Shuffling / House Music / Cutting Shapes

Corpsey

Corpsey

bandz ahoy
I really think these tunes need to be heard in a club context (even on a live set) to be fully appreciated. Some of the tunes still sound a bit dry and dull to me heard "straight" I.e. RS4s The Massive Rmx.
 
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glasshand

dj panic attack
Corpsey said:
Love this B3 set! The energy, the crowd noise, the MC hosting, the stabbing bass notes playing the funky syncopated role of UKF claps/bongos, the cohesiveness of the sound, the sense of evolution within that, the feeling that euro house is being put through the grimey London rinser... You've got to love London, just can't let a genre it takes to stay boring. :D
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yeh that B3 set is a banger! all about hearing the echo of the kick on the recordings!

quite a few of the tunes in the mix are new releases on Eastside
http://www.junodownload.com/labels/Eastside+UK/releases/
 
whytea

whytea

Well-known member
C

continuum

smugpolice
That Move To The Beat recording is a big, big set. Listened to it for the first time yesterday and then twice more straight afterwards. On my third listen tonight to. Lee B3 Edwards is a central catalyst. You can hear him laying the foundations for this sound back in 2011 with his Return of The Jedi Vol 1 mix:

https://soundcloud.com/house-ent/b3-jedi1
 
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trilliam

Well-known member
known information is known

if u boys r ready to venture off the internet then magnified, house passion and philosophy are all calling.
 
C

continuum

smugpolice
Corpsey's response to Simon's post also questions that last statement:

I don’t know why he’d write tech house off as “the end of the road”, either - after all, wasn’t UK Garage seeded by a British urban conversion to US Garage?
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One of Rudewhy's tweets about his first hand experience of Audiowhore last weekend is also at odds:

<blockquote class="twitter-tweet" lang="en"><p>Last night was extremely road and extremely gully</p>— AJ (@Rudewhy) <a href="">June 1, 2014</a></blockquote>
<script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>
 
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datwun

Well-known member
That was me trying to give Reynolds a little "in" into deep tech. It worked really well obviously lol.

I don't think Reynold's judgments on UK rave music have been on point for a while. He was probably right when he saw something a little limpid in dubstep. He was 100% wrong about UK funky, and though he kind of "got" bassline, he missed out on all the ways it twisted and turned following Heartbroken (primarily the rise of UKB and Pantha and that 2-step bassline sound). It makes sense he's not as on it as he once was, he's older and lives in America lol.

That said, I'd say he has as much right as anyone to opinions of UK 'road' music, he was the only person in the whole of music journalism to give this stuff due credit in the early 90s, being a fanatic advocate for, hardcore, jungle, dnb, garage and grime long before it was a cool thing to do. It's a shame that's he's got a mental block around house though, cause to me it's simply inconceivable that anyone without prejudice who's ever liked grime, jungle etc. could listen to this deep tech stuff and not like it...
 
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glasshand

dj panic attack
datwun said:
That said, I'd say he has as much right as anyone to opinions of UK 'road' music, he was the only person in the whole of music journalism to give this stuff due credit in the early 90s, being a fanatic advocate for, hardcore, jungle, dnb, garage and grime long before it was a cool thing to do.
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can't resist throwin in a comment here

i think the best thing simon reynolds did with his books and articles was to draw serious attention to working class and black music scenes and get them recognised as important cultural movements. the hardcore continuum thing opened a proper dialogue on rave, jungle, garage and grime and since then they've almost become canonised. but his and mark fisher's borderline fetish for modernism (which always sounds dubious to me) and nostalgia trippin seems to mean that they aren't going to champion anything much that's out there now.

along with this, the canonisation of jungle, garage, grime etc seems to be having the effect of closing a lot of people off to finding out what populist musical movements are taking over now (ie deep/tech house). we get documentaries retelling the stories of these older genres instead of ones investigating what's happening in the present with the same groups of people ten years on. and for some producers that mostly seem to come from outside of London this translates to pastiches of the older genres. if the music doesn't take obvious sonic influence from jungle, garage, grime then for them it's not really "gully" and so not part of the same lineage.

for me the mistake is in separating out the music from the crowd making it. if it's what "road" people are making and listening to in big numbers then it IS "road" music, simple.
 
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trilliam

Well-known member
cant expect much from someone so distant, his thoughts mirror the ones present here at the start of the thread for the very same reasons

"for me the mistake is in separating out the music from the crowd making it. if it's what "road" people are making and listening to in big numbers then it IS "road" music, simple."

this is a very good point and one i've been stressing from the off.
 
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trilliam

Well-known member
alex said:
nah it doesn't atall sound like that, but it's a moist tune..no bite. same as reverse skydiving.

edit* lol at thinking i judge music based on what it sounds like on lappy speakers..
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talking about heading my way

is this bok bok

hilarious
 
whytea

whytea

Well-known member
trilliam said:
"for me the mistake is in separating out the music from the crowd making it. if it's what "road" people are making and listening to in big numbers then it IS "road" music, simple."

this is a very good point and one i've been stressing from the off.
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This is a good point, and is linked to the post earlier that pointed out that many of the proponents of this new sound have come from Grime.

Despite hating the term 'road', if you asked me: What's more 'road'?

a Grime instrumental made by a young, middle-class bedroom producer from the Home Counties, who blatently rips off 'classic' grime, but was listening to jump up DnB and Razorlight when Grime was in it's prime?

Or

People on the streets of a London block shuffling away to a House riddim blasting from a nearby parked car?

To me it's pretty obvious, but not sure how detractors such as Blackdown or Reynolds would interpet this
 
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trilliam

Well-known member
whytea said:
This is a good point, and is linked to the post earlier that pointed out that many of the proponents of this new sound have come from Grime.

Despite hating the term 'road', if you asked me: What's more 'road'?

a Grime instrumental made by a young, middle-class bedroom producer from the Home Counties, who blatently rips off 'classic' grime, but was listening to jump up DnB and Razorlight when Grime was in it's prime?

Or

People on the streets of a London block shuffling away to a House riddim blasting from a nearby parked car?

To me it's pretty obvious, but not sure how detractors such as Blackdown or Reynolds would interpet this
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im sure u know how they would interpret this and given which group blackdown and reynolds would fall into its not surprising in the slightest.
 
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trilliam

Well-known member
outraygeous said:
If I was more articulate I would dead off that whole contiuumm (what every it is) theory

How can any one explain for example, someone like Swarvo going from being a grime mc to doing dance moves on youtube without actually being part of the environment that pulls you to these events?

I would write about it but I have never even step foot in one of these house raves. I guess, that is what happens in modern day journalism?
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