Get Off Stops

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sadmanbarty

Well-known member
You’ll follow a lineage, a genre, a scene and then at some point you get off.

What are those things and how do they happen?

Luke says skinny jeans are a major one for him.

Dissensus by and large hopped off London music when it stopped being dance music I’d say.

I’d imagine there are people here who hopped off dancehall around the time auto-tine became ubiquitous.
 
john eden

john eden

male pale and stale
sadmanbarty said:
I’d imagine there are people here who hopped off dancehall around the time auto-tine became ubiquitous.
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Yeah I dropped off about 2007/8. Liked the energy of some of the tunes and then I found them very samey.

Same with the more trad reggae stuff/ "one drop" - less good tunes to my ear and a lot of generic repetition.

We've done jungle / d 'n' b I think - diminising returns for me in 1999 and then 3 months in South America, after which the shine had truly gone apart from a few tunes by Digital.
 
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martin

----
My dancehall hop-off points were Merciless, Elephant Man and Red Rat - each systematically pushing me further away. Autotune didn't exactly lure me back. I was delighted to hear Ninjaman fry these clowns at Reggae Ramjam 2000.

Going to 'avant-garde' music events also killed my interest in discussing that type of music with anyone ever.
 
john eden

john eden

male pale and stale
I ignored hip hop from 1989 onwards except the Wu.

Grime would be a good one. I got into it late (2006/2007?) and really did enjoy that early/middle CD mixtape era. Then it all went poppy and not in a good way.

I've not really followed current music obsessively since about 2010. When I hit 40.

I think there was a fairly standard template for me which breaks down into:

1. Discovery - what even is this do I like it?
2. Oh wow.
3. Obsessive research and acquisition
4. Honing it down - what exactly do I like about it, who best manifests this, what are the boundaries
5. Keeping up with it all, checking out new releases etc.
6. Slow realisation that the honeymoon is over. Decrease in interest.
7. A more general love of the music which is then part of the overall soundtrack to my life rather than being my main thing.

My UK Drill obsession lasted for precisely one afternoon of watching Youtube videos. Which was great.
 
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sadmanbarty

Well-known member
The classic one is where the music crystallises and then refuses to evolve. So I presume drum and bass sounds almost identical to what it sounded like 20 years ago.

I hopped off UK drill in early-2018 when it became clear it wasn’t going anywhere.
 
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DannyL

Wild Horses
I got off with dance music loads earlier than most here - about 96. I was away from London for 5 years so I completely missed jungle and have never got back on with much enthusiasm. I was in Nottingham, so pretty immersed in deep house.

I hopped back on with rap a few years ago, largely due to an American mate who got me listening to Starlito, Gucci etc. But it's weird when you're older - you become more of an anthropologist much less of a participant, when you know the music is definitely not aimed at you.
 
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DannyL

Wild Horses
Part of the function of record collecting is I think it allows older blokes to stay involved somehow. I guess Oto functions like that for me and Jon.
 
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CrowleyHead

Well-known member
For me it usually involves the 'branded collabo' phase.

It's particularly modern but you see this a lot. Someone (magazine, actual corporation, whomever) puts two acts who don't naturally gravitate towards one another together to tell one another how cool they are and encourages them to work together and produce a song that isn't actually all that natural but has that 'best of both worlds' appeal. More than the song sucking in general, you can feel the beginning of the music being used to service the celebrity.
 
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thirdform

pass the sick bucket
generally when things get complacent and apathetic and lazy.
This is hard to immediately quantify but it becomes apparent after a while. this is different to something not evolving. i can even enjoy standardisation within its own limits, see the little silver box thread. but as soon as it feels like a rote motion i'm out. I mean technically pop music has been a standardised formula for 60 years, and soul exploited that standard formula (i'm talking relative to 20th century avant-classical which put a premium on breaking the grid of standardisation, for better or for worse...) for over 30 years without getting apathetic at all...

this is why I also probably have more of an appreciation for *some* of the techy more synthetic dnb before the majority of it just became: 'ok dnb all has to sound like bad company speedball/planet dust or spaced invader.' just lazy, no passion, nothing put into it.
 
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thirdform

pass the sick bucket
but generally i tend to fall in love with the past than the present, which is always overhyped anyway. like we can talk about populist culture but who from our generation remembers N.A.S.T.Y Crew and Essentials? the 20 posters on grimeforum, really.

once the necessary monopoly of bbc/capital/mtv was broken, culture scattered into dust particles. it wasn't even an internet thing per se. 80s electro soul was syndicated nationwide, dare i even say forced down peoples throats to an extent (i got no issue with this, better than the arctic-chop-off-my-bloodline's-cock-monkeys
 
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CrowleyHead

Well-known member
To be fair we're at the point where there's multiple generations of Dissensus users. I know of at least two Gen Z people for sure, obviously there's a Gen X/Millennial stratification here too.
 
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Simon silverdollarcircle

Well-known member
There's definitely a momentum where a scene or a genre carries you along and without realising it at first you end up in a very different place to where you wanted to be.

Mine would be the the whole minimal house thing in the early 2000s. I still think that the early stuff that Villalobos, perlon, kompakt, cadenza etc did is great. But the scene evolved to become ever drier and more up itself. I distinctly remember being at a party in a horrible grotty
(not in a good way) derelict office block rave with really expensive drinks on a Monday night and realising that the music and the whole scene had become absolutely atrocious. All that rubbish like Pan Pot.

A real "how did I get here? This is not my beautiful wife!' moment.

It's disturbingly easy, I find, to get caught up in a scene and its hype to the point where you lose critical distance on it.

Tellingly, there are 100s of records that were played out in the minimal scene in 2007ish and very hyped that would never, ever be played now and would go for pennies on discogs.
 
john eden

john eden

male pale and stale
I guess the social aspect is another factor - which can be in contradiction to the quality of music as well. I know quite a lot of middle aged punks who still go out and see bands that are objectively past their best - but the music is a soundtrack to drinking and catching up with people and reminiscing.

Even as a teenager I'd occasionally go to gigs on my own - but also have lowest common denominator stuff happening that a load of mates went to.

There's been a few of these things for me where scenes I've been in have rejected the new stuff coming through - on flyers!

There were some squat parties organised by punks in the late 80s who had the acid house smiley crossed out on them.

Then in the 90s one of the trancey raves at Bagleys had a flyer on with "strictly no jungle due to deforrestation".

I went to both of the events they were advertising and had a good time - but I knew in my heart that the stuff being slagged off was far more exciting than what they had to offer.
 
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baboon2004

Darned cockwombles.
Simon silverdollarcircle said:
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Mine would be the the whole minimal house thing in the early 2000s. I still think that the early stuff that Villalobos, perlon, kompakt, cadenza etc did is great. But the scene evolved to become ever drier and more up itself.
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The early stuff still stands up - thirdform posed the andy weatherall mixes recently and they're great. still enough of the spirit of basic channel
 
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thirdform

pass the sick bucket
sadmanbarty said:
Dissensus by and large hopped off London music when it stopped being dance music I’d say.
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Not me. i mostly hopped off london when UK funky came around tbh. i didn't hate it, I'm sure if you look on the internet hard enough you can find me getting down to migraine skank with Naomi from Tottenham, but it just sounded like dance music. nothing special. and then when a few years later i started reading the writing around it my opinion was cemented. people would talk about jungle and grimes modernist abstraction, but when it come round to funky everyone wanted to show off how multicultural they were and how they'd done their homework re the black atlantic. Well that Gilroy book is a seminal classic, no doubt about that, but do I really want the monocultural white anglosaxon protestant middle class intelligentsia expounding at length about it?
 
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thirdform

pass the sick bucket
baboon2004 said:
everyone on here, surely
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we don't count. I'm talking about people born after 1996. Remembers might be the wrong word. Knows of is a better heuristic. we all like grime when it was at its least populist. which is why i find it odd that people try to defend the populist at all costs here sometimes.
 
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thirdform

pass the sick bucket
baboon2004 said:
The early stuff still stands up - thirdform posed the andy weatherall mixes recently and they're great. still enough of the spirit of basic channel
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yeah I'd say around 98-2003-04. most stuff after that is just dullard sidechained ableton white noise tedium with wooshes.

although remember indie house? that was all the rage on the internet around 07-09. superpitcher and that.
 
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