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very nice darkness from massien and bb: hugo massien x blazey bodynod - badman and new one from ghosthouse banton: f your bassline

so solid - dilemma so solid - 21 seconds dj wire - last chance dnd - levels Sticky - triplets ms dynamite - boo musical mob - pulse x wiley - ground zero (devils mix) Alias - heat more fire crew - oi jon e cash - spanish fly oddz - strung up vip lethal b - pow* danny weed - salt beef ruff sqwad...

and Bound 4 Da Reload, somehow I thought that was '99. maybe one of the best examples in the 00s of pop --> underground (grime and dubstep) chain of influence. good pick.

yeah, not at all less valid. i wasn't making a value judgment either way. it was more trying to identify this general feeling, that i think i share with several others i know stateside who are nuum fans, that having experienced the music at a distance (both in space and time) 'the big hits'...

yeah, i agree. voted for most of those artists myself, and would love to have seen people like ruff sqwad, oddz or black ops make an appearance even if not in the top ten. i do kind of wonder whether there isn't a disconnect with the poppier end of the spectrum living in the US. at least in my...

yeah, saw the hessle night at output a couple weeks back - and between tfb, his remix of fuck you all the time, and that pearson sound des bisous/gabryelle refix blend, his tracks were major highlights throughout the night. and sounded so good on that system.

here are the two tracks on cold recordings first release: hmm, my first reaction - 'shadows on the moon' has a plunging bass and syncopation that connects it to some of the same dark ukg/early dubstep roots as the keysnd crew, but the reverbed keys and vocals are a little slick/'big room...

so this was in mixmag: http://www.mixmag.net/words/features/jungle-is-massive-again

traktor or ableton can (and often are) easy ways to avoid learning skills that djs spent hundreds of hours acquiring. and, also, there are obviously a lot of lazy, bad, boring djs out there (maybe more than ever). but... these programs can do things that are impossible (or requiring millsian...

this was on xlr8r today, in the holiday spirit: http://www.xlr8r.com/news/2013/03/ben-ufo-quits-house-music-its-al

incredibly detailed and pretty fascinating explanation of how maker studios and mad decent, and then everyone from Viacom to Vimeo, threw gasoline on the 'harlem shake' fire: http://qz.com/67991/you-didnt-make-the-harlem-shake-go-viral-corporations-did/ although i think it would be naive to be...

totally - sounds particularly like warehouse to me: i could almost see boddika playing 'just say nothing' actually, but in a good way...i like how it's more aux 88 electro than electro-house

fair enough, i was being polemical and overly reductive there. i certainly agree that within audiences for any given music (anything really) there are important economic, geographic, political etc etc differences. I would never say that music consumers have dissolved into a "multicultural...

I guess what i'm saying is regardless of the material realities of any artist's background in order to appear 'real' - they have to speak a language of realness that we all, to some extent share, and that language has been written as much by "Boyz N The Hood" and Jay-Z as it has by the founders...

wow these responses are coming too fast to keep up with - i was in the middle of writing the below - some people have addressed this a bit already. but the point is that - given how mainstream, pop cultural music like lex luger's (the entire legacy of hip-hop, since it's mid-80's breakthrough...

definitely, i'd say what i'll call alternative-history music - like bok bok or kahn and neek making grime from an alternative timeline 2004 - is pretty pervasive in uk dance music. (and it's not an inherently bad thing - just a common way of working today.) the line between a one-off reference...

thanks said and vic! yeah, vic, i think there is definitely a parallel between Beneath and Burial, as well. both finding a previous moment that is productively out of sync with the present, that demonstrates that the present is not a necessity. and, as you say, using these previous moments not...

great thread and a fascinating debate that seems to apply to many musical moves/movements today. I think there's a shared archival strategy between a lot of very different scenes right now, that parallels, but is fundamentally distinct from, the hyper-referential music making that has become...

so many great techno releases in the past six months that have been pushing into interesting kinds of darkness from 90s acid to the whole downwards legacy that's ever present now: and this one from shawn o'sullivan forthcoming on anthony parasole's label: