shiels
_
lure us back in with your mix!
No mixer with me so might just stitch together little vignettes
lure us back in with your mix!
This is the flaw that makes you human. You'd be too perfect otherwise.
If you widen your perspective, shit like progressive just siphoned off the chaff, plenty of good House around. Any Castlemorton veterans here?
my point is that house out of all dance music genres is context specific.
But house is so inextricably tied to black America and the informal segregation that still took place in the 80s that it just doesn't hit the same when UK/euro djs spin the stuff, with a few exceptions, 90s Paul Anderson for starters, but not Norman Jay and not any of the UKG jocks, they got great when 2step came along, but a lot of 4x4 house sets from that era are good but not spectacular.
Sure, DiY and smokescreen, but they weren't spinning those tunes like DJ Rush and DJ Sneak at +6 with turntable tricks. at least, not from the tapes i have heard.
This might be better suited to another thread, but i disagree whole-heartedly. It's like saying you'll only listen to hardcore or mix with it because it has a particular affinity to European authenticity. Likewise, would it work to say house was/is only authentic to gay folks? Of course not either. That House spread the way it did is testimony to the people who made it. It's way into post-context realms, wherever those locations, cultures or individuals may be temporally. It has as many parallels with the hardcore-continuum to the extent we could be here, like herpes, tangenting indefinitely. One last point to make in summary, one of the very few quibbles, is tempo. Weatherall nailed this aspect. If you get up around 130bpm, the groove can fall out of tracks. Great if you want all out jacking, but what if you want to ease your foot off the gas? See what i mean, we just have different tastes m8.
In regards of "Diskomo," though, when I heard Ron Hardy play it, it didn't make sense to me because I wasn't on drugs. But a lot of people that were in the party scene at that time were experimenting with drugs. Ron would spin records faster, because he was under the influence. So the thing is I probably heard "Discomo" at a faster speed. You never knew what Ron was doing at this time, so when you hear "Discomo" and you hear these sort of patterns and tone pads and kind of modular effects like wind and stuff in this manner, it was hard to tell what was what. If you were in that time period, would you think that was Ron Hardy, or would you think that was a record?
It has a really eerie atmosphere...
It's the same thing with Ian Curtis, and what Joy Division did. The producer behind them gave that whole thing atmosphere, that sort of specialness. And that's what "Discomo" did for me when I heard it.
This new wave post punk music is not necessarily something you would associate with early house, which is kind of peculiar, but you seem to be attracted to this kind of music...
This is house music. That's the thing that nobody—and let's make this clear, I am nobody to tell you what is and what isn't the truth—but I can tell you what I know and what I saw. And it was the innovation that Larry and Ron undertook, and it's the innovation that I have personally taken on myself. I am singlehandedly the ambassador of truth right now. I feel like I have singlehandedly taken on the roles of these artists in the way that they described their music and the way that they played their music, and I feel that I'm someone that can say that this music that has somehow been forgotten has a greater significance than people can imagine.
New Order
"Video 5-8-6"
Video 5-8-6, 1982
Well, "Video 586" is an idea that I didn't realize that was important until later, Jamal didn't realize until later, that JTC didn't realize was important later. It's the idea of not following the law of 4/4 music, or the law of what it should be. This is what made music risky, and this is what made New Order risky.
One last point to make in summary, one of the very few quibbles, is tempo. Weatherall nailed this aspect. If you get up around 130bpm, the groove can fall out of tracks. Great if you want all out jacking, but what if you want to ease your foot off the gas? See what i mean, we just have different tastes m8.
Would never have "got into" House without Cabaret Voltaire. Sensoria was a game changer. I'm old enough to remember Dancing Ghosts hitting the world through older siblings. That track blew minds. The relationship with industrial is always more interesting to me than (no offence) an RA article or how Europeans supposedly demarcate genres (and sub-genres). That's as much a hangover from marketing & nothing to do with house as music. Some American producers are more brazen over perceptions that European influences on house mainly being pejorative. Whatchagonnado, steal their kit?
As far as 1992 goes, it was a very good year.
Memories of “it’s the Kenny Ken, Kenny Ken” by unknown MC’s. Whatever happened to them btw? Morphed into the hardcore continuum?
The tempo thing was mentioned in an older thread here about 130bpm horrors. Should’ve alluded to it directly.
Do what works for you, end of the day. Drone addict here. Thinking back, it was shit (by shit I mean absolutely atrocious Chris Liberator selections) stumbled into at squats and free parties that cemented that opinion. Just endless 4/4, hammering away at nothing, watered down boink sounds for fuck’s sake, to people too out of it to realise what they were acquiescing with.
Other music it really doesn’t matter, but those abominations, yucky dog shite.
I refuse to let Third make out that 1992 was all about nosebleeds.
I don't live in Cardiff!