rolling back to the future garage/post-dubstep/alt-funkstep/intelli-2step etc thread

e/y

e/y

Well-known member
<iframe src="" width="400" height="225" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe><p><a href="">DEVIATION STRING QUARTET: JOY ORBISON - HYPH MNGO</a> from <a href="http://vimeo.com/user746041">Deviation</a> on <a href="http://vimeo.com">Vimeo</a>.</p>

umm...why?
 
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SecondLine

Well-known member
e/y said:
<iframe src="" width="400" height="225" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe><p><a href="">DEVIATION STRING QUARTET: JOY ORBISON - HYPH MNGO</a> from <a href="http://vimeo.com/user746041">Deviation</a> on <a href="http://vimeo.com">Vimeo</a>.</p>

umm...why?
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Having studied at a classical music conservatoire for 3 years, 'why?' is in my experience the question that almost never gets asked.
 
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rubberdingyrapids

Well-known member
the whole thing actually reminds me of a TOTP performance, when they used to have dance singles and just get studio dancers in cos the producer wasnt worth watching/wouldnt do anything on stage, except here, the dancers are pretty musicians with proper instruments and all that.
 
luka

luka

Well-known member
Maybe night slugs listened to nothing but twee indie pop until 2008 and only got into grime after their Belle and Sebastian tribute band failed to get off the ground - would it make a difference?
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well, we could tease them about it if it were true which would be fun. but what i am more interested in is the ten year time lag between the arrival of a new sound and its co-option by the mainstream. the moody wiley ripoffs are another example of how even in the internet age the ten year time lag is still in effect.
 
luka

luka

Well-known member
my 'real hiphop' friends are now allowed to say they like dipset. not rick ross or waka, but they are now allowed to like dipset. ten year time lag.
 
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rubberdingyrapids

Well-known member
if they made wiley rip offs back in 2002, they would be one of a million guys doing the same thing. ten years later, they have the field all to themselves... and now they can insert into it a kind of nostalgia/wistfulness that suits what they do, and you couldnt have done, back then. its eski remade through a sort of indie romanticism. plus theres no 'danger' or 'cultural intrusion' if they do it now cos wiley doesnt do that kind of thing now. its old to him. so its a bit safer to do innit. i do wonder what wiley would think of it actually. i think he would be charitable about it, wiley being wiley. unless they made a lot of money doing it.
 
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slackk

slackk

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luka said:
well, we could tease them about it if it were true which would be fun. but what i am more interested in is the ten year time lag between the arrival of a new sound and its co-option by the mainstream. the moody wiley ripoffs are another example of how even in the internet age the ten year time lag is still in effect.
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I can't speak for Zomby but I know I was watching Alex Bok Bok play grime- and talking to him about grime- a long time ago and have nothing to say other than that. His intent isn't cynical, which can't be said for some other people making this false "eski" shit right now like.

"its eski remade through a sort of indie romanticism";

this is a real thing which really depresses me and there are lots of them.
 
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rubberdingyrapids

Well-known member
yeah i dont think you can lump bok bok in with everyone else re: post dubstep versions of grime, just cos he used to DJ it, and he used to DJ it pretty brilliantly. that mix of something like 64 tunes or whatever it was using original bitrates was epic.

this is a real thing which really depresses me and there are lots of them.
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the tragic and woefully misguided burial-ification of dance music
 
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benw

Well-known member
rubberdingyrapids said:
yeah i dont think you can lump bok bok in with everyone else re: post dubstep versions of grime, just cos he used to DJ it, and he used to DJ it pretty brilliantly. that mix of something like 64 tunes or whatever it was using original bitrates was epic.



the tragic and woefully misguided burial-ification of dance music
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wouldnt mind a link to that mix...
 
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sgn

Well-known member
<object style="height: 390px; width: 640px"><param name="movie" value=""><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="640" height="360"></object>

Sounds a bit like HudMo/Rustie until around the 2:00 mark when it turns into something pretty special in its own right.
 
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SecondLine

Well-known member
sgn said:
<object style="height: 390px; width: 640px"><param name="movie" value=""><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="640" height="360"></object>

Sounds a bit like HudMo/Rustie until around the 2:00 mark when it turns into something pretty special in its own right.
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The drop is a lot like Thunder Bay except with Thunder Bay there's something extraordinary about the production...it's all so squeezed and hyped up, incredibly raw sounding but somehow the balance and impact is still there. Whereas this feels quite tame to me
 
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benw

Well-known member
blogariddims mixes are great, theres a really good heatwave one, think its called roots reggae and culture.
 
Benny Bunter

Benny Bunter

Well-known member
benw said:
blogariddims mixes are great, theres a really good heatwave one, think its called roots reggae and culture.
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Fully agree, loads of brilliant mixes in that series. These ones are essential

2step heaven
Grime in the dancehall
Mr bump - rude interlude
Dancehall pressure
An england story
Another crunk geneology
Raggamortis
Rough
Bounce me back to 98
69 allstars
Deep in bludgrooves
Woebot's Jazz

I learned alot from listening to these back then
 
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