Funky/London/UK House

C

continuum

smugpolice
I don't get why you would sit on all that recorded music from FWD>> (?)

It literally makes no sense. Happy hardcore is big because they release all the music in those amazing looking cd packs. The music itself is complete crap but who can resist that packaging? My Dreamscape/Desire/Helter Skelter/Roast tape packs still murk anything these days because back then the attitude was different. On the eve of a huge change in world politics the scene leaders need to step out of their little LDN bubble before they fuck it up and miss the boat (again). Marcus Nasty is doing so well because he gets this. Its fucking simple. Lose control. Push it out beyond what you feel comfortable with and stop wasting time.
 
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T

tom pr

Well-known member
I thought the first 20mins of Skream was really good...
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i thought the first six tracks skream played were good. it was a total wreck after that.

echo all the positives about marcus. that anecdote about him labeling his dubs by mood is gold- I'd love to borrow his 'naughty' pile for a day. that bassline house-esque tune that ramadanman played (and built himself) was amazing too.
 
Simon78

Simon78

Well-known member
continuum said:
bit elitist though. Why is this music not released really? Brand development or something?
This music relies on 'leakers'. The whole thing started due to home taping. Lots of schizo behaviour with all this preciousness. All the big sellers in music have their music copied and spread. I love it when my mixes are spread by 'leakers'. More people get to hear it. I prefer people who have no money to listen to my music.
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I think its good only hearing some dubs out in clubs. Radio rips and sets get battered when you have them on your ipod and the tunes end up sounding pretty stale when they do eventually get released. They did release the Youngsta & Plasticman live FWD cd's a while ago.

I thought Marcus Nasty was sick last night although I would have preferred him having the later set so I could have got a few more drinks in. I wanted to hear all the big Lil Silva & Banton tunes on the PP system and that Broomstick dub! http://www.dissensus.com/images/as3/smilies/smile.gif
 
C

continuum

smugpolice
Simon78 said:
I think its good only hearing some dubs out in clubs. Radio rips and sets get battered when you have them on your ipod and the tunes end up sounding pretty stale when they do eventually get released. They did release the Youngsta & Plasticman live FWD cd's a while ago.
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They sound stale to us because we follow every tiny change that occurs and listen to it over an over and then try and find the next tiny development. Because we are obsessed with music and we know how powerful it is to be right there on the frontline of it. Try and think from the perspective of someone who doesn't do this and it begins to make more sense. The joy comes from making those new listeners feel what you felt when you first heard it or experiencing it with them. Less about the self and more about the whole.
 
Simon78

Simon78

Well-known member
continuum said:
They sound stale to us because we follow every tiny change that occurs and listen to it over an over and then try and find the next tiny development. Because we are obsessed with music and we know how powerful it is to be right there on the frontline of it. Try and think from the perspective of someone who doesn't do this and it begins to make more sense. The joy comes from making those new listeners feel what you felt when you first heard it or experiencing it with them. Less about the self and more about the whole.
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Yeah, fair point. I can see why producers wouldn't want the beats they have just made going on sets that you can download though, especially if they are just testing mixdowns out.
 
hint

hint

party record with a siren
continuum said:
They sound stale to us because we follow every tiny change that occurs and listen to it over an over and then try and find the next tiny development. Because we are obsessed with music and we know how powerful it is to be right there on the frontline of it. Try and think from the perspective of someone who doesn't do this and it begins to make more sense. The joy comes from making those new listeners feel what you felt when you first heard it or experiencing it with them. Less about the self and more about the whole.
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Indeed.

Not forgetting of course the younger kids and people who live in club-starved areas who would get a chance to hear what's going on and become fans if the recordings were available.
 
Slothrop

Slothrop

Tight but Polite
jambo said:
Seriously, I wonder if Slothrop made it.
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Yeah, I was there. Was anyone not on Dissensus actually there?

I was loving the 'predictable' MN set, although I don't really know funky (yet) so it was mostly fairly fresh to me. And it was just an amazing sound, it's the first time in ages (apart from seeing someone who in retrospect might have been Marcus Nasty playing similar stuff at Carnival) that I've had the sense that something's going on that I don't really understand the strucutre of but that makes me want to dance. I love the cheesy VIP element too... "Marcus Nasty's a warrior..." and so on.

I actually quite liked the Skream set, although I don't go out to see that many aggro oriented DJs so I guess I still see that as part of the fun for half an hour near the end rather than a depressing and unavoidable hegemony.
 
jambo

jambo

slip inside my schlafsack
There were some nice elements to what MN was playing - the syncopated / poly-rhythmic things, the crude grimey bits - and it's fine to dance to, serves a purpose, but I've got to wonder if some of the eager appreciation of funky as new-thing isn't coming from people who've never really heard or given raw house music a chance before, either cos of age or issues with the sound palette and/or the perceived listener demographic?

I can see how it's totally working and providing elements that were missing or whatever, but it's not that exciting really, is it? Well, whatever, people dancing is a good thing so I'm not knocking that.

Anyway, I enjoyed Skream's set as well, was pure rave, nothing much to analyse there, he played a couple of Burial tunes though. Haven't heard a 'proper' dubstep set out for a little while so I even quite appreciated the nutty grinding mechanoid stuff at the end.
 
jambo

jambo

slip inside my schlafsack
While I'm here, I don't know if this has been linked but it did make make me laugh when it came up on a search.

 
B

Blackdown

nexKeysound
continuum said:
I don't get why you would sit on all that recorded music from FWD>> (?)

It literally makes no sense. Happy hardcore is big because they release all the music in those amazing looking cd packs. The music itself is complete crap but who can resist that packaging? My Dreamscape/Desire/Helter Skelter/Roast tape packs still murk anything these days because back then the attitude was different. On the eve of a huge change in world politics the scene leaders need to step out of their little LDN bubble before they fuck it up and miss the boat (again). Marcus Nasty is doing so well because he gets this. Its fucking simple. Lose control. Push it out beyond what you feel comfortable with and stop wasting time.
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you literally dont get it. they're trying to maintain a club, a physical club that people go to for a unique live experience because they can always hear new music, not a brand or a mixtape empire. this is the total opposite of say Ministry, where their club is a token gesture compared to their compilation wing or global festival empire.

sure, from a fans perspective everyone likes a free download, but producers wouldnt play their freshest beats at fwd if they'd be on the net the next day because we live in an era where fans dont care about the difference between a bought track on CD and a free 64kb radio/myspace rip, in terms of ownership. DJs need to maintain some element of surprise and unique offering otherwise why would you book them if everyone in the club already has the same (now released) records they do?

and fans wouldnt come to the club as much if they knew the mixes would be on the net the next day, just as people dont listen to radio1/subfm/rinse in real time when they know the podcast will be available.

"LDN bubble" lol. this bubble's full of vital air.
 
slackk

slackk

-
Indeed. Some things need to retain their mystique and identity. The idea of every set there flying about the internet is just wrong tbh.
 
V

viktorvaughn

Well-known member
Blackdown said:
and fans wouldnt come to the club as much if they knew the mixes would be on the net the next day, just as people dont listen to radio1/subfm/rinse in real time when they know the podcast will be available.
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Not sure about this one - I would definitely go to FWD still as much if they were available for DL.

I go much more for the immersive sensation of hearing tunes on an amazing rig sat in a dark corner where nobody can see me, in fact I like hearing the tunes I already know on the system as it feels like you are getting them at full justice?

And most people don't have time to comb over every single radio set or podcast for the latest tunes anyway.

And I'm not sure record sales would dip if tunes were available in mixes on the net? Surely some of the biggest dubstep sellers got battered in mixes available for months?

Plus it is free-ing up the music for the overseas crew who cannot attend FWD (who are much more numerous than us lucky people who live 1/2 an hour away from it..).

Obviously if somebody unveils a new good tune on a night then that is wicked and you can savour its elusiveness, have the suspense of tracking it down, enjoy hearing it again in a club rather than having it immediately available to you as an mp3. But it certainly doesn't seem like the main point to me - listening to hot-off-the-press Mala dubplate as an mp3 mix in my bedroom is still not going to be 1/10 as enjoyable as hearing it at FWD - if anything it would make me go there more!
 
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