Grievous Angel

Beast of Burden
is there any precident at all for that music? Maybe something you might hear deep in a live Shaka set, or some out there On-U bits but even then it's built on a different rhythmic foundation.
I quite agree. Even if I'm not that taken with all the Coki wobblers, he is hugely original.

I'd actually like to hear what a mix of just Coki bassline tunes from Haunted through to The End would sound like - to reveal the progression.
Yeah, I fancy doing an all Coki set, it could be really fun... especially if you had Trim over the top...
 

noel emits

a wonderful wooden reason
Can you hint at what's on the Pinch record Nick?

Chamber Dub?

Boots?

I'll understand if you'd prefer to keep it quiet. I know it's going to be ace anyway.

Sorry, that's a bit cheeky. I am very much looking forward to this album.
 
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mms

sometimes
I find the anti-Coki sentiment a bit strange. I suppose he could do with being a bit more selective with what he releases, and he does have quite a few riffy tracks that are obviously based on the same template, but really is there any precident at all for that music? Maybe something you might hear deep in a live Shaka set, or some out there On-U bits but even then it's built on a different rhythmic foundation. It's really original and unique I think, and that's often where you get followers coming in.

I'd actually like to hear what a mix of just Coki bassline tunes from Haunted through to The End would sound like - to reveal the progression.

it's just he's stuck too much to a formula, his tracks are tracky tracks feat very little apart from his riffy riffing, compared with two coki tracks from a couple years back - as paul has pointed out - even over two big slabs of vinyl it's a much more boring record than early stuff, with alot less going on.

to counteract sounding like a boring naysayer or whatever, pinch is bound to be amazing. the guy is fantastic, the new single is great, i was lucky to hear some of the vex'd new bits a while back. they're really really special too.very different and amazing, even boxcutter, who i've previously thought was a bit of a mixture of being too stiff and being too squarepusher of dubstep has pretty much found his step on his new one.
as for the new kode 9 mix of skeng - thats just ridiculously good.
 
Can you hint at what's on the Pinch record Nick?

All in good time! Although I will say that, as hinted in the interview in Woofah, its a 2-CD set, one being a vocal version of the album and the other instrumental.

and for anyone curious to know, the release date is currently scheduled for 2nd Nov (on Tectonic, not Planet Mu).

it's just he's stuck too much to a formula, his tracks are tracky tracks feat very little apart from his riffy riffing, compared with two coki tracks from a couple years back - as paul has pointed out - even over two big slabs of vinyl it's a much more boring record than early stuff, with alot less going on.

I agree - i still think that 'Officer/Mood Dub' is one of the greatest dubstep twelves ever. they're complete pieces of music, beautifully structured, completely satisfying. The tracky stuff is okay up to a point and i agree nobody else can achieve that coki 'swing', but based on those earlier tunes it seems a bit lazy, like he made a great backing track but never made that extra effort to truly compose.

even boxcutter, who i've previously thought was a bit of a mixture of being too stiff and being too squarepusher of dubstep has pretty much found his step on his new one.

Yeah, Barry's new album is fucking lush, really opening up the sound...those 'Analord' style tracks were a surprise too!
 

Blackdown

nexKeysound
but really is there any precident at all for that music?

to me, i've always seen this analogy between coki's emphasis of the bassline and wiley's devil mixes, except that wiley dropped his strings down from the mid to the bass and coki went the other way, bringing the bass up from the sub to the bass/mid. either way it's an aesthetic choice, to make that element so over dominant that it becomes the whole tune.

interesting idea in both cases, i just dont want to hear it in every tune i hear when i go out.
 

Blackdown

nexKeysound
Vocals as in MCs or singers? Go onnn, give us some hints.

Pinch "Underwater Dancehall" (Tectonic)

CD1

1. Brighter Day (originally Qawaali) ft Juakali
2. Get Up (formerly Whirl) ft Yolanda
3. Airlock
4. One Blood, One Source ft Rudey Lee
5. Widescreen
6. Gangstaz ft Juakali
7. Angels In the Rain ft Indi Khur
8. Battered ft. Yolanda
9. Trauma ft. Juakali
10. Lazarus

CD2

As above but without vocals.
 

mms

sometimes
Yeah, Barry's new album is fucking lush, really opening up the sound...those 'Analord' style tracks were a surprise too!

not a good one, no one needs something that sounds derivative of analord but similar, to finish of an lp where he's started to develop his own style, dunno why he did that, it's back to the old idm thing again, ppl trying to sound like better people instead of doing their own thing well.
 

noel emits

a wonderful wooden reason
to me, i've always seen this analogy between coki's emphasis of the bassline and wiley's devil mixes, except that wiley dropped his strings down from the mid to the bass and coki went the other way, bringing the bass up from the sub to the bass/mid. either way it's an aesthetic choice, to make that element so over dominant that it becomes the whole tune.

interesting idea in both cases, i just dont want to hear it in every tune i hear when i go out.
Yes that's an interesting comparison. And of course you wouldn't want it in every tune but, and this is going to sound seriously wanky, I think there is a real artistry to doing those synced LFO time changes well. Haunted and All Of A Sudden are great for this, perfectly judged. Also what Coki is doing with the filters on tracks Earth A Run Red and Tortured (and Spongebob etc.) is much more interesting than a straightforward modulated low pass or whatever. /geekoff
 

STN

sou'wester
Both the Rudey Lee tune and the Qawwali vocal are wicked. The Rudey Lee tune is quite unique I think...
 

mms

sometimes
to me, i've always seen this analogy between coki's emphasis of the bassline and wiley's devil mixes, except that wiley dropped his strings down from the mid to the bass and coki went the other way, bringing the bass up from the sub to the bass/mid. either way it's an aesthetic choice, to make that element so over dominant that it becomes the whole tune.

interesting idea in both cases, i just dont want to hear it in every tune i hear when i go out.

that's technically sound but wileys devil mixes are much more exciting for much better reasons than coki's tunes, for a start the mixes are based on full existing tracks, while coki's tracks are tracks in themselves and just tracks. Part of me wants to split dubstep into two genres, it's something i dont want to do as i have more faith in it than that, but there is def a kind of rough tracky side to dubstep, which is great for energising as long as the tracks are in and out within 16 bars and then there is a side to dubstep where real time and effort has gone into making a fulfilling and complete experience over the length of the track. i think the two can coexist but some balance might have to be struck.
 
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