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Thread: Road Rap

  1. #916
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    Such blurring of boundaries between the individual- and collective- self simultaneously echoes the collectivism of the rave dream and is its moral antithesis. The divergent use of piano in rave and drill is telling. Though central to each genre, in rave the pianos were crisp, staccato bursts of utopian sunshine whereas in drill they’re viscous, nihilistic, murky and grey. This encapsulates one of Drill’s most revolutionary qualities. It’s managed to take the language of the last 30 years of UK dance music and re-contextualize it in a quasi-ambient context. Drum patterns that wouldn’t have sounded out of place in jungle, grime or UK funky become solipsistic and dissociative. They’re removed from their physical urgency and relevance, often to the extent that they’re absent or near-inaudible for large stretches of tracks. Bombastic, shrapnel sounding snare drums were utilized in UK dance music to coerce the body into contorting to onerous rhythmic demands. The pitter-patter snares in drill do no such thing. They’re textural; more reminiscent of rain gently falling on leaves than of the audio warfare of older genres.
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  2. #917
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    Had a feeling I was just saying something you'd already said

  3. #918
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    I keep trying to determine how to explain the evolution rhythmically to connect from past to present so to avoid the writing off of Road Rap en totale b/c no offense to Luka but he rightfully bemoans the flatness of it especially as someone who is raised by the electricity and the vividness of 'hardcore continuum' influences MCing, the jungle MCs, the Garage MCs, Grime, etc.... And how that dovetailed into these newer MCs because the flatness is still there in the vocal delivery, just not rhythmically. In fact the MCs who try injecting something more vocally stimulating fail in the field, it's a mutation that can't thrive.

    I remember years ago when Giggs was first doing press circulation he said about Grime "It's a lot of guys yelling anything" and while obviously Giggs later adapted his career to court grime's audience to keep himself going, it makes sense that his approach to delivery that was always level and sweeping as opposed to spiking or dipping. That same levelness has mostly maintained with a few exceptions in the current era (MizOrMac from Harlem Spartans in particular is someone you hear a lot of vocal caterwauling. Unknown T to a much lesser degree but enough)

    I think maybe the key element is (not to harp on about it) the 808 basslines because they're so prominent and strong and florid, not even just melodic. In the US they're doing a lot of glides with the 808 bass bubbles but here they're coming in very rapid and with a strong audible melodic sense. It doesn't make sense to compete with that constant dynamic riding, so instead they kind of occupy a flatter rhythmic plane and cut along the track, not into it.

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  5. #919
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    Imagine those 808s like an acoustic bass or something. It works to move around and slip past, not go up and down against it.

    Going back over the various periods of Carns Hill it's something I've truly come to appreciate about his production style. It's initially very very American-influenced for sure but it's got a sense of sweep and flooding past the moment into the senses. The rappers aren't solid presences, they're dissolving and phantomic as they need to be because it's not about attraction of attention. Then it was hiding in the phantom, now it's barking behind the mask, always constantly eluding.





    What's the name of that aborted Burial album again, not to misuse Barty's analogies? "Forbidden Siren"?

    It's these mutations of US ideas into UK ideas, supposedly what the nuum is all about. Atlanta, The South of the US and all its splendor is still new to UK culture really, until 2013-14 most of the rap they've digested and internalized is East Coast stuff but now nearly all the East Coast rap is indebted and subservient to Atlanta so you have these new dynamics but done in a way where it's meant to adapt to previously set paces and tempos and to lineages that the US South has stomped out of itself (such as any trace of dancehall influence; that's why only Drake and Tory Lanez do that, it's a Canadian thing, Jamaica hasn't had any real presence in US Black Culture in rapidly approaching a full decade. And even THEN now they pivot hard to Africa because that has somehow overruled Jamaica's credibility (having a larger audience to court helps naturally)).

    In nothing short of a few years you watch Carns go from



    to the LD tune to


  6. #920
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    Once I got my head around horizontality (of vocals) as a feature, as the whole point, the music suddenly made sense.

  7. #921
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    Unknown T doing a funky house tune with crazy cousins or whoever literally called throwback feels like more than God level synchronicity though. It feels like market research.

  8. #922
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    11/10/18

    Quote Originally Posted by sadmanbarty View Post
    it's a bit of a throwback,

    9 days later...




    godly syncronicity

  9. #923
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    With a big billboard poster for it right by your house to boot

  10. #924
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    12/11/18

    Quote Originally Posted by sadmanbarty View Post
    In 18 months time we're going to look back at unknown t as proto-[genre name].

    it'll be a more muscular sound than drill, more carnival, an mc led uk funky.

  11. #925
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    unknown bar-t

  12. #926
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    some true talks from the drillminister

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