Can You Feel It vs. The Bells
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there is much more house in Jeff/Hood than Juan. Juan is more p-funk + electro. hence when he makes 4-4 tracks they have a very melodic almost jazz funk feel to them (probably why they sound so beautiful because technically funk and electro have an aesthetic tennsion running through them, in that electro was an attempt to transform funk into its cold opposite.)
it's more in the disco cut up style of dj Sneak and co. but with synths.
this was hammered by the detroit jocks.
it's more in the disco cut up style of dj Sneak and co. but with synths.
this was hammered by the detroit jocks.
I'd say this is about right. there is a UK 'soulful house scene' which is not new york garage or US gospel house (which fucking rocks btw!) it's a UKG spin off when everyone went grime/dark garage which is just abysmally bad.
padraig (u.s.)
a monkey that will go ape
I'd also agree with this, but at the same time the heights of house can reach much higher, for basically the same reason, i.e. the utopian contains more potential than the functional
padraig (u.s.)
a monkey that will go ape
also nuff respect to yyaldrin for preventing the complete shutout
someone had to do it
someone had to do it
luka
Well-known member
This was in response to something mvuent deleted but he was saying,and I agree, that the archetypal division is between house and hiphop.
Is this really the opposition of art presenting an ideal and art representing 'reality'? Or is that too crude to be useful?
yeah i think people have limited the definition of techno so much to one bar loop over a 4-4 that I'm almost ashamed somewhat to rep it. but techno could and still can (if producers want of course) have darkly fascinating melodies, broken beats, the lot.
this is beautiful, but more in a somber heads down UK way. beautifully alienating and cold. It's a specifically UK thing with our cold cramped streets and brutalist architecture. the coldness. a soul without a heart. Of course it's heavily detroit-indebted but its different. there's a hollowness, antidepressants as the end of ones life, not as an amphetamine surrogate to get back to work (like in the states.) all masks off, back to bed.
this is beautiful, but more in a somber heads down UK way. beautifully alienating and cold. It's a specifically UK thing with our cold cramped streets and brutalist architecture. the coldness. a soul without a heart. Of course it's heavily detroit-indebted but its different. there's a hollowness, antidepressants as the end of ones life, not as an amphetamine surrogate to get back to work (like in the states.) all masks off, back to bed.
carl craig was the dude who really tapped into that somber UK field as well. I don't think Derrick May or Juan Atkins were as big on UK post-punk as Carl was, not a diss, just an observation. that tragic downcastness is in carl's work, whereas with May it's refracted emotion, trying to get to a soul through the blurriness of high tech civilisation. another way to think about it is May's tunes are a bit more cocky (i will show you how these new buttons and knobs work) even when going for the emotional bomb whereas CC probably listened to a lot of joy division and Morressey. Obviously i love both of their music equally but this tune by Craig has a special place in my heart, being a moody Brit.
luka
Well-known member
Watson made me read this thing of his yesterday
"
The crucial point is that art is an attempt to tell the truth about the world, the whole world, not simply to provide baubles for those in the comfort-zone of privilege. The economic pressures and national conflicts that create world wars and mass starvation and genocide are still in operation. The operations of global capitalism mean that the inhabitants of Burundi, Beirut, Belfast, Baghdad and Belgrade (I use alliteration to limit the list) have long suffered the terror and chaos which the suicide hijackers brought to Manhattan. Edgard Varèse brought the noise of sirens and bombs into music in the 1920s, a response to the horrors of World War I. His "Hyperprism" anticipated the terror of the Blitz, when civilian populations first became long-distant targets of military hardware. Unlike his "objectivist" follower Xenakis, he bent the shapes he heard into organic ovaloids which speak for the suffering ear. This is why, of all the pre-war orchestral composers, only Varèse has a non-salon, yet humanist ruggedness: a realism that moves the blood and shakes the entrails. Sonically, Varèse can stand comparison to Coltrane and Hendrix, who provided lasting testimonials to a different noise: a struggle against racial oppression in America and genocidal war in Vietnam.
These moments of musical truth weren’t easy to achieve, nor were they facile, attention-seeking stabs at ugliness or excess. According to his wife Naima (talking to C.O. Simpkins, his best biographer), Coltrane studied scales from all over the world, and tried to pack every musical system into his music. If the results sound ugly, that is because you are too wedded to your partial musical identity, to your comfort-blanket of familiar harmony: heavenly universality sounds like hell to closed-in ears. For his part, Hendrix was intensely loyal to classmates who had been drafted to Vietnam. Reaching an anti-US position was painful and slow, yet by "Machine Gun", it happened. His rainbows of audio-feedback revelled in spaces which brought pain to the repressed and rigid: in the ears of GIs, they were incitements to immediate pleasure, to disrespect for authority, and to outright mutiny ("fragging").
Coltrane and Hendrix did not invent this dialectic between musical shock and political liberation. It was the major theme for Beethoven and his followers. Romantic music was a call to revolution that now languishes under the idiot term "classical". The exhilarating allegri of the symphony - the hoofbeats, the jangling bridles, the crack of loading muskets - are not about hunting, as Roger Scruton fondly imagines. They are about bourgeois revolution - "to arms, citizens!" - discovering common aims, seizing the castle keep, liberating the prisoners, letting the in light of reason, sweeping away the cobwebs of feudal reaction. After 1848, when the bourgeois class made its historic pact with state power and landed interests, the excitement turned sour. In march 1871, the French state slaughtered the Communards in thousands, and drove the voice of universal truth and reason underground. In Wagner, massive chromatic transitions invoke myth and fate: surrender to the madness of the stock market as to a natural force. By Mahler, the revolutionary allegri are hollowed-out, febrile, a nostalgic memory."
It's a current of aesthetic thought that third is partial too, sometimes, when he's in that mood.
yeah i have. it's a good un. though doesn't have some of my favs in it.
that last one could come out tomorrow and *still* sound like the future.