Shuffling / House Music / Cutting Shapes
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- a 1000 tunes and not 1 anthem are you really from the ends? attractions including a magician bore to the floor bumming radford on twitter buy my japanese internet house 12 darkside donk deadout didn't they do this in 1986? dominic did a tefl course dominic does streetslang esperanto juggalo even trilliam got bored of this fun with balloons i write for the guardian id rather play fifa im dom indie nuum just house innit know the bubble middle class 30 somethings talk house nuff nuum for continuum radford is older than my dad show me the dance top knot trilliam was right trilliam was wrong upgrunt house who the fuck is mark radford words hurt
Corpsey
bandz ahoy
Without Kode 9 championing funky I don't think I'd have cottoned on to it when I did. Also to be fair to Hyperdub they put out tunes by Ill Blu, Funkystepz and Cooly G. Its a shame that these artists needed a Hyperdub release to get critical attention but I don't think you can blame Hyperdub for that. It is interesting to consider why Hyperdub are ripe for critical appreciation in a way that Audio Rehab e.g. are not. I suppose this has all been discussed ad nauseum in the funky thread but it is a reoccurring phenomenon so...
I read a review of Dekmantel festival this week which featured some pretty sniffy references to shufflers. Essentially it seemed like it was saying "thank goodness there weren't loads of Brits abroad there doing that silly shuffling thing". I was at Dekmantel, and it was great, but the music is generally so lacking in the energy and vibes I encountered at Frequency. I know its a matter of taste but I found I had to be charged on pills to get the same excitement out of techno as I got near-sober at Frequency.
I read a review of Dekmantel festival this week which featured some pretty sniffy references to shufflers. Essentially it seemed like it was saying "thank goodness there weren't loads of Brits abroad there doing that silly shuffling thing". I was at Dekmantel, and it was great, but the music is generally so lacking in the energy and vibes I encountered at Frequency. I know its a matter of taste but I found I had to be charged on pills to get the same excitement out of techno as I got near-sober at Frequency.
Why is this? Is it because Kode 9 is a university lecturer? I can't remember what was said in the Funky thread.
Benny Bunter
Well-known member
As Corpsey says though it's interesting that something a step removed such as Hyperdub receives fawning critical praise and attention while the real thing remains sidelined and maligned. Instead of recognising and celebrating what's going on people hate on the style of dancing or focus on abuse of laughing gas. Ultimately it's all a power struggle imo with labels such as Hyperdub easier for the established blogs and writers to exploit. The actual underground won't take being misrepresented or having to pretend and is too malleable to be pinned down by the average hack.
my feeling/prejudice is that it comes down to online music resources like fact, dummy, noisey etc etc marketing a predominantly middle class vision of the music world to a predominantly middle class audience. it's not that the average hack can't pin these things down, it's that this scene won't even register on their radar, because it's not likely to appeal to their aesthetic values (someone on this thread said something about conceptual baggage which i thought was pretty apt) and no one in their circle is going to the raves. not to say it's a conspiracy thing, just the way it is right now.
new x5 dubs promo mix-
https://soundcloud.com/x5dubs/x5-dubs-promo-mix
calle lebraun's been pretty active on SC recently, loads of mixes, love his sound-
https://soundcloud.com/callelebraun/underground-uk-volume-5-20th-septemberpromo-mix
that sounds about right, can't fucking believe this is still going on...what the fuck do they honestly think these ppl?? lame ass no energy ket dances
Answering to your post Continuum but to everyone on this thread really.
I'd ask: what's the bigger "problem" here, labels like Hyperdub actually releasing UK funky artists and widening their audiences or all the many labels we cant name because they didn't support it?
This feels like a very negative take on someone's pro-active response to interesting music.
Equally, people complain about Fact etc, but isn't the actual enemy the mainstream music institutions like commercial pop TV brands, big bland YouTube channels, dull daytime radio play list stations like Kiss or Heart, rockist publications like Q or Rolling Stone. That's the enemy, yo, not people who do or don't cover the lighter or darker shades of London's underground. How often do you think those guys rep for the creative underground?
The alt/dark v road/vocal/pop split is a contrived split too, both main scenes in this lineage (garage/2step through UK funky) at their peaks were compelling because they held in dynamic tension the light and the dark, the vocal and the dub, the song and the instrumental, the ruff and the smooth - often even in one track! If you're looking just at UKG or UKF you can't say it was just one side.
Now of course many people have subjective personal preferences - myself included - to one side or the other here, but that's fine: I still think if you asked all the London underground artists who got international bookings through hyperdub/tectonic/night slugs etc associations & exposure and compared them all to those who's careers died with the scene, I'm sure you'd get a clear picture.
Benny Bunter
Well-known member
lol why would anyone ever expect mojo, rolling stone etc to cover this stuff? they´re not the ´enemy´.
I suspect people get pissed off with fact because they think deeptech falls within its sphere, thats its being deliberately snubbed or something.
not to worry folks, any forthcoming fact article is likely to be a cringe anyway
I suspect people get pissed off with fact because they think deeptech falls within its sphere, thats its being deliberately snubbed or something.
not to worry folks, any forthcoming fact article is likely to be a cringe anyway
I don't think misrepresentation of something is better than no representation at all. And I don't think Hyperdub was ever interested in picturing what UK funky was as a movement, it was probably more about about taking a couple of artists from that movement and get them to do something that fit their aeshtetic. Which is completely fine, but then some press started to throw the word around everything they released, and it made a lot of people confuse what UK funky was.
It's very cringe worthy when still to this day people think UK funky was what Hyperdub and Night Slugs were releasing, or what Joy Orbison and Julio Bashmore were making. For me, a dj living in Barcelona (where all that gets here is that kind of press) and playing that kind of music, it's been specially frustrating to get thrown into that box.
Big foreign labels like CUFF or even Strictly Rhythm with their SKT releases are doing a better job of representing the London sound than these lot ever will.
It's very cringe worthy when still to this day people think UK funky was what Hyperdub and Night Slugs were releasing, or what Joy Orbison and Julio Bashmore were making. For me, a dj living in Barcelona (where all that gets here is that kind of press) and playing that kind of music, it's been specially frustrating to get thrown into that box.
Big foreign labels like CUFF or even Strictly Rhythm with their SKT releases are doing a better job of representing the London sound than these lot ever will.
By the way, since I'm here, I'd urge everybody to have a listen to the guest mix Tazer's done for my show a couple of weeks back, an hour full of his new tunes 
(around 50 minutes in on this soundcloud link):
http://soundcloud.com/david_m/david-m-on-sub-fm-with-tazer-guest-mix-25-07-2014
(around 50 minutes in on this soundcloud link):http://soundcloud.com/david_m/david-m-on-sub-fm-with-tazer-guest-mix-25-07-2014
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Benny Bunter
Well-known member
true
there is a real natural affinity between CUFF and the london scene, very healthy.
(OT but i gotta big em up for picking up on RYAN BLYTH, even if the track they´re releasing isn´t one of his best)
gonna stick that tazer mix on now, cheers david
Hang on, which way do we actually want it? Can't be both ways.
Either..
Fact & Mojo have a demographic, and deeptech is not in its demographic, so don't cover it.
Or
Fact & Mojo should be covering music out of their demographic, but aren't
Because, lets be real, I don't think a lot of London deeptech ravers are Fact Mag's natural demographic, I'm sure everyone would agree.
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Benny Bunter
Well-known member
eh?
one of fact´s main slants is uk underground dance music, so its not overly ridiculous to expect them to cover deep tech is it? (not that i personally care either way).
mojo is for people who want to read about the Beatles and Bob Dylan. a bit sad maybe but at least they are quite good at what they do
Benny Bunter
Well-known member
Benny Bunter
Well-known member
@rudewhy
look i can´t really be arsed to talk about fact anymore, its flaws are obvious to me and i really couldn´t care less. i only mentioned them in reply to earlier posts on the thread. i suppose its not completely out of the realm of possibility that someone could do a half decent job for them - why don´t you have a go?
look i can´t really be arsed to talk about fact anymore, its flaws are obvious to me and i really couldn´t care less. i only mentioned them in reply to earlier posts on the thread. i suppose its not completely out of the realm of possibility that someone could do a half decent job for them - why don´t you have a go?
mojo - over overground
fact - overground
you can't put the two in the same category sorry
but i agree deeptech is not in fact magazines demographic
having said that fact magazine claim to represent londons underground and have their finger on the pulse so their denial or unawareness of deeptech is very very noticeable