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Thread: In defence of post dubstep

  1. #31
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    Quote Originally Posted by Corpsey View Post
    I wouldn't really defend post-dubstep as a lot of it has aged badly and wasn't even that great at the time.

    Dubstep circa 2006/7 I do defend, although I don't think it has aged very well, perhaps because it was such a contextually effective music - depending on sub woofers tickling your nose and so on. Garage e.g. sounds great on a bluetooth speaker - and is also joyful music, by and large, unlike dubstep, which isn't the sort of thing you wack on at an afterparty.
    I can't really listen to it anymore, some of it was great though - Skull Disco, DMZ, Skream, Toasty, early Hyperdub gear, Pev and a few others are still good if I'm feeling nostalgic.

  2. #32
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    Quote Originally Posted by version View Post
    I can't really listen to it anymore, some of it was great though - Skull Disco, DMZ, Skream, Toasty, early Hyperdub gear, Pev and a few others are still good if I'm feeling nostalgic.
    same. would never get rid of my dmz or skull disco singles but also don't feel compelled to listen to them very often...but when I do, I still like 'em.

    being on this side of the ocean with no real life interaction with the cultural element (the clubs, the dress, the personalities, the gentrification, etc.), I'm experiencing the music solely on a musical level and my perceptions aren't negatively impacted by the baggage. I like many of the Shackleton, pearson sound and boddika releases purely for the sound design.

  3. #33
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    it's perfectly pleasant listening music

    but doesn't bang, slam, brock out or any of them words

    that's not how it functions for the people for whom it functions

    fundamentally because they have no real need of that in their lives

    not necessarily a criticism... but there are deep structural reasons why there's a feeling in jungle or UKG - or dancehall or trap - that isn't in this kind of music, or its cousin here in LA, the whole Brainfeeder / Low End Theory scene

    the confusion comes about because some of the producers will use elements that refer to or originated with those brock out kinds of music, they tap into that history

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  5. #34
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    pretty much blissblogger. thats why i feel cheated.

    although trap has been bare gentrified for a while now.

  6. #35
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    Quote Originally Posted by blissblogger View Post
    the confusion comes about because some of the producers will use elements that refer to or originated with those brock out kinds of music, they tap into that history
    There's a load of 2010-2012 stuff on my mp3 player at work for some reason, and I think that a lot of this stuff works best and still stands up when it's played the way that people like Dusk and Blackdown or Oneman or Ben UFO were playing it then - in the mix as another element bouncing off a load of more straight up funky and grime and garage. On the other hand, I also saw a bunch of sets out around that era that were strictly post dupstep / future garage / whatever and were fucking hard work - just endless moody monochrome two-step with no real release of tension.

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  8. #36
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    Quote Originally Posted by thirdform View Post
    well uk funky crowds jumped ship to tech house bandwagon. so i don't think tthat's the problem per se.
    that's not that much of a jump though, imo. the dubstep to house/disco and techno leap felt way less sincere. total bandwagon vibes, and i'd expect no less from the goldsmiths crew.

    Quote Originally Posted by thirdform View Post
    I think with the post-dubstep boys they fetishised the berghain end of techno rather than taking pride in their own weird and fucked up techno history.
    yeah, and it feels just as cold/tasteful/boring as berghain. top button done up replaced with all black extra long t.

    ymmv

    Quote Originally Posted by blissblogger View Post
    it's perfectly pleasant listening music ...
    very diplomatic

  9. #37
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    ultimately though rave like all dance scenes is conservative. routinised and circumscribed pleasure. a need created to intensify the extraction of surplusvalue. no wonder so many ravers just end up being subsumed as a byproduct of the economy. an illusory community, with the classic error of social production, the debris is fucked off into the mental institution, the prisons. there was never anything radical about the counter-culture. the very separation of the empirical and the absolute was always seen as transhistorical *not how the two interact and shape each other within class society*

    it was always death in life. they could not realise that the human being is dead and is nothing more than a ritual of capital because they were very much part of that modular process.
    Last edited by thirdform; 23-08-2018 at 08:43 PM.

  10. #38
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    however rockism and rock aesthetics are far more modulated than rave. at least in rave there is a hankering for the re-formed human community. in rock there is none of that. post-dubstep in a way is the real and not formal transposition of rock values onto dance music.

    *by rock i don't mean anti-rock guitar music or whatever.* I mean the middlebrow shit.

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  12. #39
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    the problem is we cannot really conceive of a communistic literature. even oral storytelling is no longer an integral element of society but an aesthetic choice.

  13. #40
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    thirdform was a fairly prominent post-dubstep producer and dj.... he has a degree in post-colonial art-dealership studies from goldsmiths. it's where he got his intro into the scene. he still does the top button on his shirt up. it's just a reflex action at this point.

    we met at a peckham rooftop bar in 2010. turned out we shared a coke dealer. got talking, one thing led to another.... and i invited him to sign up to the forum


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  15. #41
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    nvm mr. tea is a cop.
    Last edited by thirdform; 23-08-2018 at 09:42 PM.

  16. #42
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    ya and the over educated never did make much in the way of true bangerz

  17. #43
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    im not that educated lol i just read jacques camatte and get depressed.

  18. #44
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    i couldn't tell you the foggiest about wot esra pound is getting to in the cantos, although knowing his rancid politics i would assume it is a path that leads nowhere.

  19. #45
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    This stuff was certainly cool but also became disappointing later on.

    I hated the Future Garage and sort of... Well the stuff Corpse became a fan of (not to rag on him specifically, just I know he rated Brackles highly and I couldn't stand the music him and his associates made)

    Once the Night Slugs wave became super dominant and pretentious about their parasitism, their "Advanced Club Music" that's when I felt I had to start taking a break from the present conversations of dance music personally and just go backwards in time.

    I'm a big fan of people in this scene like Untold, Blawan, James Blake, some of the Instra:mental stuff... But it ultimately became a scene I got disillusioned with due to a sort of... inadequacy.

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