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

A

alex

Do not read this.
Well I think the point is it's based more on the challenge of stretching that one sample out over a whole album to create a coherant, yet varied peice of work.

Don't see why this would give you the hump?
 
A

alex

Do not read this.
wise said:
Amon Tobin used to go on about this, how his whole album was built from field samples of insects or whatever, thing is he was using microsamples, at that level it just becomes a tiny waveform it's kind of irrelevant (in terms of the finished sound of the record) where it originated.
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that's completely different though?
 
wise

wise

bare BARE BONES
alex said:
Well I think the point is it's based more on the challenge of stretching that one sample out over a whole album to create a coherant, yet varied peice of work.

Don't see why this would give you the hump?
Click to expand...

I don't think it's one sample, it's all sampled from one disco record isn't it?
I think it's cos I spent too much time in art school where people were always coming up with stupid ideas such as this.
I couldn't really care how much of a challenge it was for him, does it sound any good?
I'll have to have a listen :rolleyes:
 
wise

wise

bare BARE BONES
alex said:
that's completely different though?
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well according to XLR8R

'the artist born Dave Huismans carved out every solitary sound on his new record from ‘70s and ‘80s disco records, and even though the musicmaker didn't use a single other instrument or sample source for his tunes, Fever doesn't sound the least bit disco. '

sounds pretty similar to me
 
A

alex

Do not read this.
well if you are talking about insect samples being broken down into waveforms vs various disco samples used throughout (I was under the impression is was one sample, I obviously read a misleading source), I would say that's pretty different. Maybe I'm being pedantic, and I haven't heard the record, but I would say that it's not the same.

1. From the forum I read where the press release was described, it seemed as if he wanted to reduce the elements to work with, thus inspiring more creativity than sitting in front of X amount of synths/samples/plugins etc.

2. Your description sounds like he was just like yea, ‘I make my stuff from insect samples, cause I’m different/art fag’ if he was going for the same theory behind it then yea, it’s the same, but you don’t make it sound like that.
 
wise

wise

bare BARE BONES
alex said:
well if you are talking about insect samples being broken down into waveforms vs various disco samples used throughout (I was under the impression is was one sample, I obviously read a misleading source), I would say that's pretty different. Maybe I'm being pedantic, and I haven't heard the record, but I would say that it's not the same.

1. From the forum I read where the press release was described, it seemed as if he wanted to reduce the elements to work with, thus inspiring more creativity than sitting in front of X amount of synths/samples/plugins etc.

2. Your description sounds like he was just like yea, ‘I make my stuff from insect samples, cause I’m different/art fag’ if he was going for the same theory behind it then yea, it’s the same, but you don’t make it sound like that.
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I was just giving an example of someone else who used this kind of idea (ie building an album totally out of samples from a particular source that are unrecognizable from that source)
Obviously i'm being a bit of a pedant but is building a record out of samples really that out of the ordinary?
I'm listening to it now and it does sound slightly more interesting than a normal 2562 album so it's a good thing I guess.
First track i'm listening to 'This Is Hardcore' sounds like boring techno made from old disco samples.
(but maybe I wouldn't have desccribed it thus without the press blurb).
Started off with a great drum loop though I don't want to be too critical
 
wise

wise

bare BARE BONES
Maybe i'm bitter because I sampled a disco record the other day and my tune still sounds like a disco tune.....:p
 
G

gremino

Moster Sirphine
results from this kind of working process can be boring, but it can be so much fun making things in limited concept :)

although it's challenging doing things in this way, in other hand it's also kinda relaxing when you have clear direction how things are made and there's no options-overload anxiety.
 
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Sectionfive

Sectionfive

bandwagon house
Hardly ground breaking when people have got whole genres out of an 8 second break but 2562 is always atm money so looking forward to hearing what he has come up with.
 
Sectionfive

Sectionfive

bandwagon house
Only listened to album twice so I don't know yet but the one thing I did notice was he is pissed off this time.

Will see how it goes.


Really like the beatless tracks though.
 
G

gumdrops

Well-known member
kode 9 album is v good. spaceape is still a bit silly to me, more so now that hes seemingly trying to sound a tad happier on the more uptempo tracks, but i can tolerate it. there are a few too manhy black sun sounding tracks on the album, all with the same sort of synth effect on them, but i really really love the album from love is the drug onwards. that beatless track that sounds like something from an old sci fi or indie film is just amazing. the whole album has a great, full fidelity in the sound which i love. i think this is prob some of the best tracks kode9 has produced. getting a bit housier doesnt seem to have done him any harm.
 
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benw

Well-known member
re: Simon Renyold's problem with a lot of 'this stuff' & his supposedly preferring a lot of current 'filth' dubstep I've been reading Energy Flash for the first time and there's a couple of illuminating quotes that go some way towards explaining his POV:

"whenever I hear the word hardcore (or synonyms like dark, ruffneck, cheesy) used to malign a scene or sound, my ears prick up. Conversely, terms like 'progressive' or 'intelligent' trigger the alarm bells."

So, to summarise... Reynolds has been hearing people talk about this stuff and objects to the terms being used. It just feels like he's not actually listening to this stuff, to take two of the artists he's written about, I can think of a couple of Jam City & Mosca tracks which are as ruff and ready as any of the jack or acid tracks he sees as vital parts of his continuum:

<iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/Xs5sEaYGNBU" frameborder="0" allowfullscreen></iframe>

<iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/HOlD2F0Scro" frameborder="0" allowfullscreen></iframe>

<iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/ywAJL8sKYvk" frameborder="0" allowfullscreen></iframe>

<iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/wlZQ3C2ASgo" frameborder="0" allowfullscreen></iframe>
 
S

Sick Boy

All about pride and egos
benw said:
. Reynolds has been hearing people talk about this stuff and objects to the terms being used. It just feels like he's not actually listening to this stuff, to take two of the artists he's written about, I can think of a couple of Jam City & Mosca tracks which are as ruff and ready as any of the jack or acid tracks he sees as vital parts of his continuum
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I think you've characterized Reynolds' distaste for this kind of music accurately and hit exactly on the main problem of some of his criticisms. His broad, generalizing reproof of this very widely defined style is completely ignoring the fact that, while he is quite right in saying that some of the work that is associated with the style (if we can even call it a singular style) is guilty of the same elements that typically make any kind of music labeled 'progressive' or 'intelligent' boring, uninspired and overwrought, there are a lot of tunes also associated with the style that do not fit that description at all.

And really that comes down to the fact that "post-dubstep" or whatever we want to call it is so weak a term that it seemingly includes any and all club music being made in the UK anywhere from 130-140 bpm that doesn't sound identical with its more traditional precursors. It comes across more as a post-continuum frustration on his part than it does as involving any real investigation. It's not that he's necessarily wrong, he's just only luckily right by inference about a portion of what is currently being made within those parameters, and I think if he spent his time being careful to distinguish exactly the kinds of work he is referring to, his arguments would be a lot stronger and taken more seriously.
 
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B

benw

Well-known member
Sick Boy said:
I think you've characterized Reynolds' distaste for this kind of music accurately and hit exactly on the main problem of some of his criticisms. His broad, generalizing reproof of this very widely defined style is completely ignoring the fact that, while he is quite right in saying that some of the work that is associated with the style (if we can even call it a singular style) is guilty of the same elements that typically make any kind of music labeled 'progressive' or 'intelligent' boring, uninspired and overwrought, there are a lot of tunes also associated with the style that do not fit that description at all.

And really that comes down to the fact that "post-dubstep" or whatever we want to call it is so weak a term that it seemingly includes any and all club music being made in the UK anywhere from 130-140 bpm that doesn't sound identical with its more traditional precursors. It comes across more as a post-continuum frustration on his part than it does as involving any real investigation. It's not that he's necessarily wrong, he's just only luckily right by inference about a portion of what is currently being made within those parameters, and I think if he spent his time being careful to distinguish exactly the kinds of work he is referring to, his arguments would be a lot stronger and taken more seriously.
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Im guessing the more boring elements of the scene you're referring to might be those who are willing to label themselves as future garage. broad brush strokes there certainly, but I don't disagree. Dunno if people have read Joe Muggs' piece on future garage... But it's interesting, and Joe seems to take a lot of care not to fall into Reynolds' trap of not distinguishing exactly what he is referring to. As Joe says himself, "the point of this is that we need to be careful what we write off." Words it seems like Reynolds could learn to heed (or at least be more careful about in his recent blog posts).
 
B

benw

Well-known member
I guess one point Reynolds is spot on about is that when dubstep (or filth or whatever) incorporates ruffnek or cheesy elements of jungle/rave/'ardkore/ nuum genres) it can seem most satisfying:

<iframe title="YouTube video player" width="480" height="390" src="http://www.youtube.com/embed/oZkzcm7ubQg" frameborder="0" allowfullscreen></iframe>
 
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