Shuffling / House Music / Cutting Shapes
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- a 1000 tunes and not 1 anthem are you really from the ends? attractions including a magician bore to the floor bumming radford on twitter buy my japanese internet house 12 darkside donk deadout didn't they do this in 1986? dominic did a tefl course dominic does streetslang esperanto juggalo even trilliam got bored of this fun with balloons i write for the guardian id rather play fifa im dom indie nuum just house innit know the bubble middle class 30 somethings talk house nuff nuum for continuum radford is older than my dad show me the dance top knot trilliam was right trilliam was wrong upgrunt house who the fuck is mark radford words hurt
Nice one whytea, big mix
Trilliam here it is:
http://boilerroom.tv/recording/melo-d-b2b-theo-lewis-b2b-decimal/
What were people sayin on twitter?
Wow, Boiler Room crowds suck innit
Trilliam here it is:
http://boilerroom.tv/recording/melo-d-b2b-theo-lewis-b2b-decimal/
What were people sayin on twitter?
Wow, Boiler Room crowds suck innit
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owengriffiths
Owen
Well you can rest safely now, Golders Green is definitely inside the bubble
lol i spent a whole afternoon shuffling on golders green high st a couple weeks ago with a friend who lives there. got a few confused looks from the local jewish mothers doing their shopping, but when 'wet dollars' came on a couple guys passing by let us know they loved that track
Corpsey: wicked blog! Though I do think as of yet this stuff is still much more about escaping the shittyness of everything than plunging into the darkside. We'll see how long that lasts...
Banshee: haha, wicked! Out to the Jewish mum massive, your time. That little anecdote about the guys liking Wet Dollars is great, that's the amazing thing about the UK, and why despite life being pretty sweet in Japan I'm ifteb jealous of everyone at home. The fact that dance music is actually a part of people's lives, youc can can hear it coming from windows and cars, the big tunes chart sometimes, and chatting to young (and older people of a certain generation of course, nuff great cabbie chats about hardcore raves) people, everyone has a certain basic shared knowledge of the history, the tunes and sounds they loved, raving memories and stuff. In japan the scene as a whole is very very sub-cultural, it doesn't relate to the vast majority of people's lives, and you find yourself constantly preaching why it's all great and important to people who dot really get it. That and the fact that the biggest rave I went to had just over north of 200 people and people don't know how to brock out lol. Seems like the UKs in a golden age for raving right now, I'd make the most of that if I was there!
Re: Aaron vybe. Love love that mix obviously. But I can't help thinking I wish it was at 124 bpm rather than 130. Like would you be able to create that energy with those tunes at that speed? The thing is, the one thing deep tech has which garage, bassline, grime, Dnb, jungle etc don't is that chugging slowness. Right now I'm all about the intensity of slow, rather than the intensity of fast, and I'm more interested in the tracks that explore BANG which chugging along in the low 120s. Simon Reynolds once said that anyone can break a genre's conventions by making a track at a wildly different speed for example, but the real talent lies in expanding the possibilities of that genres conventions. For me that mix is like a gully, wicked garage mix, but would actually be a more interesting experiment, and quite possibly sound even darker as a year out, slow deep tech set
Banshee: haha, wicked! Out to the Jewish mum massive, your time. That little anecdote about the guys liking Wet Dollars is great, that's the amazing thing about the UK, and why despite life being pretty sweet in Japan I'm ifteb jealous of everyone at home. The fact that dance music is actually a part of people's lives, youc can can hear it coming from windows and cars, the big tunes chart sometimes, and chatting to young (and older people of a certain generation of course, nuff great cabbie chats about hardcore raves) people, everyone has a certain basic shared knowledge of the history, the tunes and sounds they loved, raving memories and stuff. In japan the scene as a whole is very very sub-cultural, it doesn't relate to the vast majority of people's lives, and you find yourself constantly preaching why it's all great and important to people who dot really get it. That and the fact that the biggest rave I went to had just over north of 200 people and people don't know how to brock out lol. Seems like the UKs in a golden age for raving right now, I'd make the most of that if I was there!
Re: Aaron vybe. Love love that mix obviously. But I can't help thinking I wish it was at 124 bpm rather than 130. Like would you be able to create that energy with those tunes at that speed? The thing is, the one thing deep tech has which garage, bassline, grime, Dnb, jungle etc don't is that chugging slowness. Right now I'm all about the intensity of slow, rather than the intensity of fast, and I'm more interested in the tracks that explore BANG which chugging along in the low 120s. Simon Reynolds once said that anyone can break a genre's conventions by making a track at a wildly different speed for example, but the real talent lies in expanding the possibilities of that genres conventions. For me that mix is like a gully, wicked garage mix, but would actually be a more interesting experiment, and quite possibly sound even darker as a year out, slow deep tech set
Nice piece man (Corpsey). Off the top of the head is exactly what blogs are for IMO. I do find the narrative of bleak Britain a little forced, but then, I'm living in Shanghai thousands of miles away so wtf do I know 
.
Me and Datwun just had a little chat about this. I'm fully behind the pace of that set, but get what he's saying about the slow chugging thing. I wouldn't want the tunes in the Vybe set to be slowed down at all, there's such ravey-energy there and I've been missing that. The rest of the scene is full of 120-125 sets, it's not like there isn't a glut of them - there's space for this. Besides, the KG3 stuff is produced in that BPM range, it's just Aaron Vybe likes to pitch them up.
I think the Grime thing is being overplayed. What I hear is an amalgamation of different influences that run the gamut of UK dance music history. From, as Corpsey says in his blog post, techstep dnb, through to house, garage, jungle and mining of old classics. It's easy to forget that Grime borrowed heavily from the aesthetics of techno with it's raw, abrasive sounds and textures. That we're hearing some of the bass lines taking a nastier turn, is as much an indication of these influences being filtered back in through techno and tech house as it is of direct Grime influence, although that of course can't be discounted.
Anyway, I'm much more interested in just letting things 'be', rather than trying to entertain any thoughts of what 'should be'. Things are constantly in a state of flux and efforts to preserve, manage or contain a sound will inevitably end in failure or a creative dead-end. There's no choice but to ride the wave until it reaches it's natural conclusion and that's what makes it so enjoyable.
.Me and Datwun just had a little chat about this. I'm fully behind the pace of that set, but get what he's saying about the slow chugging thing. I wouldn't want the tunes in the Vybe set to be slowed down at all, there's such ravey-energy there and I've been missing that. The rest of the scene is full of 120-125 sets, it's not like there isn't a glut of them - there's space for this. Besides, the KG3 stuff is produced in that BPM range, it's just Aaron Vybe likes to pitch them up.
I think the Grime thing is being overplayed. What I hear is an amalgamation of different influences that run the gamut of UK dance music history. From, as Corpsey says in his blog post, techstep dnb, through to house, garage, jungle and mining of old classics. It's easy to forget that Grime borrowed heavily from the aesthetics of techno with it's raw, abrasive sounds and textures. That we're hearing some of the bass lines taking a nastier turn, is as much an indication of these influences being filtered back in through techno and tech house as it is of direct Grime influence, although that of course can't be discounted.
Anyway, I'm much more interested in just letting things 'be', rather than trying to entertain any thoughts of what 'should be'. Things are constantly in a state of flux and efforts to preserve, manage or contain a sound will inevitably end in failure or a creative dead-end. There's no choice but to ride the wave until it reaches it's natural conclusion and that's what makes it so enjoyable.
Yeah, as I say, massively feeling it, but would find it even more interesting if it stuck to the deep tech tempo...
Re: not saying how things should be - isn't that what DJing, track making, and music fandom like blogging, posting in forums etc all about? Or at least a big part of it. There is no natural conclusion, that mix is one DJ saying how he thinks the sound should go, and other DJs are making their different statements. I mean obviously there's such things as loosing battles and imtransience (people still making dubstep lol), but to a large part isn't it all promoting the stuff you like, pushing things in a direction you rate, and slagging off the stuff you don't like. You gotta have opinions or else what's the point innit!
That said, I'm not saying the set should be slower, just for me that making deep tech as hard as possible is more interesting when it still sounds like deep tech.
Re: not saying how things should be - isn't that what DJing, track making, and music fandom like blogging, posting in forums etc all about? Or at least a big part of it. There is no natural conclusion, that mix is one DJ saying how he thinks the sound should go, and other DJs are making their different statements. I mean obviously there's such things as loosing battles and imtransience (people still making dubstep lol), but to a large part isn't it all promoting the stuff you like, pushing things in a direction you rate, and slagging off the stuff you don't like. You gotta have opinions or else what's the point innit!
That said, I'm not saying the set should be slower, just for me that making deep tech as hard as possible is more interesting when it still sounds like deep tech.
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120-125 bpm is optimal for this stuff I guess (especially for shufflers) but the radio compression/lower bitrate, Perch and all the 90s samples make the Strange Static show work really well at 130 (+ KG3 is a genius). Sounds like some kind of londonized pirate radio version of house&bass with a more unique character than "mainstream" deep tech. I mean, listen to Cajmere's "Too Underground For The Main Stage" album...Audio Rehab material Don't get me wrong, I love this music but I can see why it's unpopular with tastemakers/ big djs, it simply hasn't brough any radical innovation yet, which is necessary in such an overflooded market. That being said, Carnao on Defected, Gone in the morning played by MK...the break through is bound to happen.
Btw still no consensus on the name? "House" and "deep house" seem to be lot more widespread tags than "deep tech"
Don't get me wrong, I love this music but I can see why it's unpopular with tastemakers/ big djs, it simply hasn't brough any radical innovation yet, which is necessary in such an overflooded market. That being said, Carnao on Defected, Gone in the morning played by MK...the break through is bound to happen.Btw still no consensus on the name? "House" and "deep house" seem to be lot more widespread tags than "deep tech"
HanlowSound
Member
Been reading this thread for a long while now and thought it was time to contribute! Also being a newbie the soundcloud embeddeding just confused the shit out of me but I'l post the mix tracklist instead
Some unreleased stormers in this nightshift mix, always helps having the tracklist
1. Carnao - Lose It (Unreleased)
2. Durty Fresh - Cocaine Cowboys (Plus Recordings)
3. Louie Anderson - Meow 2 (Forthcoming) (Audio Rehab)
4. Blaise - Try Again (Unreleased)
5. Jus Nowhere - Wrapped Up (Silence In Metropolis)
6. Tapesh & KANT - Ey Yo (New State Music)
7. Carnao - La La (Unreleased)
8. Hugo Massien - Myndgamez (Forthcoming) (Audio Rehab)
9. Larse - So Long (Nice7 Remix)
10. X5 Dubz - Making Love (Unreleased)
11. Carnao - Everybody (Unreleased)
12. Mark Radford & Lance Morgan - Rock A Bye Baby (Plus Recordings)
13. Riaz Dhanani - Ain't No Biggie (Quit Sampling Biggie Edit) - FREE DOWNLOAD
14. AlunaGeorge - Best Be Believing (Shadow Child Remix)
Also not sure who this is person wise but feel like they used to produce dubstep as have some connection to hatcha/rs4, this is a banger though
Some unreleased stormers in this nightshift mix, always helps having the tracklist
1. Carnao - Lose It (Unreleased)
2. Durty Fresh - Cocaine Cowboys (Plus Recordings)
3. Louie Anderson - Meow 2 (Forthcoming) (Audio Rehab)
4. Blaise - Try Again (Unreleased)
5. Jus Nowhere - Wrapped Up (Silence In Metropolis)
6. Tapesh & KANT - Ey Yo (New State Music)
7. Carnao - La La (Unreleased)
8. Hugo Massien - Myndgamez (Forthcoming) (Audio Rehab)
9. Larse - So Long (Nice7 Remix)
10. X5 Dubz - Making Love (Unreleased)
11. Carnao - Everybody (Unreleased)
12. Mark Radford & Lance Morgan - Rock A Bye Baby (Plus Recordings)
13. Riaz Dhanani - Ain't No Biggie (Quit Sampling Biggie Edit) - FREE DOWNLOAD
14. AlunaGeorge - Best Be Believing (Shadow Child Remix)
Also not sure who this is person wise but feel like they used to produce dubstep as have some connection to hatcha/rs4, this is a banger though
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What I really meant was when people try to impede developments in the name of preservation/protectionism of an imagined ideal, rather than just do their thing and have their preferences. It's a fine line between the 2 and too often people get caught up in opposing the other rather than focusing on their own shit.
Though the more I've thought about it the less clear that distinction seems.
<a href="" title="1780898_10201632030667863_909285105_n by DJLDJL, on Flickr"><img src="https://farm6.staticflickr.com/5097/13472553074_8d617f9d05_o.jpg" width="960" height="354" alt="1780898_10201632030667863_909285105_n"></a>
wise
bare BARE BONES
Few free downloads:
https://soundcloud.com/creativeminduk/this-house-is-our-home-free
https://soundcloud.com/deep-freeze-records/my-bassline-apollos-got-some
https://soundcloud.com/jackndanny/nobody
https://soundcloud.com/nrky/g-hitz-1
https://soundcloud.com/majestydj001/born-to-die
https://soundcloud.com/riazdhanani/riaz-dhanani-aint-know-biggie
https://soundcloud.com/creativeminduk/this-house-is-our-home-free
https://soundcloud.com/deep-freeze-records/my-bassline-apollos-got-some
https://soundcloud.com/jackndanny/nobody
https://soundcloud.com/nrky/g-hitz-1
https://soundcloud.com/majestydj001/born-to-die
https://soundcloud.com/riazdhanani/riaz-dhanani-aint-know-biggie