trilliam

Well-known member
big up trillz, about to give this a read

cheers bro, shout out continuum for d drop as well

piece was edited a fair bit but im very happy with the result tbh

more populist than academic but im sure rudewhy will balance things out with his fact drop

props to everyone that didnt need to be put in the crippler crossface to see the potential of this musc/scene
 

trilliam

Well-known member
Whoever tagged this thread "trilliam was right"... Says it all lol

lol safe for this still, it was a joint effort urself included, but ill take spearhead ;)

stil im already tryna advise people how to run their record labels over twitter so i deffo need to fall the f back lol

@wise amine n edge have a habit of uploading everything to their soundcloud so if its not their yet it will be soon
 

whytea

Well-known member
cheers bro, shout out continuum for d drop as well

piece was edited a fair bit but im very happy with the result tbh

more populist than academic but im sure rudewhy will balance things out with his fact drop

props to everyone that didnt need to be put in the crippler crossface to see the potential of this musc/scene

Really good piece mate big up
 

vvvwwwv

Well-known member
Another thing that I love about this scene: not every single lad you meet in the raves is a "DJ".
never found this true of any scene tbh, everywhere just wreck-up ravers lol. on the issue about whether audio rehab should release vinyl or not, fuck vinyl basically. archaic, and tradition at its worst...

looking forward to the radford interview blackdown. and shouts to the other writers round these here parts..good reads. heads up for a cpl of free dls

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kg3 with some of that 90's rock sampling we love so much. in before the deep tech damon albarn edit
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archie b def one of my fave producers at the min. original and extra deep
<iframe width="100%" height="125" scrolling="no" frameborder="no" src=""></iframe>
 

continuum

smugpolice
Pinch talking shite on RA about current UK dance music:

Do you feel like there's less community in UK dance music than there was in the early dubstep days?

Oh yeah, definitely. And I think that kind of house-flavored revolution in the UK… I mean it's so funny—it's been in Europe for years, who gives a shit, it's just more house and techno! It was almost like the dubstep generation missed house music entirely. It became a fresh and interesting thing, but it wasn't like that for everyone everywhere. And what I see when I have to go to bigger raves is that it's a very detribalized scene. And I'm not saying it's a bad thing, it's just a different thing, whereas something like dubstep, or jungle, had a very core aesthetic which organically extended beyond the music. I don't feel like there's much of a cultural aesthetic that extends from this kind of newer house. But then I'm also getting older, I'm not out at the clubs all the time, so I don't know if that's a true reflection.

..at least he admits at the end he hasn't got a clue what he's talking about.
 

datwun

Well-known member
Lol.
That interview is interesting though. Why is it when he comes across as like, intelligent, thoughtful and passionate, I find the attitude of "let's just make some fucking house music" so much more appealing? I'm pretty damn analytical in the way I listen to music sometimes, but when it comes from the producers themselves it seems to suck the life out of things...

Like I was chatting to Danny from Jack n Danny and he was saying he got into the house thing a yea for two ago simply cause he saw it was blowing up, he liked the sound, and he knew that he could make it easily lol. Admittedly I've payed the square route of fuck all attention to any of Pinch's new stuff or any of that whole Mumdance sound, but If anyone can find me something from that scene that hits as hard as 'The Machine' I'll doff my e-hat to them.
 
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continuum

smugpolice
That interview is interesting though. Why is it when he comes across as like, intelligent, thoughtful and passionate, I find the attitude of "let's just make some fucking house music" so much more appealing? I'm pretty damn analytical in the way I listen to music sometimes, but when it comes from the producers themselves it seems to suck the life out of things...

I couldn't read the whole thing. I was intrigued by the title and started to read but soon realised it wasn't actually about what was going on in uk dance music and was just self promotion dressed up with droning. It's so typical of a website like RA to cater for this type of thing. Profit/safety above risk taking.
 

whytea

Well-known member
Do you feel like there's less community in UK dance music than there was in the early dubstep days?

Oh yeah, definitely. And I think that kind of house-flavored revolution in the UK… I mean it's so funny—it's been in Europe for years, who gives a shit, it's just more house and techno! It was almost like the dubstep generation missed house music entirely. It became a fresh and interesting thing, but it wasn't like that for everyone everywhere. And what I see when I have to go to bigger raves is that it's a very detribalized scene. And I'm not saying it's a bad thing, it's just a different thing, whereas something like dubstep, or jungle, had a very core aesthetic which organically extended beyond the music. I don't feel like there's much of a cultural aesthetic that extends from this kind of newer house. But then I'm also getting older, I'm not out at the clubs all the time, so I don't know if that's a true reflection.


I dunnno I have a slightly different reading of this

I totally agree with the bits in bold

and the bits in red I think do ring true down here in Bristol
 
It's just more of the old man attitude "I already know all there is to know about house", therefore paying vague attention to it and assuming it all sounds the same, isn't it?

I get that it's nothing as clearly defined as jungle and dubstep, where they switched up the tempo and made a point of creating a new rhythmic context, but lumping everything house in the same bucket shows a lack of understanding of the music and appreciation for the subtle that I find very clueless. And a lot of dubstep guys have been doing it since funky.

Like yeah, changing to 140 BPM and a halfstep rhythm with big basslines is at first a more radical thing than doing 125 BPM with 4x4 structures, but what after that? what makes a bunch of new tunes in that context more exciting than a bunch of new tunes in the other one? what makes you sure that being in that 140 framework you'll automatically have fresher ideas and a different energy?

Whatever template you set your tempo/rhythm to, you still need to be clever and original to do the subtle ideas and variations that make the music feel fresh.
 

wise

bare BARE BONES
I don't feel like there's much of a cultural aesthetic that extends from this kind of newer house.

you can't really say that about the Deep Tech scene though, definitely a cultural aesthetic going on there.
 
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Corpsey

bandz ahoy
I think what Pinch is saying is what I was saying not too long ago myself - before I discovered deep tech, I basically thought that house taking over the UK dance scene was a bad thing, resulting in a lot of nights where I wondered if I'd ever be excited about raving again. Obviously UK Funky wasn't like this but after funky died we were seemingly left with a lot of deep house knock-offs from ex-dubstep producers. I was thinking that the 'solution' would be for a scene to develop without the 4x4 beat I'd grown so bored of - some sort of radical new rhythm. I think that's one of the reasons why a lot of ppl jumped on board the Juke/Footwork express - leaving aside how great the music often is, it was the radicalism of it which people were really yearning for.

Again, this is why deep tech got a bit of a lukewarm reception from people like me at first. Cos it sounded like ''just house''. Actually, although I'm sure you can find plenty of old house tunes which wouldn't sound out of place at Frequency e.g., I do think deep tech is something definitely of its time/place. Certainly tunes like ''Know My Name'' and ''Made U Look'' to name just two are far from being ''just house''. Ultimately I don't think radicalism can be forced, or at least it usually isn't. It comes organically out of the rave scene, out of the way people dance to things. To me this self-consciously 'experimental' instrumental grime/130 stuff that was recently being heralded as the next step forward (while ironically being entirely comprised of rehashed ideas from Eski/Grime given a bit of avant-garde polishing) was just too self-consciously directed towards a cognoscenti audience. It clears dancefloors. This is seen as a badge of honour in some respects cos it just shows that its ahead of the curve or whatever, but I really wonder if that is the case or if its just that these tunes are fundamentally not that good. Well, maybe I'm being unfair or that's just not my thing or whatever, but looking at the dancefloor at Frequency I know where I'd rather be.
 

Corpsey

bandz ahoy
Oh, and Frequency definitely showed me how tribalistic and distinct this scene is. The shufflers, the balloons and pills, the knowledge the crowd has of all the latest big tunes and the way the DJs are worshipped. I wonder if the effect Pinch is talking about is an effect of dance music becoming so mainstream in the era of Boiler Room and Warehouse Project etc. Being into that kind of dance music doesn't really mean anything anymore, does it? It's just what people of a certain age are into these days.
 
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