Sadmanbarty's guide to Post-Grime London

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sadmanbarty

Well-known member
thirdform said:
the gloomy ambient pianos of course the curse of this, just like the ecstatic pianos curse of rave.

That doesn't mean pianos are invalid, yet there does seem to be something crossover in that instrument when integrated into electronic music and that doesn't help the london infrastructure.
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i sent reynolds a whole batch of non-piano drill because he was complaining it's too samey.

i should do the same for you.
 
luka

luka

Well-known member
this does a good job of making it all seem not samey or at least throwing up the contrasts within the sameyness it's how I picked up on how brilliant the showkey thing is
 
luka

luka

Well-known member
You definitely don't want to centre them like other people would if they were mapping the same territory. Carns work with them is definitely special though
 
T

thirdform

pass the sick bucket
sadmanbarty said:
i sent reynolds a whole batch of non-piano drill because he was complaining it's too samey.

i should do the same for you.
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I'm not saying it's all samey. I'm saying the timbre of the piano was a blessing and a curse. ambient is the perfect non-music for the 2010s. ultimately everything is samey in terms of street music if you've listened to enough jazz, afrofunk etc, something Reynolds doesn't have much affection for iirc.
 
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sadmanbarty

Well-known member
thirdform said:
I'm not saying it's all samey. I'm saying the timbre of the piano was a blessing and a curse. ambient is the perfect non-music for the 2010s. ultimately everything is samey in terms of street music if you've listened to enough jazz, afrofunk etc, something Reynolds doesn't have much affection for iirc.
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i understand what you're saying, i think it's genius.

my response was just a tangential thought.
 
luka

luka

Well-known member
I've been listening to the thing. It's a very valuable piece of music criticism that catalog underrated. He hasn't bothered trying to hear the implicit arguments but he'll learn
 
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sadmanbarty

Well-known member
luka said:
I've been listening to the thing. It's a very valuable piece of music criticism that catalog underrated. He hasn't bothered trying to hear the implicit arguments but he'll learn
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it begins with 'sweet like chocolate' and ends with 'murder them'. did i need to spell it out?!
 
T

thirdform

pass the sick bucket
ok explain the piano thing.

well seen as we're making a 67/goldie parallel.


then


the 1st one is not that good unless you are a fan of this stuff. i love it but because i have nostalgic memories of piano rave. whereas the 2nd dark one is consummate. i can still play it in a set today, if I ever dj'd.

and this one, when goldie was still part of that dark core matrix and he still hadn't carved out his arty farty nitch.


Ironically, the hardcore rave scenes best moment was when it got more squalid, not less.

With drill it won't get better because it can't be driven underground anymore.
 
S

sadmanbarty

Well-known member
pianos speak to the uninitiated. they're a universal. pizza express jazz club. elton john. freddie mercury singing to the world at live aid.

third's saying that when the underground latches onto them, there a degree of trying to reach to audience overground. that's why hardcore and drill are so obsessed with pianos. they're just one sound out of a batch of a million others. why do these genres fixate on them so much? why do they start to define themselves around a single (very traditional) instrument when you've got all the synths and samples you could ever dream of?

how's that third?
 
luka

luka

Well-known member
I found some important commentary on this thread here from two of my favourite voices
 
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