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This. My dance music epiphany (and I'm pretty sure lots of other people's) in part involved realising that music can have a 'function', and fulfilling that function can be a major preoccupation for the people who make it, without that somehow making it 'inferior' art. What Kiran Sande might call...

I liked Los Angeles a lot when it came out but Cosmogramma was a massive disappointment...basically 10x the embellishment with 0.1x the musical ideas. I can appreciate him trying to make an album statement with all these opulent ref points and he is a brilliant producer technically but yeah, off...

particularly inexcusable when they have Pangaea showing them how to merk the broken beat:

New Nightwave/8bitch: http://bleep.com/index.php?page=release_details&releaseid=33807 'Palenque' kind of typifies something which has been bugging me in this stuff recently...it's the unwillingness, in spite of house being a clear ref point, to just have a straight 4x4 kick running through a...

Interesting criticism of dance music in that interview: Those mixtapes look great, copping now

Have slept on this label in a shameful way. Cheers for the reminder/headsup. That Raime FACT mix is brilliant. Every now and then you get a reminder of just how incredible jungle was at points.

glad to see Dissensus shows no signs of losing its edge in 2012

"RiFFRaFF_SODMG RiFF RaFF SODMG I HAVE AN OBSESSiVE APPETiTE FOR FUN.... AND THE ONLY CURE FOR iT.... iS HAViNG MORE FUN THEN THE LAST TiME... THAT i HAD FUN 31 Dec Favorite Retweet Reply"

I started a blog and wrote some thoughts on the year. I guess the most Dissensus-relevant are this one on Asusu/Bristol house/dance music neophilia: http://minorscience.blogspot.com/2011/12/rhizome-for-2011-november-22-2011.html and maybe this one on Levon Vincent...

It depends on what the qualities are. For example, when Thomas Hardy projects the turbulent emotions of thwarted love onto the desolate moors in return of the native I don't think he is being twee. But if somebody where to do a song about that on, say, a ukulele.

With the utmost respect Blackdown I think your perspective on this is reflected in your shows, in that you showcase a huge amount of new/unreleased/relatively unknown music, and the showcasing of that music is clearly the priority, as opposed to creating a joined up/coherent mix per se (not...

I wouldn't buy into the Reynolds line too easily - especially if it doesn't chime with your own experience of the sounds you're hearing atm. I think there are just as many people now doing things which they consider to be 'new' - that's what excites the majority of people as musicians, I don't...

Bob you're not having a very good strike rate with making sense here. If you're suggesting that what I said about playground dynamics wasn't ironic and I subsequently pretended that it was, well, you're wrong.

"Helping the spirit of the village fair live on in one leafy corner of Hackney, head to the Village Mentality area on The Village Green for a fantastic mix of traditional side stalls inspired by country pastimes and wholesome fete games." http://www.fielddayfestivals.com/village-mentality/

Sorry, cattiness was not intended! Just amused by the idea of equating a kid from an emo band w/ a giant worker co-operative.

I would be absolutely fascinated to find out how you came to this conclusion.

Who is the Skrillex of twee?

sorry, your decision to (I think) couch your response to my ironic statement in a further layer of irony has left me unable to understand your point.

Yes, culture won't be great until the power dynamics of the playground are extended to every sphere of life.

My view is that 'vaguely steampunk-y neo-Victorianism' is not the same as twee - doesn't quite have the same emphasis on the fey and the infantile, surely..? - but is shit in its own way