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there's mountain of achievment and struggle between a genre pinnacle like dj SS Black, and some perfunctory attempt at jungle. "sound design and programming abilities" neither of those things will give any insight into why Black succeeds. Luka's description of physical embodiment is perfect...

theres nothing really in his catalog to suggest this. idk whats behind the assumption that artists who make avant stuff can easily make amazing ultra focused genre pieces, if they simply chose to. its something you hear a lot, its probably just the opposite tho. Aphex is good at what he does/did...

thats John B ffs. theres a clue, in the fact that it sounds absolutely nothing like Aphex. antithetical. also, the comments

ts always looked to me like Dipset were the most shaping input for uk 2k road rap. The double time hats, triplets drums, explosions as drum patterns, pounding cymbals. Also delivery, that 07/08 blade brown, youngsta crystal meth, slow and flippant rap style, that seemed so shaped by Camron...

that would make no sense to his project whatsoever. footwork is going to have deep resonance with anyone interested in, or artistically invested in, rhythmically and sonically innovative "hood" dance music (excuse dropping the h word). which was what all of hardcore, jungle, grime, and even, in...

edit - just saw the bit about pioneer & lead. yeh thats a little hairy isnt it. as evidence to warrent his eternal damnation amongst nuumists, its not very convincing.

do you have a link / quote to the dickish things he said? maybe that would finally illuminate why he's used as a hammer in nuum discussions. altho when i was a jungle obsessed teen i defacto hated anything that seemed a perversion of the true golden form. which made it impossible for me to...

basically this. Although, it gets sticky if the artist doing the appropriation presents their work as interchangeable to the original. More so if they present it as superior.

yeh i agree. i don't have any problem with squarepusher's adoption of the forms he used. The argument, that any artist who used different forms is equivalent to squarepusher because squarepusher used different forms, is so absurdly reductional & hamfisted as to be not worth any serious...

you will acknowledge, wont you, that there's a difference between artists who stay on the edge of innovations that pertain directly to their own artistic narrative, and careerists who drop whatever they're doing because something else is getting more hype. kode's music has been recognizably his...

yet most everything posted here sounds like some degree of claude vonstroke x dj q. if that sounds like a slur to you because of nuum theory, then just ignore nuum theory. rather than trying to ignore or contort what this shit sounds like. Sonically, whats been offered here is what it is: tech...

maybe asap yams http://www.complex.com/music/2012/11/asap-yams-42-favorite-albums/urban-legend oh, hadnt noticed 1st time, but he also talks about how trap didnt even used to mean 808 beats, it just meant overt crack house / d-boy lyrics.

ok well i dont mean to take an authoritative tone over it. if it's as blatantly fictional as you say it is, i'd like to know how. thats just how it appeared to play it from my perspective, which is admittedly distant. but late 00s uk/road rap did have so much overt trap production, blatantly...

True a bunch of it is good. It's never been a qualitative objection for me, so much as.. text-ual? I'm stretching my faux-academic vocab here. The vaguely luger-ist rhythmic dynamics aside, the actual spirit of the brotrap stuff is more reminiscent of jerkin to me - maximalist, jubilantly...

who u kiddin it's audience, musical intentions & devices (maximalist club hype), aesthetic, and marketing infrastructure correlate entirely with EDM's. almost all of its proponents got there from another strain of maximalist edm. im talking about brotrap obviously. actual, original trap hiphop...

one of the most striking things about emigrating from the UK and looking back on British-ness from afar, is how unique our conception of class is, and how we are utterly obsessed by it. it seems almost morbid to me now. To the rest of the world, as far as I have seen, its more like lower class...

yeh thats what i meant

this is a re-clarification of the passage you quoted right

Your inference seems to be that by allowing genre-commitments to be transitory, one is necessarily promoting the creation of new subgenres. To me that seems false. I don't see guys leaving dubstep in pursuit of new subgenres with which to sell themselves.. new axis are occurring obv...

hip hop and house are like meta-genres. they are foundational, elemental. So they are futureproof. dubstep was always a tributary, a slip stream. it doesnt deserve the kind of lifelong dedication you're taling about it, the form itself is just too transitory. I would say the same of d&b, its...