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Thread: Jackin' / Electroline

  1. #121
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    the lock-stock samples in this mean its hardly one to convert the doubters, but the groove on this one is evil. The way they've fucked up the diva vocals on this is great too, really druggy sounding, sweat yer bollox off on the dancefloor material. I'm making do with good headphones and a spliff.


  2. #122
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    Haha the 'supposed to like' wasn't aimed at you in particular Benny, just the general vibe I've gotten from discussions about this.
    That tune above's not bad, the 'None A That' one you posted a couple of pages back is quite decent as well. So probably in a month or two I'll be doing what I usually do and pretending I liked this stuff all along . A fair amount that I've heard does still seem a bit naff/ordinary though (even the Tom Shorterz Weeknd-sampling that people are keen on didn't do much for me). Hmmm, we'll see.

  3. #123
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    Quote Originally Posted by Benny B View Post
    the lock-stock samples in this mean its hardly one to convert the doubters, but the groove on this one is evil. The way they've fucked up the diva vocals on this is great too, really druggy sounding, sweat yer bollox off on the dancefloor material. I'm making do with good headphones and a spliff.
    SHEEEZE! Yeah no, I was first introduced to it through that absolutely shite documentary "Grime Up Norf", where they managed to totally ignore all the actual, you know, grime up norf... I thought it sounded like an awful idea, and TBH the stuff continuum posted for the first few pages did not sell me at all (you've been posting straight bangers since then though G!)

    I heard Marcus Nasty play some at Butterz, and it sounded pretty good on loads of drugs (Y) But the real thing was just revving up that Marcus mix with sound good headphones just after it came out, and I really had a "this is why I like dance music" moment when Let's Go Back kicked in.

    I think some of the "supposed to like" vibe might come from the blog post I wrote. It wasn't meant to be a "supposed to like" thing though (the tunes speak for themselves), but just a "supposed to take notice". I mean what was amazing for a Londoner like me who had been chugging along quite nicely with the 4/5 new "Bass" vinyl worth getting on Boomkat a month, stuff like Champion's Selekta, the Dreamworks Continuum EP, but a big sense of there being no direction to the scene, with all the hand-wringing articles about the state of the nuum etc. was that up norf, an actual, REALLY large scene, held together by a totally distinct sound, which had a presence in the clubs and people blasting it out of their cars, was taking place.

    If you've never been there before, going on bigtunesmp3 is like overturning a rock and finding an entire civilization of ketted out ants right there in your back garden without you noticing. I mean there's so much music coming out, and so much of it's crap, but it's got this really energy and buzz, rather than the London scene which feels all very precious like "ooh, waiting for that Joy O/Boddika release", you know? like we have all these big name producers with no sense of a sound, no scenius, all their releases such a big deal, and none of that hardcore vibe of producers just putting out fuck loads of tunes that just do the business on the dance floor.

    So just seeing that it was like, wow, this is obviously relevant to anyone who's interested in Jungle or Garage or Funky, but nobody who likes Jungle or Garage or Funky down south is talking about it.

    Wow long lol

  4. #124
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    Quote Originally Posted by datwun View Post
    If you've never been there before, going on bigtunesmp3 is like overturning a rock and finding an entire civilization of ketted out ants right there in your back garden without you noticing. I mean there's so much music coming out, and so much of it's crap, but it's got this really energy and buzz, rather than the London scene which feels all very precious like "ooh, waiting for that Joy O/Boddika release", you know? like we have all these big name producers with no sense of a sound, no scenius, all their releases such a big deal, and none of that hardcore vibe of producers just putting out fuck loads of tunes that just do the business on the dance floor.

    l
    OTM

    I like your description of bigtunesmp3 very much. I've dipped a toe in the waters over there but the sheer amount of stuff is quite overwhelming.

  5. #125
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    Quote Originally Posted by datwun View Post

    So just seeing that it was like, wow, this is obviously relevant to anyone who's interested in Jungle or Garage or Funky, but nobody who likes Jungle or Garage or Funky down south is talking about it.

    Wow long lol
    This mate. I'm not the biggest supporter of Jackin' but the thing with people down London sometimes shunning at up North scenes.

    Bassline always had this issue, always seem to get a split whenever i play it in London, like the crowd arent quite sure how to react, but anywhere up north of mids it still gets a huge reaction.

  6. #126
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    Quote Originally Posted by datwun View Post
    it's got this really energy and buzz, rather than the London scene which feels all very precious like "ooh, waiting for that Joy O/Boddika release", you know? like we have all these big name producers with no sense of a sound, no scenius, all their releases such a big deal, and none of that hardcore vibe of producers just putting out fuck loads of tunes that just do the business on the dance floor.
    this is a classic Dissensian post-rationalisation. Tracks on that site could have been made 2 years ago, you have no idea. "new" is a perception controlled by the producers and how much exposure they choose to give a track. (example: I put out "High Road" last week, everyone said it was "made in 2006". it wasn't, it was finished in May. But people perceived that is was.)

    Plus, half my issue with a lot of the london stuff (i dont want to single out joy o, i like his music, but that general scene) is that it is too "business on the dancefloor" and no other component.

    so is this the way things really are, or just how you are consuming them?
    Keysound, Rinse, blog etc

  7. #127
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    Of course the sonic side of it is somewhat subjective. I think Jackin is quite future, and that it's got a really disctinct sound, but obviously we're now in the post-everything universe, and it's very easy to find anticidents for everything. A lot of the tracks people are getting into do seem to be from 2011, though the Jackin scene itself only really kicked off late 2010 by the looks of things. More than sonically though, I mean vibe wise, it's just so patently a thriving, non-internetty, non-ironic, rave scene based in a local dance culture. At the moment, though there's loads of good music coming out of London, there's definately none of that sense of cohesion (and no, I don't think that this 'variety' is in and of itself a good thing) and there's certainly no sense of a mass rave culture in forward motion.

    I really don't agree re: the too dancefloor oriented thing though. When was the last scene uniting Banger? Bax maybe? Every big tune (the not-Joy-O-Joy-O Sicco Cell) all that, they all have such a big build up, they're all treated like holy artifacts which are made special by their rarity. With Jackin there are tons of anthems AND a lot of weirdness and darkness (and silliness, which I rate highly!)
    Last edited by datwun; 25-07-2012 at 08:01 PM.

  8. #128
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    Quote Originally Posted by datwun View Post

    That warpy bass sound sounds pretty future to me though, obviously linked to speed garage and bassline (to a lesser extend dubstep), but somehow more tecky or something.
    .
    the bassline on this one is really distinctive. And weird and cool. Heard it on DJ Q's show.

    Nick Hannam - homeless


    youtube comment made me lol:

    I listened to this after having a spliff and i swear to god i thought there was an owl in my house. I went looking all around for it.
    MAADMO 3 months ago in playlist Uploaded videos 12

  9. #129
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    ^

    obviously I'm including the high pitched owl sound as part of the bassline.

    Owl-bass is the future

  10. #130
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    Quote Originally Posted by Blackdown View Post
    this is a classic Dissensian post-rationalisation. Tracks on that site could have been made 2 years ago, you have no idea. "new" is a perception controlled by the producers and how much exposure they choose to give a track...
    sorry b, straight from danny haigh (ex aighy, bassline producer...) who does a regular jackin / bass / house night up in leeds,

    "we dnt sit on tunes 4 ages like sum producers .. all our stuff is released within a month of the first soundcloud clip"

    what you're saying may be right in some cases and some bits are 2010 / 2011 that still sound new to those not up to speed with the scene, some are definitely fidget leftovers from 2009 or older, but they tend to put the dates next to them on the site tbh (burkie definitely does) and plenty of the tracks are brand new for 2012. that's definitely where all of the new shit will be going up as it's released!

    they all link through to their soundclouds so you can always check when they went up that way if you like, i do cos i'm interested....make no mistake that this is a 2012 sound though. it's definitely happening now!
    Last edited by jackjambie; 26-07-2012 at 10:19 AM.

  11. #131
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    Quote Originally Posted by jackjambie View Post
    sorry b, straight from danny haigh (ex aighy, bassline producer...) who does a regular jackin / bass / house night up in leeds,

    "we dnt sit on tunes 4 ages like sum producers .. all our stuff is released within a month of the first soundcloud clip"
    i fully accept your point re "dnt sit" in jackin,' but we often put soundcloud clips the week before a release. "new" is a perception producers can control
    Keysound, Rinse, blog etc

  12. #132
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    Thing is, if you go on bigtunesmp3, it's updated every single day with tons of tunes. If you go on producers soundclouds they're updated all the time with new tunes. I really don't think there's some Jackin conspiracy whereby northern producers are trying to trick me and the 50 people who read my blog post into thinking that their scene is more current than it really is, I just think that actually the scene is hyper-productive at the moment, with a sheer mass of activity, a small percentage of which is some of the most exciting music being made in the UK in 2012.

  13. #133
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    Quote Originally Posted by datwun View Post
    I really don't think there's some Jackin conspiracy whereby northern producers are trying to trick me and the 50 people who read my blog post into thinking that their scene is more current than it really is, I just think that actually the scene is hyper-productive at the moment, with a sheer mass of activity, a small percentage of which is some of the most exciting music being made in the UK in 2012.
    It's like saying Acen's Trip II to the Moon, for example, was produced in 1990. Didn't happen. Blackdown, extraordinary claims require extraordinary evidence.

    Great thread.

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