Amon Tobin used to go on about this, how his whole album was built from field samples of insects or whatever, thing is he was using microsamples, at that level it just becomes a tiny waveform it's kind of irrelevant (in terms of the finished sound of the record) where it originated.
Well I think the point is it's based more on the challenge of stretching that one sample out over a whole album to create a coherant, yet varied peice of work.
Don't see why this would give you the hump?
that's completely different though?
well if you are talking about insect samples being broken down into waveforms vs various disco samples used throughout (I was under the impression is was one sample, I obviously read a misleading source), I would say that's pretty different. Maybe I'm being pedantic, and I haven't heard the record, but I would say that it's not the same.
1. From the forum I read where the press release was described, it seemed as if he wanted to reduce the elements to work with, thus inspiring more creativity than sitting in front of X amount of synths/samples/plugins etc.
2. Your description sounds like he was just like yea, ‘I make my stuff from insect samples, cause I’m different/art fag’ if he was going for the same theory behind it then yea, it’s the same, but you don’t make it sound like that.
This seems like the best place to ask - does anyone have any release info about Trinklets by Brey? Stupidly good tune.
. Reynolds has been hearing people talk about this stuff and objects to the terms being used. It just feels like he's not actually listening to this stuff, to take two of the artists he's written about, I can think of a couple of Jam City & Mosca tracks which are as ruff and ready as any of the jack or acid tracks he sees as vital parts of his continuum
I think you've characterized Reynolds' distaste for this kind of music accurately and hit exactly on the main problem of some of his criticisms. His broad, generalizing reproof of this very widely defined style is completely ignoring the fact that, while he is quite right in saying that some of the work that is associated with the style (if we can even call it a singular style) is guilty of the same elements that typically make any kind of music labeled 'progressive' or 'intelligent' boring, uninspired and overwrought, there are a lot of tunes also associated with the style that do not fit that description at all.
And really that comes down to the fact that "post-dubstep" or whatever we want to call it is so weak a term that it seemingly includes any and all club music being made in the UK anywhere from 130-140 bpm that doesn't sound identical with its more traditional precursors. It comes across more as a post-continuum frustration on his part than it does as involving any real investigation. It's not that he's necessarily wrong, he's just only luckily right by inference about a portion of what is currently being made within those parameters, and I think if he spent his time being careful to distinguish exactly the kinds of work he is referring to, his arguments would be a lot stronger and taken more seriously.