oops. this was supposed to be a reply in that other topic.
i worry that much of the hate they get is simply because there's a band from a scene that most people here don't like being opening influenced by a scene that most people here do like.
How come you totally bit JME's style? Did you think no-one would notice?
Sama did make an interesting point re: nu-rave just really being grime influences dressed up for a predominately white rock audience...I never thought of that....seems true *shrugs*
to don rosco :
this is bullshit about the detroit producers being horrified by hardcore, both juan atkins and kevin saunderson had hardcore pseudonoms and released hardcore records, and ur were practically hardcore at times, or were part of hardcore's roots. Derrick may might have complained a bit but then he never did any records by then, which is Derrick May's problem.
I think the problem with hardcore actually came from the keep techno pure uk side of things, i remember a message in an old warp records with some kinda anti breakbeat message in it, which now seems incredibly foolish.
Ha ha, fair enough. I wasn't 100% convinced when I wrote it, but I knew there was some kind of dismay, and it was Derrick May I was thinking of. And, of course, the UK angle you mention. What was the original tag line for some big techno night? 'No Lycra, No Breakbeats'?
interesting aside - there was a piece on dubstep in the nme this week, martin done it.
The funny thing about it was they interviewed the guy from hadouken about his experience of dubstep and he related a time about going to forward (lots of nonesense about stacks of speakers etc) and how it made his pissed mate throw up (which is the similar story goldie told about himself going to see shaka years back). They also namechecked clubs where to go and see dubstep, no mention of fwd or dmz, where a newbie nme reader might get the full experience of dubstep or grime, but some indie clubs where they play a bit of dubstep apparently.
The issue seems to be more that the filters that grime and dubstep are to be accepted by the mainstream are geared towards indie and the nme etc protecting their own values and interests, the hegemony of guitar rock and indie nightclubs, explicitly, where the money is spent and made. So it's 'isn't it great that grime producers have finally seen the light and incorporated us,' the imbalance of that is significant, you wouldn't get that level of support for jme, who is independant as hell and alot more skilled than any of these guys.
Added to this is the impression that the NME are fucking late to the dubstep party--- how many style mags and broadsheets have covered this in recent months? Absolutely tonnes, and at least they had the good grace to actually tell you to go to FWD or DMZ....
conceptually it's musical culture that's completley alien to them though, no hooks or choruses, racially mixed, no vocals, relativley beer free, no wilful celebrities, (its biggest success is completley anonymous) it's got no relationship with the network nme feeds and eats to and from, they clearly included it as a reaction to their readership demographic's habits of dropping dubstep on dancefloors at indie clubs, in this case the readership were ahead of the game, which in itself is quite optimistic.