woops
is not like other people
Where? At raves? On headsets? Serious question
Glitchcore? Cybergoth? Post-hardcore? Breakcore? Weirdcore?
- Thread starter gnasher
- Start date
serialsurprise
Member
At shows. At the band's show, usually at small clubs/bars. Same kinda clubs that book local hardcore/metal bands. I went to a few warehouse parties over the summer with these kinds of artists, and a party under a bridge that had ravey vibes. Machine Girl brings a crowd wherever they play and are throwing massive warehouse parties in New York.
The events I've been to with this music, I wouldn't call them full on raves, not like the warehouse raves I went to growing up in the Bay Area, but people were fucking into it. Dancing hard and moshing. While tangentially related to dance music culture, its not really that. A lot of these artists don't DJ, they play their own material live. Its not really DJ/dance culture, its more so people into various strands of hardcore/extreme/noise/experimental who fuck with electronic music and are reconnecting with the ravey music they heard as children in video games and anime, and y2k trance.
wektor
Well-known member
From my perspective (whch might not be entirely accurate) for the pastfew years it's been and still is the sonic kamp of GHE20G0TH1K really.
I would not say it is experimental nor extreme at this point (as it's been quite formulaic for a few years already), I don't think it really is a take on the noise approach (ie. giving agency to the system, focus on feedback, so on), even if, it would be closer to hair stylistics/violent onsen geisha rather than gearhead noise.
I suppose it does come out of happy hardcore/core music in some ways but I would become very surprised if I heard a breakcore selection that would be beyond venetian snares/fast rym core dance moosic at that kind of night. There is only so many footwork remixes of 2000s pop hits that I can handle.
I'm all more than happy for people trying to break their DAWs but lately it has not been too surprising when it comes to the results I'm afraid.
wektor
Well-known member
Alternatively: I am upset because that music claims to draw on hardcore, gabber and breakcore but in 90% of the cases I have experienced it is only doing so in a rather superficial way.
At the same time I think the irenthusiasm about it (that I see among some of my zoomer fwends) might shine very brightly if they decide to do a little bit of research, and I do hope that happens.
I would say one of the main issues here is the music is mostly passed around in spotify playlists which can be very hit and miss in terms of availability of some records.
At the same time I think the irenthusiasm about it (that I see among some of my zoomer fwends) might shine very brightly if they decide to do a little bit of research, and I do hope that happens.
I would say one of the main issues here is the music is mostly passed around in spotify playlists which can be very hit and miss in terms of availability of some records.
woops
is not like other people
just tried googling this but all that came up was call centre jobs, possibly because you have to work there all night.
Simon silverdollarcircle
Well-known member
When I was a teenager I listened to all sorts of rubbish.
wektor
Well-known member
I think this classifies as weird and cyber. gotta give bonus points for 03:23, have not heard that groove utilised in a way that made me bop me since like 2016
note it does use a collaged vocabulary, but the space it creates with it is its own, it does have a morphology. assumes you have memory that goes back further than two downbeats.
forclosure
Well-known member
again i fall under only 1 of those classifications and i was more approciable willing to give the stuff gnasha was on about than others lol
forclosure
Well-known member
there's "online raves/festivals" held on sites like twitch
forclosure
Well-known member
yep exactly this @serialsurprise and there's also the added layer that amongst some of the queer folk i know this music goes hand in hand with this desire to "live out the childhood/teenage years that they never had" their words not mine
forclosure
Well-known member
this is the kind of track where if used in a mix well it could work but i also think it's got more of a sense of "funk" to it than some of the other tracks i've seen shared in here
this was a little faster i could hear this in a gnarly sounding techno mix
serialsurprise
Member
GHE20G0TH1K helped birth the "deconstructed club" (Arca, Amnesia Scanner...) sound along with nights like Janus in Berlin. similar to DJs in the early 90s mixing techno and dub with sped up hip hop breaks giving birth to the production style of jungle, the live mixing style at GHE20G0TH1K (cutups of edits of ghetto club tracks from around the world) became the confrontational sound collage production style known as deconstructed club. both have their origin in DJ culture, in live mixing and audience response.
this is distinct from the Machine Girl/Fire Toolz crowd. First, GHE20G0TH1K was mostly non-white playing global club musics made by non-white people, whereas Machine Girl are white and I think come from a mostly white, punk subculture which in the internet era does not distinguish "rock" from "electronica." this is a big thing the internet has done, and I think Death Grips were influential here. Nobody cares whether something is rock, or rap, or rave or whatever, as long as it slaps. All those styles are fed through Ableton FX chains anyways. People just wanna hear a bangin beat with someone screaming over it, whether its an 808, an amen, rap or metal it doesn't matter. That's what Death Grips and Machine Girl manifest: hardcore energy with electronic production. And it resonates because most young ppl hear everything online first on headphones, before exposure to any kind of living music scene, so rap/electronic production makes sense because it sounds better, but genre distinctions between rock and rave are irrelevant.
In a way this "movement", if you can call it that, is a queer reclamation of punk/hardcore culture via electronic sound and performance, creating a sound which appeals to young disaffected people seeking out exciting new music, mostly online, sometimes irl. But it is not a club scene, like Janus or GHE20G0TH1K.
Also I'm not saying the music is "extreme" or "experimental," i don't really care what qualifies. But in my experience the people who make this music, listen to it and party to it are very well versed in extreme music culture going back decades. well maybe more so the people making it than those listening. depends on the person obviously. I agree it is certainly not noise music. However, a lot of these artists, where I live, are put on by noise heads who run spaces and have been playing/booking shows for decades. At these shows its not all "post internet music." There's a noise act, then a live techno thing, then DJ, etc. Its all over the fucking place and that's what bothers me about it, there's no chance to build a real vibe/culture. Its extremely open minded , just about anyone can get booked at these gigs, which is cool, but how do I know what drug to take when its harsh noise one second and footwork the next? That's my personal gripe. and that's where its not really club or rave culture. there's some hedonism, but the drugs and the party take a back seat to the music, music as art, respect for the individuality of the artist and their sound/aesthetic/message.
That's what I crave about rave culture which I find hard to fine now, is submission to the party/vibe/drug/sound over individual artist vision. I don't want to look at a stage if there's techno playing. I want it to be pitch black, with a strobe, no performer in sight, and everyone is far too gone to string together a coherent sentence. Dance becomes an easier way to communicate than cumbersome words.
woops
is not like other people
you should have been there in '92
serialsurprise
Member
hahaha yup! nothing is like 92. at least from what ive heard, and the videos ive seen nothing comes close today.
but there are still parties like this. you just gotta know where to look. when i was growing up in Oakland there were tons of warehouse parties. they were called UGs if they were in unlicensed warehouses, renegades if they were totally illegal squat parties out in the cut. a lot of hhc, gabber, dnb and dubstep. music was aight but the vibe was thick. kids rolling balls, cutting shapes, fog and lasers. saw some crazy shit. good times. been looking for that vibe since i moved away.
been to some parties in Berlin that came close. club scene there is amazing, a whole world unto itself.
forclosure
Well-known member
absolutly bang on the money about the Machine Girl/Death Grips thing ESPECIALLY Death Grips and the idea that as long as it "slaps" that's the only thing that matters
forclosure
Well-known member
think alot of people now are embarassed by the fact that they were into that lot hard at one point in their lives(the moment when Death Grips fans started thinking a little too highly of them was after Yeezus came out) but they're still some who are still really dedicated to them
the funniest thing to me is that in the early days when some people were sweating and rambling profusly about Exmilitary only member anybody was familiar with was Zach Hill cause he was in Hella and did his own super technical dense music nowadays Death Grips seems to be the only thing people know him for
the funniest thing to me is that in the early days when some people were sweating and rambling profusly about Exmilitary only member anybody was familiar with was Zach Hill cause he was in Hella and did his own super technical dense music nowadays Death Grips seems to be the only thing people know him for
forclosure
Well-known member
i mean right here with you @serialsurprise don't like gabber and was never all that into dubstep but yeah the warehouse/squat party thing is what i'm up for but fuck knows if i'm able to know anybody whose connected in London especially post-covid
I'd like to go Germany again and be able to check out the club shit but as i've stated before do not care for Berghain
woops
is not like other people
seriously though @serialsurprise hardly any of us were "there" in 92. i myself was 12 years old in 1992. i think what you referred to in your first post is perhaps a combination of the forum's ill "reputation", and an apparently good record by Zomby called "where were you in '92" which came out in 2008.