Slothrop
Tight but Polite
Sentences you never thought you'd use?in the last month ive played on the same bills as daniel bell, shake shakir, kyle hall, motor city drum ensemble, caribou, kenny larkin, carl craig & moritz von oswald
Sentences you never thought you'd use?in the last month ive played on the same bills as daniel bell, shake shakir, kyle hall, motor city drum ensemble, caribou, kenny larkin, carl craig & moritz von oswald
"nerdy hipster with a wonky haircut and an ironic mustache or just some kid from Devon or something then I can see why you might not even try to bother getting accepted by teenagers in Newham or whatever."
Sentences you never thought you'd use?
NOBODY NEEDS YOUR FRIENDS TUNES ON VINYL. PUT THEM ON SOUNDCLOUD AND BE HAPPY, NOBODY NEEDS YOUR FRIEND'S SHITTY 2-STEP CASSIE REMIX PRESSED UP. IT'S CLUTTERING UP THE GAME.
i think woebot was mostly right about that, and about how its almost pointless judging things as we used to, as 'the conditions have changed' so much.
I guess what this boils down to for me, as somebody who's come into writing and talking about this music really in the last 2 years, is that it's a debate waged by older people comparing 'A' to 'B', when for us young tykes there's only a 'B', and a second hand 'A' supplied through those very people. I think a lot of younger people, who maybe only came to dance music through dubstep in its mid-late stages, are just really nonplussed by the terms of debate - the scene is what it is, and they/we obviously love it for that otherwise we wouldn't be involved, but there's a constant requirement to 'justify' it that I daresay the Reynolds generation never had (or rather, they were justifying it against a critical orthodoxy which considered rave to be dumb/insignificant, rather than against an orthodoxy which lionised specific points in its history - a far more clear cut thing to have to do if you ask me).
That's a more general point really, prob not particularly relevant, sorry. I know I won't get much sympathy for that viewpoint from dissensus vets
also, that boiler room vid is just...wow
to track back a bit, Woebot at Critical Beats in Stratford last night touched on this 'music isn't coming from the streets any more' thing. Aside from suggesting some of the talent has been siphoned off into road rap, his main point seemed to be that working class artists (sorry, I really do think it is class-related in this context) are far more motivated by financial gain than us naive middle class music nerds give them credit for...so now they don't perceive there to be any money-making potential in dance music, they redirect their talents to video game design, business etc. Mike Paradinas seemed to be in agreement on this too.
I'm was surprised to hear that argument used though...firstly, there are still role models who at least appear to be making a tidy sum in the charts (i.e. magnetic man). And secondly, I just feel slightly uncomfortable with ascribing a large group of people that motivation from the outside...I mean given the low overheads of making a track, uploading it to youtube, sending the MP3s to your favourite DJs, and the obvious social/cultural capital to be gained from being a badman producer, there must still be an appeal there?
There's black, working class people in dubstep who can now charge £15,000 an hour for a DJ set