datwun.

Personally thought it could do with sightly less YouTube vids but will probably return to the post at a later point to fully digest the audio. Spot on with the Jackin'.

I've been having trouble with Footwork of late though. When the thread on Dissensus first appeared about it was really excited but my interest has waned. When I listen to a few Footwork beats now (such as those you posted in the review) I get the same sort of vibe off them as the feeling you are trying to convey about certain Post Dubstep releases. Not sure if this is because I haven't really had the time to fully explore Footwork releases in 2012 (what with all the Jackin' to listen to) or that it seems to have gone a bit IDM sounding for me.

With regard Post Dubstep / UK Bass I think you are a little harsh. Some of it is good and until the Jackin' / Lorenzo explosion this year was top of the pack. I don't think the issue is that UK Bass is crap but more that Jackin' is just effing brilliant.

muser
28-12-2012, 02:48 PM
havnt heard anything particularly good this year

muser
28-12-2012, 02:48 PM
in hindsight

muser
28-12-2012, 02:51 PM
been loving it though mostly

Leo
28-12-2012, 02:55 PM
one more (very) late addition to the list: various-"l.i.e.s. presents american noise" 2cd comp. oddball label with a pretty broad range.

datwun
28-12-2012, 03:34 PM
yeah I get what you're saying about jackin', but I do worry that the merit you find in it is a little too closely mapped to the ways in which reynolds says that hardcore/jungle/garage etc. were good...

I do see what you're saying, and it's difficult to tell whether part of the merit I find in it is inspired by my preconceptions along nuum-lines of how music should be. I'm sure that does play some part. Still, I do think that overall, that's less the case than the opposite - which is that music created along those scienius lines just appeals to me more as a listener, raver, DJ, and that my support for the theory comes from my experience of the music, not the other way round. Jackin and footwork provide support for the idea that a scenius dynamic consistently provides for more interesting music, in other worlds.



Also I'd say that the problem with 'UK bass' isn't that its reference points are 'decentralised' or that it lacks a geographical centre so much as that it is conservative, unimaginative - just shit, basically. shit music exists in all times & places (I'm thinking of, y'know, Dusky here, not Hessle Audio who I think are great still :D).

Yup, definitely don't disagree that UK bass is shit! ;) Really though Hessel Audio TOTALLY fell off for me this year. It's a shame, cause I used to love them. It's also funny because just last year I was defending the London stuff against mates of mine who had moved over to footwork, midlands grime and UK B, but this year I just can't bring myself to browse Boomkat :(



Great review. Putting many of these through the big speakers, cheers.

Thanks for reading :D Any favourites?


Don't agree with all of that but everything you say about jackin is SPOT ON. where do you go raving?

Tah! What didn't you agree with and what about the Jackin stuff did you like? I've not actually been to a Jackin rave yet THOUGH I'M GOING TO 2:31 IN BRUM FOR NEW YEARS AND HAVE A SPARE TICKET IF ANYONE WANT TO COME AND GET MASHED?!?!
This year I've probably spent more time raving at events I've helped to put on/DJed at than out. Experiences of UK bass hate come from maybe 3-4 VERY disappointing Hessel Audio/Hyperdub events at places like Fabric, Bussey Building etc. Last really good rave I went to was Deep Medi at Corsica Studios, which was really great, though obviously a bit retro.



Great review datwun.

Personally thought it could do with sightly less YouTube vids but will probably return to the post at a later point to fully digest the audio. Spot on with the Jackin'.


Thanks! Yeah sorry if it's slow to load! Its target audience is both dissensussi/blogger/people who know about dance music types as well as friends who wouldn't know the tracks if I just named them...



I've been having trouble with Footwork of late though. When the thread on Dissensus first appeared about it was really excited but my interest has waned. When I listen to a few Footwork beats now (such as those you posted in the review) I get the same sort of vibe off them as the feeling you are trying to convey about certain Post Dubstep releases. Not sure if this is because I haven't really had the time to fully explore Footwork releases in 2012 (what with all the Jackin' to listen to) or that it seems to have gone a bit IDM sounding for me.


Maybe we're just at different stages of fandom, because it took me quite a while to get into it, first of all via more straight up 4x4 juke trax, and then via wala cam and watching the dancers. I actually didn't rate Bangs and Works 1 that much - or at least found it so difficult as to never actually be something I wanted to listen to (even though I rated it's weirdness, you know), but really really loved vol 2. But yeah, I dunno, that track We Trippy Mane is like - perfect for me, reminds me of Fight club by Alias and that sort of minimal grime, way too hard to be IDM... The planet Mu stuff is a bit more in that direction though, I suppose it's the sound Mike likes.



With regard Post Dubstep / UK Bass I think you are a little harsh. Some of it is good and until the Jackin' / Lorenzo explosion this year was top of the pack. I don't think the issue is that UK Bass is crap but more that Jackin' is just effing brilliant.

Last year I would have agreed with you, and I spent a lot of time defending 'future garage' and 'post dubstep'. Loved tracks like Wut, loved pretty much Joy O did, Bax was the track of the year for me etc. Part of it is just perhaps me getting bored of it, and part of it is the scene's PURE LACK OF VIBES making it harder to appreciate the music. I mean, the clubs nights playing this stuff are just awful. I dress like a hipster, I think that a lot of 'hipster hate' is a lot of wank, but really I mean Hessel Audio nights are full of grumpy fashion people not dancing.

But honestly I think there's been a decline in quality, a decline in vibe over the last year. Nothing Joy O did this year appealed to me at all. That tune he did with Boddika was shit. Pariah's emo 2-step was like, some of my favourite music at the time. His techno I couldn't give a fuck. Blawan's totally lost it. Pearson Sound's lost it.

And yeah, as you say, now that jackin exists, why would I exert the effort to try to find the interesting tracks among the crap?

e/y
28-12-2012, 04:02 PM
idk, I've seen the Hessle guys on two occasions this year (UFO b2b Pearson b2b Pangaea at Robert Johnson in Frankfurt and UFO last weekend in Cologne) and both parties had people dancing a lot the whole time, until like 6 am.

continuum
28-12-2012, 04:04 PM
THOUGH I'M GOING TO 2:31 IN BRUM FOR NEW YEARS AND HAVE A SPARE TICKET IF ANYONE WANT TO COME AND GET MASHED?!?!


I'm interested. Please send me a PM with details.

datwun
28-12-2012, 04:24 PM
idk, I've seen the Hessle guys on two occasions this year (UFO b2b Pearson b2b Pangaea at Robert Johnson in Frankfurt and UFO last weekend in Cologne) and both parties had people dancing a lot the whole time, until like 6 am.

Somebody needs to write about how the gentrification of East London is effecting the hardcore (nowadays, softcore) continuum. Honestly people in east london clubs look at me funny when I buss a gun finger and scream for a reload of big tracks :/


I'm interested. Please send me a PM with details.

Done!! #gasleak

jimitheexploder
28-12-2012, 08:45 PM
I dig the enthusiasam for jackin', even if I don't hear it myself but you can't throw Hessle or even Joy O against the wall just because you like it and your trying to find an excuse for doing so outside of just you know liking the sound and being bored of people in clubs in london I mean they've been ace this year:

BIGROOMTECHHOUSEDJTOOLTIP!
http://www.youtube.com/watch?v=EU81LaOH5S8

Rise Em
http://www.youtube.com/watch?v=rQ3jVPc5owE

Game
http://www.youtube.com/watch?v=tt9MoHpA_GM

Zone
http://www.youtube.com/watch?v=daWgpI1bZb4

Cactus
http://www.youtube.com/watch?v=79RqvhfxeCA

Rude ass all hell. Some of the oddest tracks I've heard people really go mad for in clubs this year are those tracks on Hessle.

rubberdingyrapids
28-12-2012, 09:27 PM
as someone who thinks a lot of early hessle audio was awkward, all brain and no brawn/vibe etc, i think this year was one of their very best. objekt, bandshell, elgato, clutch by pearson sound, this was a pretty spotless year for them id say.

havent kept up with footwork much this year. thought bangs and works 2 was quite dull after vol 1, the young smoke album was overrated, and ive lost touch with rashad and spinn who have become ambassadors but meant i dont really know much about anyone else in the scene. the dj diamond album was more interesting than young smoke though and the 2 rashad albums from last year were overrated which is why ive not bothered with teklife vol 1 yet.

jimitheexploder
28-12-2012, 10:33 PM
Tek Life Vol 1 & 2 by Rashad & Spinn are prob the best Juke albums I've heard. Only DJ Diamond comes close from the last few years. Traxman was good but not a patch on those.

Blackdown
28-12-2012, 10:36 PM
Somebody needs to write about how the gentrification of East London is effecting the hardcore (nowadays, softcore) continuum. Honestly people in east london clubs look at me funny when I buss a gun finger and scream for a reload of big tracks :/

i think the co-inciding of *east* london in these two circles (gents/gentrification & the hardcore nuum) is largely a fluke. once you remove the east bit you'll probably find that people who were fashionable/middle class never overlapped with those who originally took a gun finger as a compliment. it's only the rise of old st/hoxton/dalston as middle class/fashionable areas that has made this comparison even possible.

[minor but relevant case in point. first time i saw gunshot-as-bigup in action was someone who went up to within an inch of doc scott's face at metalheadz @ blue note (hoxton square) and mimicked blowing his entire head off as a compliment. Took a little adjusting to that one, at the time...]

banshee
29-12-2012, 06:06 AM
Tah! What didn't you agree with and what about the Jackin stuff did you like? I've not actually been to a Jackin rave yet THOUGH I'M GOING TO 2:31 IN BRUM FOR NEW YEARS AND HAVE A SPARE TICKET IF ANYONE WANT TO COME AND GET MASHED?!?!
This year I've probably spent more time raving at events I've helped to put on/DJed at than out. Experiences of UK bass hate come from maybe 3-4 VERY disappointing Hessel Audio/Hyperdub events at places like Fabric, Bussey Building etc. Last really good rave I went to was Deep Medi at Corsica Studios, which was really great, though obviously a bit retro.

Yeah i thought you were a bit harsh on Uk bass as well.. Hyperdub is still sick (the club stuff too like Ossie, Morgan etc), Jam City has his moments, 'Zone/Luv Zombie', and various other occasional good shit, tunes like Highest Order VIP - thats not just stale retro house or electro it incorporates those influences but feels very UK in the same way jackin does - if there were more tunes like that uk bass would be as good as anything else

- but yeah we're probably in agreement really, that scene has felt a lot less exciting since 2010/11 when it peaked for me, and jackin has totally filled that void, especially for me living in Leeds... we're spoilt really by the sheer amount of bangers dropping week after week (a lot better than last year, waiting 2 months for 'cactus' to come out and realising its not even that good)

When I said where do you go raving I meant to jackin, thought you might be in Leeds too, cos it really feels like the perfect place to go out for it, the centre of the scene (though it probably FEELS the same in birmingham or wherever, the raves give you that feeling wherever im sure) - the vibes at Insomnia are incredible, (seeing Tom Zanetti perform 'You Want Me' live and EVERYONE in the place knowing the words was a big moment for me this year) ... there's also Jamie Duggan's weekly night Twilite (a bassline night which has made a comeback since the rise of jackin) which is sick - you should definitely consider coming down for this stuff. I also need more jackin soldiers to go out with tbh (ive got a lot of mates into the sound but its hard to get people out regularly, especially when they hear Insomnia is at Mission which is generally considered quite a shit club, and everyone i know is more content just to sit around blazing now too)

I'm also a massive footwork fan so agreed mostly with what you had to say there - interesting what you say about the UK tempering it instead of roughing it up - but i dont think just because Addison Groove made footcrab at 140 means its automatically less interesting, its just tempo (i dont like that tune anyway though so bad example) - but take something like 'Work Them', amazing tune ill listen to forever, definitely not watering anything down just incorporating some elements.

But yeah i personally wanna see more of a return to 160+ in the UK too, footwork is the way forward but something has to be done with it, and by that i dont just mean fusing it with jungle for the sake of making it more UK sounding. i dunno, im trying to do a lickle something https://soundcloud.com/bansheeproductions/seance - sorry for the self promo, would really appreciate feedback from anyone tho be as harsh as you like.

rubberdingyrapids
29-12-2012, 09:11 AM
doubt footwork will be anything more than something for producers to dabble in unless there are regular clubs for it and it becomes a scene in itself... then again, maybe you dont need that anymore as everyone does a bit of everything. it can just be another ingredient to put your toe in as and when. though that doesnt seem like a way for something to really takeover and force a full scale change. i think the real change will take a while longer, and will likely come from the uk house/techno stuff being made right now. or afrobeats. thats the main thing people seem to be forgetting about. its got a scene around it already.

SecondLine
29-12-2012, 11:36 AM
With regard Post Dubstep / UK Bass I think you are a little harsh. Some of it is good and until the Jackin' / Lorenzo explosion this year was top of the pack.

I don't get why it seems to be an either/or thing for you guys, except as an expression of fervent nuum-belief - this idea that one of these two sounds is the potential next iteration, the next in line, and outside of that they essentially have no value. In reality they've clearly got v little to do with each other, other than shared ref points.


but really I mean Hessel Audio nights are full of grumpy fashion people not dancing.

I went to a Hessle @ Fabric recently and it was pretty static. But that's a ldn thing more than a hessle thing - when I've seen them elsewhere the crowd have been up for it. Big clubbing cities have always been blighted by vain, fickle, un-committed crowds.

rubberdingyrapids
29-12-2012, 12:08 PM
no point in doing the nuum predictions game in my experience. but jackin prob wont catch on in london, its just the new bassline really.

UFO over easy
29-12-2012, 12:27 PM
I do see what you're saying, and it's difficult to tell whether part of the merit I find in it is inspired by my preconceptions along nuum-lines of how music should be. I'm sure that does play some part. Still, I do think that overall, that's less the case than the opposite - which is that music created along those scienius lines just appeals to me more as a listener, raver, DJ, and that my support for the theory comes from my experience of the music, not the other way round. Jackin and footwork provide support for the idea that a scenius dynamic consistently provides for more interesting music, in other worlds.

im genuinely staggered that this is still being talked about in this way. its not as if the arguments involved on either side have become any more nuanced over the past 10 or however many years that people have been bickering about it. i joined this place in 2005 i think and all that's changed are the usernames.



Hessel Audio nights are full of grumpy fashion people not dancing.

ive been to more than you, and this isn't true, but sorry you had a bad time. the most memorable club moments of my whole life have all been this year, and have all involved a lot of people dancing to fun, interesting and weird music that i never expected could have that kind of communal effect

rubberdingyrapids
29-12-2012, 01:23 PM
i dont think anyone will have anything new to say about it until there is something new actually happening. wake me up when that happens, if it does, or if it can, post-internet, and post-internet being more influential than real world musical happenings (if there is indeed still a distinction). see: that if new york can die, so can london thread.

Elijah
29-12-2012, 07:22 PM
http://www.gifsoup.com/view6/3553144/peak-o.gif

Love this. One of the highlights of my career that night. Will never forget that.

continuum
29-12-2012, 07:39 PM
I don't get why it seems to be an either/or thing for you guys, except as an expression of fervent nuum-belief - this idea that one of these two sounds is the potential next iteration, the next in line, and outside of that they essentially have no value. In reality they've clearly got v little to do with each other, other than shared ref points.


It's really not an either / or thing. We're talking about both right now. I believe UK Bass definitely has value and will defend it in response to unfair criticism. It doesn't alter the fact that Jackin' is doing something new though which is the key point for me.

datwun
29-12-2012, 10:03 PM
I dig the enthusiasam for jackin', even if I don't hear it myself but you can't throw Hessle or even Joy O against the wall just because you like it and your trying to find an excuse for doing so outside of just you know liking the sound and being bored of people in clubs in london I mean they've been ace this year...


That Joy O one's pretty good, I could see that going off. I just really can't vibe on those Hessel tracks - it's funny because "percussive" and "minimal" are both things I like in music, but all this minimal percussive UK bass stuff just leaves me cold - unlike say, Beneath who I rate highly. I just can't find an in to those tracks (love the Missy sample on the Pangae tune doe) and whenever I go to a night playing all of that sort of stuff I spend it massively frustrated at the lack of release. Shame because I used to love Pangaea, Elgato etc.


... Clutch by pearson sound, this was a pretty spotless year for them id say.

That Pearson track is literally everything I don't like about UK bass :(



... the 2 rashad albums from last year were overrated which is why ive not bothered with teklife vol 1 yet.

Teklife vol 1's a lot, trass me.


i think the co-inciding of *east* london in these two circles (gents/gentrification & the hardcore nuum) is largely a fluke. once you remove the east bit you'll probably find that people who were fashionable/middle class never overlapped with those who originally took a gun finger as a compliment. it's only the rise of old st/hoxton/dalston as middle class/fashionable areas that has made this comparison even possible.

Oh it's not that the people are the same, but that they're now inhabiting the same space. There's also definitely some dialogue going on in that space as well, like Butterz which is an authentic grime label with releases from some of the old dons, but is really popular among hipsters, or even if you look at grime videos today and see how hipster-influenced street fashion has become (yoots wearing skinny jeans and shit). I'm just saying that the spiritual home of UK dance music (East London) has become gentrified at the same time as UK dance music has gentrified, it would make sense that there's some connection.



[minor but relevant case in point. first time i saw gunshot-as-bigup in action was someone who went up to within an inch of doc scott's face at metalheadz @ blue note (hoxton square) and mimicked blowing his entire head off as a compliment. Took a little adjusting to that one, at the time...]

Big :D



- but yeah we're probably in agreement really, that scene has felt a lot less exciting since 2010/11 when it peaked for me, and jackin has totally filled that void, especially for me living in Leeds... we're spoilt really by the sheer amount of bangers dropping week after week (a lot better than last year, waiting 2 months for 'cactus' to come out and realising its not even that good)

That's really it for me, it's just the sheer energy of Jackin, HOW MUCH good stuff which comes out all the time. My jackin folder has 190 tunes, of which 60-80 are easily bangers as big as Night Hunter, or Bax, or Swims or those scene uniting tunes which get put out every few months to MASSIVE FANFARE, whereas with jackin you can just hop on to bigtunesmp3 on any day of the week and expect to have some new fire waiting for you. Also like, if you look at the level of fan engagement with these people: there's this video from insomniteenz, the under 18s party Tom Zanetti runs, and it's just full of all these 16 year olds sing along and going ape shit to his tunes - apocalyptic and scary obviously lol, but I mean, these guys are a palpable presence to young people in Leeds in a way UK bass is not in London. Each of the artists play 4-5 events a night on weekends, and when you look at the videos of them they're just on another level to what you find in London.



(seeing Tom Zanetti perform 'You Want Me' live and EVERYONE in the place knowing the words was a big moment for me this year)

This sounds like my utopia :D



I also need more jackin soldiers to go out with tbh
Find me a night in January and I'm there! All my closest friends in London are riding the #jackinwave but it's VERY difficult organising people to take a road trip. It does show you the importance of locality really though, because even though I'm taking part in the scene as a DJ, blogger etc. it's the simple fact that by not living in the right cities, I don't have access to the club scene - and that's only living one train ride away!



I'm also a massive footwork fan so agreed mostly with what you had to say there - interesting what you say about the UK tempering it instead of roughing it up - but i dont think just because Addison Groove made footcrab at 140 means its automatically less interesting, its just tempo...

It's not just the tempo, but just generally that most jUKe has more quantised rhythms, goes a bit less crazy with the vocal loops, is less out there, easier than the Chi-town originals. Not all the time, Sully did big things with it, Kuedo, Om Unit as well, and then people like Lenkems and Serantis on a kind of mutant-bass bangface tip. But generally when you consider the relation of UKG to garage house, or UK funky to funky house, the UK's always made things darker, weirder, it's always made the rhythm section more syncopated etc. and that didn't seem to be the case with Addison Groove and the juke influenced 'bass'.



But yeah i personally wanna see more of a return to 160+ in the UK too, footwork is the way forward but something has to be done with it, and by that i dont just mean fusing it with jungle for the sake of making it more UK sounding. i dunno, im trying to do a lickle something https://soundcloud.com/bansheeproductions/seance...

I like that a lot! Really feeling the LTJ Bukem ('Music', right?) sample! Nice grimey bass too. But yeah, I'd love to see a real UK take on footwork, or even a whole new UK genre which takes footwork as a starting point but then runs away from it.



doubt footwork will be anything more than something for producers to dabble in unless there are regular clubs for it and it becomes a scene in itself...

Jambie from this forum is involved in running We Buy Gold - the UK's first exclusively Juke and Footwork night. Lots of unreleased exclusive shit from the Chicago guys, but they also make a big effort to play out UK stuff, and their hirings include a lot of the big UK producers. It's a good start!


I don't get why it seems to be an either/or thing for you guys, except as an expression of fervent nuum-belief - this idea that one of these two sounds is the potential next iteration, the next in line, and outside of that they essentially have no value. In reality they've clearly got v little to do with each other, other than shared ref points.

It's either or because they're happening the same time but I massively prefer one to the other. The main thing is, I really don't enjoy dancing to UK bass, I really don't like the scene's aesthetics and I want things to be different. I advocate for jackin (which includes playing it out on the radio, at club nights, introducing other DJ friends to it, as well as this stuff here and on my blog) cause I want to hear it. I'm critical of UK bass because I don't want to hear it.



I went to a Hessle @ Fabric recently and it was pretty static. But that's a ldn thing more than a hessle thing - when I've seen them elsewhere the crowd have been up for it. Big clubbing cities have always been blighted by vain, fickle, un-committed crowds.

Leeds is a big clubbing city and their clubnights look bouncy as fuck :)


no point in doing the nuum predictions game in my experience. but jackin prob wont catch on in london, its just the new bassline really.

You're probably right, although I would say the sound is a bit more palatable to London ears than bassline. Also, whenever I play it out it always gets a great response, people "get" it very very quickly.


im genuinely staggered that this is still being talked about in this way. its not as if the arguments involved on either side have become any more nuanced over the past 10 or however many years that people have been bickering about it. i joined this place in 2005 i think and all that's changed are the usernames.


My argument is that footwork and jackin are the musics I find most exciting at the moment and they happen to be some of the most locally grounded, whereas UK bass has got less and less exciting for me the further away it's got from a recognisably London sound. To be honest though what makes me like jackin over uk bass is its vibe (ravey, silly, weird, dark/light) and it's sound (I just love that bass sound).




ive been to more than you, and this isn't true, but sorry you had a bad time. the most memorable club moments of my whole life have all been this year, and have all involved a lot of people dancing to fun, interesting and weird music that i never expected could have that kind of communal effect

I'm glad it's been a good year for you! Honestly, I know all the Hessel guys are safe as fuck and you all really believe in what you're pushing. Just as a dancefloor experience it's really not for me and I think the scene as a whole's gone too much in that esoteric direction.

UFO over easy
29-12-2012, 11:51 PM
house and techno is the shared reference point for all of this, which might make comparisons seem interesting or worthwhile but in reality its too broad for that. some of my favourite music comes from that world, and also some of the stuff i dislike the most.
all the house that comes from the 'established' scene that ive seen you post has been glossy, formulaic, grooveless tech-house, which is the stuff that actively put me off exploring house music in more detail up until 4 or 5 years ago. it's what jackin' producers are looking towards too, so that goes some way to making sense of our personal responses to that music i guess, and to your bemusement at how the rhythms of something like 'cactus' can function on a dancefloor despite it just being a swung 4x4 pattern and being held down by a giant off-beat hi-hat

re: scenius etc... the best thing about the situation us lot have found ourselves in is that there is still huge interaction between musicians, DJs and labels, it's just that it's not confined either to those within local proximity of each other or to those within a narrow stylistic range. ive worried about this same issue too but really one of the best things about the past couple of years to me has been this freedom to form relationships with people whose music i feel an affinity with regardless of where they're from

Elijah
30-12-2012, 03:42 AM
Oh it's not that the people are the same, but that they're now inhabiting the same space. There's also definitely some dialogue going on in that space as well, like Butterz which is an authentic grime label with releases from some of the old dons, but is really popular among hipsters, or even if you look at grime videos today and see how hipster-influenced street fashion has become (yoots wearing skinny jeans and shit). I'm just saying that the spiritual home of UK dance music (East London) has become gentrified at the same time as UK dance music has gentrified, it would make sense that there's some connection.

How you come to that conclusion?

The hipster thing is weird man. If I was white people would probably call me a hipster too.

wise
30-12-2012, 08:51 AM
The hipster thing is weird man. If I was white people would probably call me a hipster too.

There are plenty of black hipsters in East London, you don't dress self conciously enough to fit into that bracket IMHO

rubberdingyrapids
30-12-2012, 08:54 AM
I'm glad it's been a good year for you! Honestly, I know all the Hessel guys are safe as fuck and you all really believe in what you're pushing. Just as a dancefloor experience it's really not for me and I think the scene as a whole's gone too much in that esoteric direction.

i would actually disagree with this - i think its gone more dancefloor. if you look at what someone like untold is making or releasing these days for example, its much more for the floor than it used to be. eg - motion the dance.

slackk
30-12-2012, 11:19 AM
Oh great this is a jackin' thread too now that's just wonderful.

Benny B
30-12-2012, 11:21 AM
^ lol

Back on topic, anyone heard Bob Dylan's new 'un?

Elijah
30-12-2012, 11:45 AM
There are plenty of black hipsters in East London, you don't dress self conciously enough to fit into that bracket IMHO

:cool:

datwun
30-12-2012, 12:08 PM
house and techno is the shared reference point for all of this, which might make comparisons seem interesting or worthwhile but in reality its too broad for that. some of my favourite music comes from that world, and also some of the stuff i dislike the most.

For me the point of comparison is more 'UK dance music in 2012". It's also, despite how much people seem to resist the term nowadays a comparison based on them both being offshoots of the nuum. People say that the nuum model is outdated now, and I suppose with UK bass it is - but for me the stuff I used to like about 'future garage', and 'post-dubstep', Hessel included in this, was where I could still hear those ravier nuum influences - for me the UK bass stuff has now definitely drawn much closer to the techno sphere of influence and with it it's lots a lot of its vybe for me. Jackin, despite having a much more straight forwardly 4x4 house beat than the bass stuff, is ram packed with 'ardcore elements.



all the house that comes from the 'established' scene that ive seen you post has been glossy, formulaic, grooveless tech-house, which is the stuff that actively put me off exploring house music in more detail up until 4 or 5 years ago.

Curious what you mean by 'established' house that you've seen me post? I don't think I've been posting bait tech-house anywhere?!! Unless somebody's hacked me :S



it's what jackin' producers are looking towards too, so that goes some way to making sense of our personal responses to that music i guess, and to your bemusement at how the rhythms of something like 'cactus' can function on a dancefloor despite it just being a swung 4x4 pattern and being held down by a giant off-beat hi-hat


I think you might have me confused with someone else on the forum if you think I'm into big room tech-house and that my love of jackin comes from that... What I find interesting about jackin is that in involves some innovation through degeneration. A lot of these guys label their tracks 'deep house', and it's obviously something they aspire to, but it's not any deep house that'd get played at a 30s+ champaign bar! It's like, deep compared with bassline, and those influences can't help crowd out their pretensions to 'deepness'. The term I see coming up on jackin producers soundclouds and stuff is 'deep and dirty' - which would never be used by real deep house heads! And it kind of shows you that jackin is house music /gone wrong/.

I just feel that Objekt peaked with his first EP (and apparently that was only him taking the piss of brostep :( ) Cactus is almost a banger to me but it's just lacks a central groove. There's a scale from 'boring, unoriginal, bate dancefloor fodder' to 'headtrip IDM you could never dance to", and for me Cactus is too near the latter.



re: scenius etc... the best thing about the situation us lot have found ourselves in is that there is still huge interaction between musicians, DJs and labels, it's just that it's not confined either to those within local proximity of each other or to those within a narrow stylistic range. ive worried about this same issue too but really one of the best things about the past couple of years to me has been this freedom to form relationships with people whose music i feel an affinity with regardless of where they're from

Yeah, I mean obviously the increased international connections the internet brings with it have loads of upsides! I don't mean to get into a little england mentality and say that people from a certain place can't make a certain kind of music or anything. (Gremino would be a great example: a Finn making some of the best 'UK' music around :D), but it's just a number of factors like I like it when music has a sense of teleology, and bass feels too diffuse for that, I also like it when there's like, a recognisable sonic innovation everybody's playing with so you get to feel through all the permutations of that. Lastly I think UK bass is held together by a certain vibe, and I'm just not really vybzin on that vibe.


How you come to that conclusion?

The hipster thing is weird man. If I was white people would probably call me a hipster too.

Because I'm friends with a lot of "hipsters" (by that I mean like, people who are image conscious, keep their ears to trends in culture, study arts and humanities and want to go into the creative industries: not necessarily super ironic, insincere, politically vacuous/apathetic wankers) , and a lot of them wear Butterz caps and go to your nights :D The hipster thing is weird though, I try to use it as just quite a neutral thing to describe like a way of dressing and some interests. Lad culture is easily just as ironic and self-aware as hipsterdom. You can definitely see that there's been some hipster influence on street fashion in the East, even in America with big rap artists bigging up indie bands...




i would actually disagree with this - i think its gone more dancefloor. if you look at what someone like untold is making or releasing these days for example, its much more for the floor than it used to be. eg - motion the dance.

My experience of UK bass on the dancefloor is like 6 hours of a bleepy bloopy technoid stream of music with a vaugely wobbly, unjulating bass underneath it with nearly no peaks and troughs in energy, and certainly no 'drops'. Every now and then a UK bass 'banger' will come through to kind of break the pattern, and vocals are treated as if they're a scarce commodity which need to be rationed.

Phaedo
30-12-2012, 12:18 PM
I'm friends with a lot of "hipsters" (by that I mean like, people who are image conscious, keep their ears to trends in culture, study arts and humanities and want to go into the creative industries)

theres definitely a lot of hipsters then

denoir
30-12-2012, 02:20 PM
It's not just the tempo, but just generally that most jUKe has more quantised rhythms, goes a bit less crazy with the vocal loops, is less out there, easier than the Chi-town originals. Not all the time, Sully did big things with it, Kuedo, Om Unit as well, and then people like Lenkems and Serantis on a kind of mutant-bass bangface tip. But generally when you consider the relation of UKG to garage house, or UK funky to funky house, the UK's always made things darker, weirder, it's always made the rhythm section more syncopated etc. and that didn't seem to be the case with Addison Groove and the juke influenced 'bass'.


Fracture's recent output is probably the closest the juke/jungle movement has gotten to the ideal of uk take on footwork...


http://www.youtube.com/watch?v=N8Z0J9SGEDk

I don't really think any mutation of the sound can get any darker/weirder/more syncopated than juke already is?!

Tbh it's hard to imagine something groundbreaking on 160bpm after 20 years of hardcore/jungle/dnb experimentation around that tempo...I got to dj after Rashad & Spinn (who were absolutely amazing) earlier this year and decided to play 100% breakbeat hardcore & early jungle (1992/1993) on 150-160bpm...they stayed in the club for about 2 more hours and the promoter of the night later told me they went crazy about the stuff I was spinning... "Wtf is this shit?? you telling me this is OLD SCHOOL???" :D Might be a proof that proper uk version of juke already exists and the connection is more than just a scientific deduction lol

blacktulip
02-01-2013, 05:06 PM
Sorry if I missed the thread for this but what were the most extreme, fucked-up Jamaican records of 2012?

Gombreak
06-01-2013, 07:04 PM
I liked his Hundebiss EP but wasn't a fan of that one.