Rewiring

catalog

Well-known member
don't think so. there was a time when i thought that flying lotus album on warp was cool but did it rewire my brain? i don't think so. these days I'd just rather go for dilla's donuts beat tape. + flylo just went so pompous afterwards.

There's a rinse hyperdub set where kode9 has flylo on for a set, he arrives late but then just pulls out these amazing tunes, including one with a vocal just going 'bang it motherfucker', there's loads of good banter between the two, kode9 also playing some classics (that 'ro keela' one). Really good session that. I don't think it quite rewired me either but I know what you mean about when he arrived and there was all this new stuff. Like I remember going to the warp car park party around the same time that I think he played, where Rustie and hud mo made their debut. And it was just hip hop but they had brightened it up. I remember a really big black guy in a dilla t shirt bounding to the front and singing along to this tune, and gaslamp killer selling his CDs in the crowd. I bought one, never really got into it.
 

DannyL

Wild Horses
Hearing this age 11

Was on a tape with Rockmaster Scott "Request Line" and the dub of "What you gonna do about it" - Ultimate 3 MCs. Can't remember the pirate it was taped off - JVC? But it seemed perfectly calibrated to be the coolest thing that could ever exist to an 11 year old. Led to Streetsounds comps, breaking (badly), graf, listening to pirates.


I think generally listening to Kiss when it was a pirate rewired my head. The best DJs in black music, digging deep every show. Gave me my taste for eclecticism and a general lack of interest in what everyone else is listening to.
 

the ig

Well-known member
this, i'm afraid:



pretty overwhelming, that breakdown, at 15, and it still burns a hole in the day every time i hear it...as if they'd been told: "here be the weak spot of the real, dig here" and by golly do they!


it's really the kaukonen-casady guitar-bass wildride that does it (though drummer spencer dryden is also v much key), the slight melody afloat like the froth on the torrent of their playing (yet also emphatically punctuating, fording the flow at the chorus), the dippy sentiment somehow made possible by that churn, but as likely as not to be sucked back and dissolved into a larger, wilder feeling.


the whole record is moaning, sick with longing. but longing as a strangely objectivised thing, like a gaudy painted kite yanked down the slack line to earth with eyes staring back at you, present, scary and real.

'i see people all around me changing faces / i'm doing things that haven't got a name yet' (wild tyme)
ie thrilling and discomfiting at the same time, daft and profound, gleeful, ripe and hungry...yeah, rich in tonal and thematic contradictions: bliss dissolving to shudders, balmy dejection transmuting to tart elation, glittering existential loneliness tumbling to volatilised collectivity and back, a sort of sublated good-and-bad trip.


i became both incurably impatient and irredeemably somnolent after this stuff, a graduated materialist lost to the world, ruined/saved.
 

version

Well-known member
That was around the time people were losing their minds over Rustie's Spliff Dub remix and 'wonky' was the new thing.
 

luka

Well-known member
Nah don't think so. There's something magical about naming though isn't there? If it sticks.
Coming up with the term 'post rock' for instance. It's secretly better than making a post rock record isn't it?
Simon is fairly explicit about this. He definitely believes this.
 

luka

Well-known member
It gives him ownership of the entire genre. Simon Reynolds is the most important post rock artist simply by dint of having named it. He often talks about this.
 

catalog

Well-known member
Alongside wonky you had 'purple' to describe joker and others from Bristol (gemmy and someone else). I did like that sound a lot at the time. Dead pretty quick. There's a blackdown set where he's got trim freestying over digidesign and it's really good
 

craner

Beast of Burden
It gives him ownership of the entire genre. Simon Reynolds is the most important post rock artist simply by dint of having named it. He often talks about this.

I think he used to revel in it all the more because all the artists hated it.
 

luka

Well-known member
I think he used to revel in it all the more because all the artists hated it.

Very much so. He is still like this. 'Conceptronica'. It's one of my favourite things about him. He doesn't have that critic-as-subsidiary humility, he has a very elevated view of the critics role. It's the critic that makes things happen, the critic, as I say, as much more important than the dumb musicians.

Merlin not the stupid knights (who are pretty much expendable)
 
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luka

Well-known member
The flip side of this is that his favourite music was utterly impervious to critical influence
 

luka

Well-known member
The Critic isn't there to give an objective description of the music and a tentative opinion of its merit, the critic creates, orchestrates, inflames, gives meaning and value to the whole enterprise.
 

luka

Well-known member
This winds up Americans especially. They hate Reynolds. They hate Penman, (specially Zappa fans) Ben Watson (specially Zappa fans), they think respectable music critics should be consumer guides essentially.
 

Corpsey

bandz ahoy
Very much so. He is still like this. 'Conceptronica'. It's one of my favourite things about him. He doesn't have that critic-as-subsidiary humility, he has a very elevated view of the critics role. It's the critic that makes things happen, the critic, as I say, as much more important than the dumb musicians.

Merlin not the stupid knights (who are pretty much expendable)

Hey this chimes in accidentally and utterly with that thread I bumped.
 
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