bassline house

Logan Sama

BestThereIsAtWhatIDo
Thankfully there is a buffer between London and the rest of the country to save us from Bassline House.

It is the Essex Greenbelt of Drum n Bass pillhead ravers. I am most grateful for them.
 

mos dan

fact music
Thankfully there is a buffer between London and the rest of the country to save us from Bassline House.

It is the Essex Greenbelt of Drum n Bass pillhead ravers. I am most grateful for them.

lol well Starkey absolutely killed it at the DJ Assault night on Saturday, I don't know much about the northern UK variety though.

generally Trouble and Bass and Drop the Lime seem to slot into the Shoreditch 'blog house' nights at 333 etc, but that's it, as far as london goes.
 

viktorvaughn

Well-known member
lol well Starkey absolutely killed it at the DJ Assault night on Saturday, I don't know much about the northern UK variety though.

generally Trouble and Bass and Drop the Lime seem to slot into the Shoreditch 'blog house' nights at 333 etc, but that's it, as far as london goes.

Starkey from Werk Discs? Doesn't he do broken up Dubstep? Was he banging out the bassline!?
 

psherburne

Well-known member
So I just got this David E. Sugar single, "Oi New York, This Is London," featuring remixes by Hot Chip vs. Ragga Twins, Skream, and Jesse Rose -- somehow connected to the Grecoroman parties. Is this bassline house? Most of the mixes (no matter who they're by, including Skream) seem to be basically dirty 4/4 garage. I don't quite "get" it, though maybe I need to hear it out in a club. Or maybe I'm just put off by the titular sentiment, which just seems kind of, I dunno, silly in 2007. But then I've never been big into territorial shout-outs.
 

viktorvaughn

Well-known member
So I just got this David E. Sugar single, "Oi New York, This Is London," featuring remixes by Hot Chip vs. Ragga Twins, Skream, and Jesse Rose -- somehow connected to the Grecoroman parties. Is this bassline house? Most of the mixes (no matter who they're by, including Skream) seem to be basically dirty 4/4 garage. I don't quite "get" it, though maybe I need to hear it out in a club. Or maybe I'm just put off by the titular sentiment, which just seems kind of, I dunno, silly in 2007. But then I've never been big into territorial shout-outs.

I'm no expert, but bassline basically IS 'dirty 4/4 garage'! There are just a few Niche sonic trademarks like this really particular whining bassline. And the pace is relentless, there are no 'down' bits where the beat drops out and you just have vocals like exist in some jungle or garage. The boundaries between it all are very blurred.

I feel free to stand corrected though!
 

psherburne

Well-known member
Sounds about right then! I do find it kind of funny that the Skream mix, which sounds nothing like Skream's normal fare, is titled the "Oi This Doesn't Sound Like Skream Mix." Heh.
 

petergunn

plywood violin
So I just got this David E. Sugar single, "Oi New York, This Is London," featuring remixes by Hot Chip vs. Ragga Twins, Skream, and Jesse Rose -- Or maybe I'm just put off by the titular sentiment, which just seems kind of, I dunno, silly in 2007.

4 weeks in a row i have heard "put your hands up for detroit" at the Cheeky Bastard party at Hiro in NYC.

i imagine this "oi NY, this is London" will be big there.

bassline mixes well w/ b-more breaks and Switch type electro stuff... hipsters love it...
 

psherburne

Well-known member
That's funny, it didn't occur to me at all, but "Put Your Hands Up" is exactly what this reminds me of, at least the vocal delivery.
 

Logan Sama

BestThereIsAtWhatIDo
I have just worked out how to record records onto my laptop. So I spent the entire evening recording in about 1 10th of my Todd Edwards records. It has further re-enforced how truly abominably shit Bassline House is.
 

IKoss

Wild Horses
I have just worked out how to record records onto my laptop. So I spent the entire evening recording in about 1 10th of my Todd Edwards records. It has further re-enforced how truly abominably shit Bassline House is.

funny how you of all people are so adamant about hating on a scene??
i mean if you dont particularly like it. thats fine obviously. but based on how often you see fit to chime back in with only negative comments. it would seem you have more personal reasons/experiences to have brought to this point..

todd although not my favorite producer. has made contributions recognized by an enormous part of the entire dance culture/community. todd's work hardly provides grounds for broad criticism..

regardless of the popular local sentiments. it's not like those of us who view grime in a similar light make such a point of stressing their opinions on such..
and furthermore in retrospect, the bassline house scene will not only outlive that of grime. but will certainly prove to have enriched and lent a great deal more to growth, evolution, and globalization of elec/dance music..
 

Blackdown

nexKeysound
but [bassline house] will certainly prove to have enriched and lent a great deal more to growth, evolution, and globalization of elec/dance music..

i've got nothing against bassline house, it's got exciting energy and its rawness reminds me of early grime/dark 4x4 circa 2001 and we all know where that lead, so good luck to it, i expect big things from it in the future. But seriously: fuck globalized electronic dance music. I hope bassline house had greater aspirations than that.

In terms of innovation, culture, british expression and musical ideas, grime is the most important urban music to come out of the UK this decade. It doesnt matter how many clubs it fills or 12"s it sells, bassline house will be playing catchup for a while yet...
 

dssdnt

Member
In terms of innovation, culture, british expression and musical ideas, grime is the most important urban music to come out of the UK this decade. It doesnt matter how many clubs it fills or 12"s it sells, bassline house will be playing catchup for a while yet...
Jesus, this endless obsession over what is 'British.'

I mean whether it's jungle or grime or dubstep, you all. never. stop. talking. about. it.

It comes off as really, really weird after years of reading it (say, on dissensus).

It's like some sort of weird nationalistic streak on the level with sports fan mentality or something. Anyone who pays attention to these scenes knows where the british components, identity, sources, and singularities are, so why the need to obsess over it in public, in writing?

(EDITED to clarify that this was a generalizing comment, not one directed solely to Blackdown)
 
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Leo

Well-known member
can someone list some good examples of bassline house records? would be curious to check out some sound samples, thanks.
 

IKoss

Wild Horses
I hope bassline house had greater aspirations than that.
see that's what i mean. grime is obviously based more on a notion of self-rightouness, and self-endulgence. and sure that also translates to a sense of patriotism. of coarse none of which are bad things.
but most scenes are logically eager to grow.
conversely 'club' music is more about trying to 'spread' or 'share' some sort of vibe.


In terms of innovation, culture, british expression and musical ideas, grime is the most important urban music to come out of the UK this decade. It doesnt matter how many clubs it fills or 12"s it sells, bassline house will be playing catchup for a while yet...
while i agree here to certain extents. i dont honestly think it's fair to say grime has innovated, beyond inception, in itself, any more than the speed garage-bassline scene.. and culturally, it's just a much different aspect of britain. not more or less important.. perhaps you just relate to 'it' more so? so again i would differ.

can someone list some good examples of bassline house records? would be curious to check out some sound samples, thanks.
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Logan Sama

BestThereIsAtWhatIDo
I didn't realise we were only allowed to voice positive opinions on an opinion board. What a school boy error on my behalf!

Is there an amateur psychology topic for this budding Freud to post in? Perhaps my deep rooted manifested hated towards Bassline House is a sign of my troubled relationship with my own mother? Or my own sexual inadequacy?

What a doofus.

And I have a pet peeve when people use the word "hating" yet have no idea what it means. Thinking something is dross is not hating. Going out of your way to hold someone back or physically pull it down for no valid reason other than jealousy is "hating". Having an opinion that something is crap is not "hating".
 

mos dan

fact music
i've got nothing against bassline house, it's got exciting energy and its rawness reminds me of early grime/dark 4x4 circa 2001 and we all know where that lead, so good luck to it, i expect big things from it in the future. But seriously: fuck globalized electronic dance music. I hope bassline house had greater aspirations than that.

In terms of innovation, culture, british expression and musical ideas, grime is the most important urban music to come out of the UK this decade. It doesnt matter how many clubs it fills or 12"s it sells, bassline house will be playing catchup for a while yet...

i agree with every word!

incidentally grime is one of the few things - aside from the england team (sometimes) and other more abstract notions of multiculturalism/the progressive tradition - that i ever feel patriotic about. it strikes me as obvious that blackdown would refer to grime's 'britishness' - though more often i think he and most others are more likely to refer to london specifically. it's not a protectionist thing, it's just... important.
 

Blackdown

nexKeysound
Jesus, this endless obsession over what is 'British.'

I mean whether it's jungle or grime or dubstep, you all. never. stop. talking. about. it.

It comes off as really, really weird after years of reading it (say, on dissensus).

It's like some sort of weird nationalistic streak on the level with sports fan mentality or something. Anyone who pays attention to these scenes knows where the british components, identity, sources, and singularities are, so why the need to obsess over it in public, in writing?

(EDITED to clarify that this was a generalizing comment, not one directed solely to Blackdown)

well, strange you should single out this element, but perhaps it's more prominant to you than me. the backdrop is this: think about living under two decades of chest-beating US hip hop and three decades or more of reggae/dancehall/ragga, both of which use a lot of location-based references ("Is Brooklyn in the house?!") to derive identity.

While the UK has had genres to be proud of, like the acid house movement, electronica, jungle and 2step, few of these were lyrical enough to be able to compete on lyrical identity terms.

Throw in UK hip hop, which with a few exceptions, relied on shameful parody of US flows, and we're not doing that well. Then along comes grime and establishes not just amazing new sonic production possibilities but a unique UK voice, finally, about 20 years after the Sugarhill Gang...
 

Blackdown

nexKeysound
see that's what i mean. grime is obviously based more on a notion of self-rightouness, and self-endulgence. and sure that also translates to a sense of patriotism. of coarse none of which are bad things. but most scenes are logically eager to grow. conversely 'club' music is more about trying to 'spread' or 'share' some sort of vibe.

The thing is the vast majority of dance music has absolutely no message or narrative ("put your hands in the aiyyyyahhh"). Like a politician who becomes PM but has no policies nor makes any changes, what is the point of bassline house becoming big like dance music only to have nothing to offer when it gets there? Talkin' loud and saying nothing...
 
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