a friend of mine caught yunx and n-type at fwd the other week and said it was the most turgid no-brainer macho crap... allow that.
more positively, who's up for fwd on sunday?! dissensus crew repping, i hope!
a friend of mine caught yunx and n-type at fwd the other week and said it was the most turgid no-brainer macho crap... allow that.
more positively, who's up for fwd on sunday?! dissensus crew repping, i hope!
Thanks for the kind words - I hope you like the mix.
You're completely right about the prominence of the SF scene, but I dunno. I'm a romantic - when I go to a dubstep dance in SF I feel like something's missing, even though I've got no point of reference other than the images I imagine and a few fuzzy youtube vids of DMZ. It just seems like the music isn't VITAL for the people here.
The promoters and the producers are enthusiastic as can be - there's a really strong feeling that they connect with the music and want to share it with people, but the message has been lost somehow.
When Rusko and Caspa came through not too long ago, I was going absolutely mental when the set started, hearing Mr. Muscle on a big rig for the first time, and when I headed back to the bar I just couldn't help notice that the only people really into the music were the DJs.
Partially I think the climate of the SF underground is the issue. It's primarily made up of off-season Burning Man devotees. They're interested in exhibitionism and psychedelics first, and are generally dispassionate about music unless it has some sort of overt, hippie-values message.
The visceral impact, the sonic innovation, the narrative in the sound, it feels inaccessible here. But then again, it's probably me. It's hard to make people in my 30-year-old age-group believe that salvation lies in a bassline so big it can affect your breathing.
best thing for any group of enthusiasts one step geographically removed from a given sound's core nucleus is to redefine the scene on their own terms. find local inspiration or direction and run with it.
hell, it's worked for the UK for decades, just look at the twist UK garage was on US garage/house. so for the US right now, check what Starkey's doing...
In a different way, but not always worse.
best thing for any group of enthusiasts one step geographically removed from a given sound's core nucleus is to redefine the scene on their own terms. find local inspiration or direction and run with it.
hell, it's worked for the UK for decades, just look at the twist UK garage was on US garage/house. so for the US right now, check what Starkey's doing...
i'll be there. blackdown's album launch, the day after my birthday... kind of morally wrong not to
also Drop the Lime, Mathhead, Secret Agent Gel...
funny how all came out of breakcore...
How was it?
it was great.
all the sets were quality and the system was sounding MINT!
was it just me or was the (brilliant) joker playing some of the most grotesquely male rusko-esque drubstep as his final tune(s)?
That sounds pretty good to me, actually. It's only when it goes on for hours on end that it gets overly predictable and boring and I give up and go for a drink.i booked joker to do a 'wonky' set, and then spent the next the next three months having to remind him of the no-wobble policy.
it became a kind of battle, where he asked before, during and towards the end of, if he could end his set with ten minutes of wobble. when it came to his last tune i gave in...