it's also that in a way he's much more club savvy than me and you. he's jet setting all around the world, he can kind of always hit that median level. personally I'm not sure how on earth i could ever cultivate that skill.
the pete tong value set
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it's also that in a way he's much more club savvy than me and you. he's jet setting all around the world, he can kind of always hit that median level. personally I'm not sure how on earth i could ever cultivate that skill.
so on one hand you've got this very demanding expectation of emotional labour for your customers and promoters (yes I'm using the term correctly) coupled with the agonising flight/hotel/standing in front of decks for 6 hours. It's not somewhere I'd like to be, for sure. and a lot of your approaches to legitimising yourself are promo. i was talking to a dj acquaintence of mine and i said something like i enjoyed your mix but i wish it was a bit more funky and jackin. and she was like oh I'm not taking requests. we laughed about it but when i woke up the next day i slapped myself on the head, you absolute smelly tulip, it was her promo you good for nothing oily turk.
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john eden
male pale and stale
We’re edging into the slag off section now but why I hate him is precisely the self promo stuff. He is always on those documentaries about acid house and his angle is always that it was a wild time with incredible opportunities to set up a business out of it and this was some kind of rebellion.
yes, yes and yes. this kind of slagging is welcome though
but also one thing you realise is that a lot of the hardcore jocks like randall, hype etc were playing acid house and affiliated genres. as in acid. listen to a danny rampling set and it's really not got any dark basslines or 303s.
sadmanbarty
Well-known member
luke did point out to me the other month that i don't actually like dance music.
because you grow up with the nuum you assume you love it, but actually if you take that out of the equation i'm fairly ambivalent to it.
as for discourse, the only bits of music writing i've ever read were those reynolds wire pieces nuum pieces. don't need anything else really.
sadmanbarty
Well-known member
one question this thread could ask is does the relatively pop reading of the nuum (and lots of other music) deprive you of, or dilute, the most revolutionary qualities about the music?
i'm not sure it does. you could only listen to the big anthems and the bangers and i'm not sure you'd being missing much.
when i first met luke i said that with 60's jazz all you really need is miles and coltrane. the others may be good, but they're ultimately superfluous.
i'm not sure it does. you could only listen to the big anthems and the bangers and i'm not sure you'd being missing much.
when i first met luke i said that with 60's jazz all you really need is miles and coltrane. the others may be good, but they're ultimately superfluous.
well, not to put too much of a fine point on it, but despite his most herculean efforts to buck this trend, reynolds has ultimately inadvertently found his majority appeal in post-dubstep types hasn't he? intellectualising music for people who have never needed to brock out. (not saying you're post-dubstep btw...)
which is of course weird because reynolds was one of the few journalists to go down to the decrepit area of south london where loftgroover was living (speedcore/gabba head) and the post-dubstep types would never ever ever need such music in their lives. oh they might like some experimental metal but not speedcore or c-tank.
I'd say I am also ambivalent about dance music but I am still enmeshed in it because I am very much an electronic music fiend. barring old concrete, can you really escape dance music if you are interested in sound synthesis? I doubt it really. like what would a non-dance electronic cannon from the last 40 years consist of? barring dancehall which is dance music really. maybe some crunk/dirty south but what else? I suppose a lot of post-rave stuff like experimental speedcore, modular synth experiments. but these are all informed by dance music.
whereas with you (and excuse the generalisation) you're more about subtle dematerialisation but not machine logic as such or iconisation. you might like a synth lick on drill or those little click-y sounds but you wouldn't hugely be into basing your entire aesthetic around this. i guess growing up online a lot with mates all over the country i was exposed to squealing acid lines long before sixth form/uni.
one thing though, despite maybe me and you being more on the dot with current trends, someone like pattycakes genuinely believes in dance music as healing ritual. in fact i want to push people to confront their demons, fuck them up. which in a way is a kind of healing yes but not immediately so or not in that happening.
when youve got famously revolutionary qualities which apparently changed things in real time, for people experiencing events that allegedly couldnt have been imagined 12 months earlier, the sort of vitality of those qualities maybe cant be translated beyond the initial crash site that was actually lived through.
one of my haggard ancient mates has a legitimate claim to have been saved by acid house, he firmly reckons he would have been a goner if not for the specific weekend release it brought, he would have been done in had he been forced to come of age in accordance with birds and beer oriented nights out without a bizarre asexual option that he found with raves. maybe that has a lot more to do with being sort of still in the closet at that point, but the visceral life saving quality tied into that music at that time for him doesnt seem like it could be passed on in that way after that exact period.
i don't know if radio 1 piano house bangers have much to do with that
one of my haggard ancient mates has a legitimate claim to have been saved by acid house, he firmly reckons he would have been a goner if not for the specific weekend release it brought, he would have been done in had he been forced to come of age in accordance with birds and beer oriented nights out without a bizarre asexual option that he found with raves. maybe that has a lot more to do with being sort of still in the closet at that point, but the visceral life saving quality tied into that music at that time for him doesnt seem like it could be passed on in that way after that exact period.
i don't know if radio 1 piano house bangers have much to do with that
and yet if you only played anthems and bangers you'd probably treat it as a whim and a fancy, quickly move onto another genre with more stasis, be that rap, jazz or metal. a long arc (not per song) narritive you can hook into.
anything but an anthem.
the revolutionary qualities of the nuum aren't immediately apparent. if you wanted immediate with practically no antecedent revolution you'd be better off looking to concrete and possibly chicago acid. it's got as much to do with its post-revolutionary after effects. this is not to say nuum (or hardcore-jungle) were evolutionary, they were not. garage today is evolutionary, subtle static modifications.
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blissblogger
Well-known member
Orbital's "Chime" was a gateway for me, so if Tong signed them and put that out, I salute him.
john eden
male pale and stale
This is a bit like going to a town and wandering around vs having a very rigid, timed, "optimum order in which to see The Main Attractions" though.
Maybe if you're not bothered or are pressed for time that makes sense. But it is those random hard to explain things, that are part of the joy of it all...
john eden
male pale and stale
My impression is that with something like drum n bass you end up with a complete stripping out of the polyrhythmic mania of jungle. Circa 2000 everything is very simple two step beats at 170bpm or whatever.
And it's because all the big boys have gone round the world to big arenas and that is what works - there is an evolutionary process going on where things get flattened out.
Maybe a crossover tune is the beginning of that process though. That might be an interesting one - jungle and drum n bass that hit the charts. You start with "Incredible" and end up with "Addicted to Bass"?