Choon of the Day
- Thread starter Corpsey
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sadmanbarty
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sadmanbarty
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sadmanbarty
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sadmanbarty
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this would've been a better pick given the crimewatch photo quality.
sufi
lala
this is great
sadmanbarty
Well-known member
footwork was poetically positioned in terms of it's place in dance music history. it's maybe the last genre to emerge before dance music died, so it's neatly cyclical that it comes from chicago. it's also the last genre to emerge from that generation (and that's reflected in a generation talking about it being the last music that they were excited by). it nods (inadvertently) to todd edwards and to jungle while still being routed in chicago. it's all very nice.
house music got this exciting, simultaneously new and retrospective send off that the hardcore continuum didn't get.
house music got this exciting, simultaneously new and retrospective send off that the hardcore continuum didn't get.
sadmanbarty
Well-known member
sampling, timbaland-indebted rhythms, people doing a funny dance like those breakdancers in covent garden in 1985, jungle's speed, hardcore's nuttiness, garage's vocal choppage.
the memories and sensibilities of a whole generation repackaged and rejuvenated.
on paper it was new. it was unprecedented. but it never felt properly like that. that's the power of a sound world; however novel or innovative you are it contains you within it. it couldn't be truly new because it was comforting, it pointed to the world we were leaving behind.
the last triumphant hoorah of children of the 80's and teenagers of the 90's.
the memories and sensibilities of a whole generation repackaged and rejuvenated.
on paper it was new. it was unprecedented. but it never felt properly like that. that's the power of a sound world; however novel or innovative you are it contains you within it. it couldn't be truly new because it was comforting, it pointed to the world we were leaving behind.
the last triumphant hoorah of children of the 80's and teenagers of the 90's.
sadmanbarty
Well-known member
this is what dubstep tried to be. any art that is conscious of what it's trying to do always completely fails to reflect anything and dubstep was art that was solely about being conscious of itself; it's only impetus was metatextual.
it was also an outside culture trying to evaluate a culture it was not a part of. it was the hardcore continuum as told through the eyes of nick land and kpunk enthusiasts. it ignored all the camp. all the sexuality. all the femininity. all the aggression. all the wryness. and all you were left with was jack law and martin clark fist-bumping one another, clinking bears together and nodding knowingly as they exclaimed "irie dub mon!"
version
Well-known member
Not really. You're assuming Kode9 was representative of everyone else in the scene and not an outlier.
yeah I mean I'm not the hugest dubstep head far less than corpsey (although i probably know more about it 
) but this take is so wrong given that dubstep's real core more than el b per se was breakbeat garage, all that oris jay/harry lime stuff being hammered on the pirates in like 2001. there was also a point where garage went techno, which is today retroactively called grime but it's basically dark 4x4.
Comparitively speaking the whole el-b fetishism came much later, around 2007-2008, at least when dubstep was at least 5-6 years old.
) but this take is so wrong given that dubstep's real core more than el b per se was breakbeat garage, all that oris jay/harry lime stuff being hammered on the pirates in like 2001. there was also a point where garage went techno, which is today retroactively called grime but it's basically dark 4x4.Comparitively speaking the whole el-b fetishism came much later, around 2007-2008, at least when dubstep was at least 5-6 years old.
yeh i mean the thing is like kode was never really hardcore continuum really.. someone like neil landstrumm has more in common with the nuum than kode who once the continuum fizzled out basically went into this high conceptual crossing borders framework for uni students and left his original fanbase almost behind totally, or took some of them with him. not that i have a problem with what he's doing now some of it is quite art school-y but the stuff he tends to rep from mexico etc can be fucked so I'm always open to hearing whatever is on his label, though often I find the most hyped stuff is the least interesting - also I've pretty much heard all that can be done with paid 'club dance music' (though not necessarily folk and non-club dance...)
gangsta shuffle techno from 96. noone in germany could really make something like this, it's pure chicago/house'n'garage in its rhythm track.
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