ok, so i've been liking a few bits of dubstep lately
- Thread starter stelfox
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Leo
Well-known member
whose show, and what's the date on that podcast? i just checked itunes and found 16 rinse shows available.
let us know, i for one am eager to finally hear this funky house that's got everyone's knickers in a twist.
YES. My crossfader is getting bent from slamming it around mixing this one.
Benga is the biggest producer on road - dubstep OR grime.
whose show, and what's the date on that podcast? i just checked itunes and found 16 rinse shows available.
let us know, i for one am eager to finally hear this funky house that's got everyone's knickers in a twist.
If you are talking about that fucking Bodyrox track that I hear on every advert on Rinse, Kromestar has just done a massive remix of it.
Check N-Type's last show (April 1st).
Grievous Angel
Beast of Burden
Look, I don't care what anyone says, Loefah is GOD. Mala is the greater artist and the better producer but there's something so deeply funky about Loefah stuff that I just love it. I lap it up.
I thought the K9 album was unformed other than the singles - they really sounded like he hadn't really finished it. In fact, I thought there was evidence of writer's block all the way through it. Dull rhythms, poor melodies, no bass science, and worst of all, didn't really get the best out of Space or the other vocalists. But so what. It's just an album. There's plenty more albums in him.
Was listening to the Autonomic Computing mix in Copenhagen last week as it happens, excellent of course. I am as ever most impressed with the fact you got hold of it so early - I had Disko for months and months and didn't do anything with it (though there's a bit of it on Sufferah 2).
Wasn't quite sure about the last track on it but it was very late.
Yes - Crunked Up - I can't work out which Mala tune it goes with best. I spent a few hours last night experimenting with it and fully expect to put more time into it. Wonderful stuff. He's a real talent. I'm not familiar with any of the grime stuff (and Newstep was, well, rubbish really) but he's just fab. I tried to sign a few pieces but got nowhere. Should work with some vocalists.
Gek - surely you don't dislike Tortured? That's where his wobbly stuff comes into focus. I agree he should get out of the wobble rut, they're not even that much fun to mix with.
BTW - B is boring. So's Chainba. Changes is pretty good but only in the mix; Forgive is a bit dull really. Blue Notez and Hunter are so good they're evil.
I thought the K9 album was unformed other than the singles - they really sounded like he hadn't really finished it. In fact, I thought there was evidence of writer's block all the way through it. Dull rhythms, poor melodies, no bass science, and worst of all, didn't really get the best out of Space or the other vocalists. But so what. It's just an album. There's plenty more albums in him.
Was listening to the Autonomic Computing mix in Copenhagen last week as it happens, excellent of course. I am as ever most impressed with the fact you got hold of it so early - I had Disko for months and months and didn't do anything with it (though there's a bit of it on Sufferah 2).
Wasn't quite sure about the last track on it but it was very late.
Yes - Crunked Up - I can't work out which Mala tune it goes with best. I spent a few hours last night experimenting with it and fully expect to put more time into it. Wonderful stuff. He's a real talent. I'm not familiar with any of the grime stuff (and Newstep was, well, rubbish really) but he's just fab. I tried to sign a few pieces but got nowhere. Should work with some vocalists.
Gek - surely you don't dislike Tortured? That's where his wobbly stuff comes into focus. I agree he should get out of the wobble rut, they're not even that much fun to mix with.
BTW - B is boring. So's Chainba. Changes is pretty good but only in the mix; Forgive is a bit dull really. Blue Notez and Hunter are so good they're evil.
dubstep has been at 80bad/20good Pareto levels for almost a year and a half.
there just aren't any "wow" sets anymore...it has its moments but they are pretty few and far between.
i think it comes down to how pulling 9, skream, loe, and mala away to do club nights and one offs has kept them out of the studio at a time when "quality control" (this old point was very OTM) relied on their constant output.
its jungle 2.0 in many ways...sadly.
there just aren't any "wow" sets anymore...it has its moments but they are pretty few and far between.
i think it comes down to how pulling 9, skream, loe, and mala away to do club nights and one offs has kept them out of the studio at a time when "quality control" (this old point was very OTM) relied on their constant output.
its jungle 2.0 in many ways...sadly.
benjybars
village elder.
that's just blatantly not true though...
UFO over easy
online mahjong
sodiumnightlife
Sweet Virginia
Pevrelist's set on sub fm was an all "WOW!" affair. Amazing stuff.
leamas
Well-known member
Similarities:
Begins as roughly produced but inspired urban music (grime) with dub and dancehall influence, driven by MCs.
'Intelligent'/dark strains of the music appear and drive away core audience and girls. Scene divides into 'forward style' vs 'grime' (read drum and bass vs jungle). Small shoreditch club hosts seminal parties (metalheadz @ bluenote, forward @ pp). MCs toned down (cleveland watkiss...)
Hadouken = Bomfunk MCs ("I'm a freestyler")
Bristol sound an important feature of the scene. (Don't hold your breath for live dubstep acts, it's inevitable - first one wins mercury music prize).
Key producers control scene through dubplate racketeering but prevent sound from evolving. Also a symptom of slightly inward looking audience. It's a detail but if Changes/Forgive came out it 2 or 3 years after it was written and still sounds current, it's not necessarily a good thing. Same thing was true of loads of Dillinja tracks back in 97-99 cos he was so prolific and people kept playing them on dub but ultimately it held back the sound.
Differences:
To some extent, less of a monopoly of good tracks amongst the chosen few. Early acceptance of US producers.
Um...
Producers like Shackleton are still keeping it alive for me, cos they do the music with a sense of context/humour, and imo cross genre collaborations (eg ricardo) are all good because they keep the music outward looking and progressive. Otherwise dubstep is getting towards the No-U-Turn stage, when D'n'b went a little bit up its own arse.
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Actually, I didn't bother posting my caveats, but that Peverlist one was really good. It's a part of the 20% though. Easily, the best stuff out of Bristol I've heard, and I've REALLY NOT FELT most of the Headhunter things I've heard.
The Rinse N-Type set with the Cali guys (Matty G) was decent also, and honestly, a lot of the N-Type sets have been boring the hell out of me recently, despite the Gangster Flaps talk and all that...
I can't be bothered with checking SubFM, but that's just a function of my personal time and work. It's not like I dont want to support it, but its not feasible to sit through stream after stream. If someone wants to point to a specific set I will check it. I'm sure Conspira, BunZero, and LWiz probably rep good stuff, but again, no time...
That Mala / Poax Shake the Demons thing is the only No Contest Rewind I've heard recently.
The Rinse N-Type set with the Cali guys (Matty G) was decent also, and honestly, a lot of the N-Type sets have been boring the hell out of me recently, despite the Gangster Flaps talk and all that...
I can't be bothered with checking SubFM, but that's just a function of my personal time and work. It's not like I dont want to support it, but its not feasible to sit through stream after stream. If someone wants to point to a specific set I will check it. I'm sure Conspira, BunZero, and LWiz probably rep good stuff, but again, no time...
That Mala / Poax Shake the Demons thing is the only No Contest Rewind I've heard recently.
Actually my weak jungle 2.0 reference was more along the lines of what I've seen in the audience and promoter relationship building stateside and what I can grasp of the business end in London from a world-away viewpoint.
I think the idea of Dubplate Racketeering is absolutely wrong though. My guess is there wasnt' any money or motivation to release Changes, Steppers Vibe (Persy!), Conference, Voodoo, or whatever two years ago. Practically no one was listening back then.
There really is this trap that is pretty hard to avoid between keeping dubs to make the live acts worthwhile, and the loss of studio time I mentioned earlier. I think Distance holds some of his dubs exclusively, and I personally think that's brilliant.
I think the idea of Dubplate Racketeering is absolutely wrong though. My guess is there wasnt' any money or motivation to release Changes, Steppers Vibe (Persy!), Conference, Voodoo, or whatever two years ago. Practically no one was listening back then.
There really is this trap that is pretty hard to avoid between keeping dubs to make the live acts worthwhile, and the loss of studio time I mentioned earlier. I think Distance holds some of his dubs exclusively, and I personally think that's brilliant.
leamas
Well-known member
I don't have a problem with the big dj-producers keeping their own tunes on rotation -they gotta sell them after all. but releasing stuff that's old, and been heard out a lot, and keeping fresher stuff on dub for ages really stagnates the scene. it kills it for all the djs who support the sound by buying the vinyl.
Agree with whoever said it needs kode, dmz to be in the studio keeping things interesting.
Leo
Well-known member
is that the feb 27 subfm show with wedge?
sodiumnightlife
Sweet Virginia
Yeah it is, though i've just got pevrelists hour set, not the bits with wedge.