luka

Well-known member
People - fans and journalists alike - hyping Joker but not checking for Terror Danjah until Mu compiled his beats ... it's just embarassing.


if you can say this i can say what im saying, which frankly, is much the same thing...ie how come kode9 has to endorse something before certain people take it seriously. go to the source. you dont need that kind of conduit be it fact/kode9/reynolds/ etc
im not angry that terror d is making money of mu, or funky djs get bookings at night slugs, thats lovely. im just saying, deepen the engagement cut out the middlemen and dont accept substitues.
 
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gumdrops

Well-known member
"i will say this... its much more worthwhile for you to download this mix than the 100000th amateur mashing together of the same old boring tunes that people keep doing. one token funky tune, some shit dubstep, some stupid 'wonky' and a token grime track.
those mixes are boring. that bollocks needs to stop now. this one is better. "

bang on!

while id like to see places like fact cover stuff outside of the night-slugs-o-sphere they do seem to cover a fairly wide range bearing in mind their remit/audience basically is what it is (eg - getting guys like dva to do mixes etc). and in a slightly selfish way, i quite like the fact that the stuff i like, they arent covering it. keeps it underground. im aware that sounds retarded/old school but i dont care.
 

Blackdown

nexKeysound
im not angry that terror d is making money of mu, or funky djs get bookings at night slugs, thats lovely. im just saying, deepen the engagement cut out the middlemen and dont accept substitues.

oh well, if you'd put it like that to start with...
 

Tim F

Well-known member
[q]Dubstep got nothing but air for five-six years from this "infrastructure of upmarket club nights," so it didnt just happily come into creation and fit in. [/q]

Yes I should have acknowledged this - my point is not to complain about that infrastructure but to say that it'd be wrong to draw conclusions about the "success" of 2009-era producers and DJs positioning themselves on the dubstep/funky border vis a vis... (what do I say here? I've been castigated for saying "proper" funky...)

People in the first group are benefitting from that infrastructure now so in a sense they're reaping the dividends from the investments made by Hatcha/Skream/Benga/DMZ etc. 7 years ago.

For similar reasons, Marcus Nasty owes his position in the scene (not to mention his status beyond the scene) as much to being a "name" from grime as to the fact that he's such a good DJ with access to almost all the good new tracks.

There's a strong critical tendency to reify the actual - to assume that if certain producers are getting all the hype then that must because that's where the talent lies, that there's nothing else to see here.

But I would think the lesson of dubstep's early years - not to mention 2-step and before that jungle and before that 'ardkore - should be that you can't rely on such critical reification to clue you in on what's really going on. Funky's really not that hard to keep up with if people are willing to listen to a couple of hours of radio sets each month.

I guess people following Roska because he does a gig at Night Slugs is the next best thing, but Luka's got a point about the danger of trying to understand funky through the prism of Night Slugs (or Hyperdub) - which is that love-for-Roska becomes a derivative of love-for-Mosca (who is great, don't get me wrong - I'm mainly just enjoying the wordplay element here).

And I find it truly odd that people talk about funky in 2009 and the first producers they mention are Roska and Scratcha. I actually think Roska had a surprisingly weak year coming off the successes of 2008 - in my top 100 funky tracks of last year I'd only be prepared to save places for his remixes of Darkus Beat Company, Hard House Banton and La Cartier, and maybe "Wonderful Day", annoying vocals notwithstanding (but it'd more likely end up in the 101-150 division).

I sort of feel that this is the equivalent of people talking about LTJ Bukem in 1996, blissfully oblivious to hardstep and techstep and jump-up. The funny thing is that people seem to see this process so clearly in relation to the past and yet refuse to acknowledge it with respect to the present. I was jumped on here for making a fairly limited comparison between Cooly G and Photek, as if this was some cruel cheap shot. And I thought, "but... Photek was a great producer! Why is that offensive?"
 

Blackdown

nexKeysound
i listen to 8-10 funky sets a month minimum and i often dont clock the same producers you do tim. i think tom should give you a column at Fact mag and then this would all resolve itself...
 

Tim F

Well-known member
Or just send someone chasing after Devine Collective/Mad One! That DJWeeksey/MCBandit set Luka linked to has a bunch more awesome tracks from them, including some that are familiar but I hadn't ID'd before. This takes their classic track count to ridiculous levels:

- House Girls Part One
- Tribal Conga
- Gotta Have It
- Never Coming Out parts 1 and 2
- Night Train
- Dirty Funky (MASSIVE TRACK!)
- People Keep Dancing
- Tribal Day Dream
 

Tentative Andy

I'm in the Meal Deal
Or just send someone chasing after Devine Collective/Mad One! That DJWeeksey/MCBandit set Luka linked to has a bunch more awesome tracks from them, including some that are familiar but I hadn't ID'd before. This takes their classic track count to ridiculous levels:

- House Girls Part One
- Tribal Conga
- Gotta Have It
- Never Coming Out parts 1 and 2
- Night Train
- Dirty Funky (MASSIVE TRACK!)
- People Keep Dancing
- Tribal Day Dream

Just downloaded it now. Such a pleasent surprise to see that he's tracklisted his own set, what a legend. :)

I having a think at the mo if there's anything I can add to the wee tiff that's been going on over the last couple of pages; perhaps not, but it's brought to the surface some things that were bubbling under, which is good, plus I'm glad it seems to be leading to something productive rather than just people shouting at each other.

Edit: niiiiice, that Dubplate Wonder - Tell Me Why tune is easily the best new (to me) female-vocal funky tune I've heard in quite a while. Is it out yet? Rest of show is sounding good so far. :D
 
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tom lea

Well-known member
cba writing some big response cos im hungover, but tim:

while writing that article, ive also been talking to marcus nasty about doing a big interview with him, which would feature a lot of us discussing that wave of midlands bassline guys making funky (screama, emvee etc) and his role as a kind of scene godfather right now, looking beyond the obvious & bringing in young djs, mcs etc.

he's gone pretty quiet on the idea despite me trying to call him quite a bit, so it's not happened so far. on the other hand, all those dudes gave interviews and knocked out mixes like it was nothing. just so you know.

like i said in that ilx thread, you talk about this bias in the mag towards scratcha/roska/cooly and against ill blu and that, but then you look at the tracks of the year feature, and there's one cooly track, one kode9 track, and no roska and scratcha. meanwhile dj mystery, doneao, altered natives, crazy cousinz, sticky, shystie and fuzzy logik are all in there. ill blu are in there twice, including at #6. i cant speak for everyone at fact but it was stuff like that that first drew me to funky anyway.

i dont even think it's that seperated man. like when marcus had that up-n-coming djs special recently, one of them played a bok bok track. another one played a heatwave refix. is there a division between terror danjah/src/swindle and other grime producers because the first three have signed tracks to hyperdub/numbers/mu? i dont think there is.

tim i'm obviously gona pitch the column idea, glad yr up for it.
 

Tim F

Well-known member
I actually don't think that Fact writers have a bias along those lines Tom - and if there was one it wouldn't be against ill blu etc. - just that there's a lot more coverage of the one type over the other.

The articles I've complained about have been XLR8R/Urb/Guardian not FACT I don't think, though your mag gets dragged in mainly because it's so enthusiastic about so much of the funky/dubstep borderline stuff, and is I suspect where less informed criticism takes its cues from by and large. A bit like how Pitchfork tends to set the tone for treatment of indie.

You may have missed my comment on ILX that I thought that a lot of the funky inclusions in your year end poll were excellent choices ("Speechless" is a brilliant track for example). I guess my point of intervention is simply that I'd like to see some artists benefiting from the kind of advance/concurrent-hyping treatment that artists in other genres (or on the funky/dubstep borderline) enjoy. I realise that the lackadaisical manner in which many of the producers promote themselves makes this challenging.

A piece on the funky/bassline crossover is an excellent idea - it's been surprising but, I think, telling, how easily and successfully Screama, Bass Boy, Naughty Raver, DJ Q have all switched to making funky at least in part.
 

tom lea

Well-known member
fair enough, you just bring us up a lot when you talk about that stuff. but as i say, i guess that's because we cover it closer than the guardian or xlr8r or whatever.

I suspect where less informed criticism takes its cues from by and large
guardian band of the day column stand up.

You may have missed my comment on ILX that I thought that a lot of the funky inclusions in your year end poll were excellent choices ("Speechless" is a brilliant track for example). I guess my point of intervention is simply that I'd like to see some artists benefiting from the kind of advance/concurrent-hyping treatment that artists in other genres (or on the funky/dubstep borderline) enjoy. I realise that the lackadaisical manner in which many of the producers promote themselves makes this challenging.
i'd like to too. it's a promotion-related thing, and also sometimes ppl like that are a hard sell. it's easy to forget how niche a lot of this stuff is until it 'crosses over' in the way that roska and cooly and hyperdub have. llike simon reynolds interviewed terror danjah in fact last year, and it was <i>woefully</i> under-read. i bet if we ran the same piece six months after the hyperdub release it'd have double the views. i'm not saying we'd ever not cover something really interesting just because it wouldnt get hits, it's just we've learnt that sometimes the best thing to do is to wait until someone's on the brink of a big release til profiling them or whatever, as if you time the feature right it's more beneficial to them.

that's another thing, releases. all the ppl on that producers to watch piece have vinyl records out/coming out. when yr dealing with an audience outside dissensus/london (which its easy to forget we are), who maybe dont know what rinse is, let alone deja, it's nice to be able to recommend them a single or ep as evidence of an artist's worth.

A piece on the funky/bassline crossover is an excellent idea - it's been surprising but, I think, telling, how easily and successfully Screama, Bass Boy, Naughty Raver, DJ Q have all switched to making funky at least in part.
yeah i'm working on one, i kind of wanted it to follow the marcus piece, but as i say i dunno whats happening with that. the only one out of these guys who's really reached out in terms of promotion is emvee really, but i'll get there, i just need to take a week away from myspace after that producers to watch thing ;)
 
The articles I've complained about have been XLR8R/Urb/Guardian not FACT I don't think
This may be splitting hairs Tim but I posted the Scratcha URB mini-mix (personally I think it's excellent) & interview upthread.
You may well have come across it elsewhere, but regardless the preamble name-checks Roska, Cooly G & Geeneus, whilst in the short piece itself Scratcha - in addition to being completely self-effacing about his position within Funky - also mentions Fingaprint & Supa D.
Now, URB is a US publication. My point being that to send for this appears, well, miserly, considering that to many of their readers this would presumably have been the first they would've seen of some of these names. You surely can't expect a piece on (for eg.) Devine Collective, who most people here haven't even caught onto yet!
Could be a case of taking a look out of the forest to see the trees? :)
 

wise

bare BARE BONES
Any views on Emvee's Funky/Bassline cross-over sound as posted on DSF House thread?


I think they're great a lot more interesting than his straight forward funky, which is well, a bit straightforward.
 

tom lea

Well-known member
not listened to that clip, but emvee's new ep which is coming out sounds really good. not much like bingo/jammin stuff either.
 

mos dan

fact music
ie how come kode9 has to endorse something before certain people take it seriously.

this is so many people's favourite straw man right now. it's lazy and reeks of chippy shoulders.

enjoying all the guesswork about what the inside of a night slugs rave might look like though, good one.

The funky-dubstep wars! I never thought I'd live to witness such carnage.

:D
 

Simon78

Well-known member
This is my favourite Funky tune at the moment. It was out last year but is still getting played. Scratcha and Roska are playing it, not sure about Kode9 ;)

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Here's the link if you want to buy it. The tune Deep Mover on the same EP is good as well.

http://www.junodownload.com/products/1481234-02.htm
 
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