mrfaucet

The Ideas Train
Did anyone go to the last Kode9 night at Plastic People? How busy was it? Just wondering if I'm going to need to get down there early.
 

BareBones

wheezy
I don't know if it was the most recent one but i went to one a few months ago. It was surprisingly not that busy - it was a decent number of people, quite full but plenty of space to dance. I got there at about 11.30ish i think but i didn't have to queue. It was a top night really.
 

daddek

Well-known member
I think you're going to need to give specific tracks as examples...

this was playing on my mind, had to get back to it.
how to tell if a tune, or track element, has been written with authenticity of spirit rather than forced out.. intellectually implimented rather than emotively.. the whole question perplexes me in a way, its so vital, likewise answering it feels like trying to clasp smoke. I wont post specific examples bc its a bit callous, but for generalized examples.. think of the phase when 2nd wavers started trying to "do wonky", beats programmed off kilter to no great purpose, obvious purple synths apeing joker, ikonika derived squiggle lines lopped over the beat.. not necessarily bad production or wholly bad music.. and not simply derivativeness - as derivative tunes can still have a vibe - but more a lack of true spirit. I noticed (from afar) a post 2002 phase in dnb where they tried to reinject some hardcore via the old sample signifiers, but it just fell flat, like a calculation without spirit. Whereas Vibezin is awash in hardcore signifiers, and it works because the underlying hardcore spirit is so alive in him.

slothrop answered the question so perfectly really. This is so deep into human perceptive subjectivity that yeh u could say its just a good/bad taste issue. But slothrop exactly identified the process that leads to this specific creativity problem.. authenticity of purpose. i think every artist has or will encounter it, knowingly or not.
 

Corpsey

bandz ahoy
What's that tune that goes (pitched down voice) ''I'm so addicted-ted-ted''?

I think it's that Sicko Cell tune actually.

Pitched down RNB vocals are an instant cringe for me nowadays.

Probably cos I post on here :D
 

gumdrops

Well-known member
i blame burial for making all these producers look for R&B samples but im not sure who did that 'choir of dead rupauls' effect first? i thought it was james blake but now im not so sure.
 

SecondLine

Well-known member
What's that tune that goes (pitched down voice) ''I'm so addicted-ted-ted''?

yeah that's sicko cell.

someone should say something intelligent about the fact that in the 90s everybody spent all of their time pitching voices up and now we're obsessed with pitching them down.

it's obviously all the ketamine we've been doing.
 

SecondLine

Well-known member
ah right...maybe something about androgyny as well, given how these are both scenes with a fairly ambiguous feminine/masculine balance...it's hard to identify gender once voices are pitched down. Whereas almost 'super-female' sounding pitched up vocals in a male-dominated scene (I'm thinking of jungle here) kind of draws attention to the gender divide.

I'm really just thinking out loud here so feel free to shoot me down.
 

juanroberto

Reprezenting the Latinos
this was playing on my mind, had to get back to it.
how to tell if a tune, or track element, has been written with authenticity of spirit rather than forced out.. intellectually implimented rather than emotively.. the whole question perplexes me in a way, its so vital, likewise answering it feels like trying to clasp smoke. I wont post specific examples bc its a bit callous, but for generalized examples.. think of the phase when 2nd wavers started trying to "do wonky", beats programmed off kilter to no great purpose, obvious purple synths apeing joker, ikonika derived squiggle lines lopped over the beat.. not necessarily bad production or wholly bad music.. and not simply derivativeness - as derivative tunes can still have a vibe - but more a lack of true spirit. I noticed (from afar) a post 2002 phase in dnb where they tried to reinject some hardcore via the old sample signifiers, but it just fell flat, like a calculation without spirit. Whereas Vibezin is awash in hardcore signifiers, and it works because the underlying hardcore spirit is so alive in him.

slothrop answered the question so perfectly really. This is so deep into human perceptive subjectivity that yeh u could say its just a good/bad taste issue. But slothrop exactly identified the process that leads to this specific creativity problem.. authenticity of purpose. i think every artist has or will encounter it, knowingly or not.

Juanroberto was all up on this shit with this legendary bilefest of a a thread

http://www.dissensus.com/showthread.php?10964-Enough-of-sea-sick-synths&highlight=seasick+synths
 

CrowleyHead

Well-known member
I've also noticed that if you go for 'intelligent' R&B sample choices, you're being an ass.

I mean, let's be fair... it's one thing to be a 2-step producer in 2000 and sampling Aaliyah, when she had massive hits. It's another thing to be a 'future garage' producer sampling Cassie, who's main following has now turned into bedroom producers and critics.

I know that the sheer amount of singers with careers have downsized since then, but I remember there being a dozen Jeremih remixes in funky, but not once have I heard him here.
 
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