of course. they're mostly different: was just drawing the parallel of the seamless, rolling, focused purism.
Shuffling / House Music / Cutting Shapes
- Thread starter continuum
- Start date
-
- Tags
- a 1000 tunes and not 1 anthem are you really from the ends? attractions including a magician bore to the floor bumming radford on twitter buy my japanese internet house 12 darkside donk deadout didn't they do this in 1986? dominic did a tefl course dominic does streetslang esperanto juggalo even trilliam got bored of this fun with balloons i write for the guardian id rather play fifa im dom indie nuum just house innit know the bubble middle class 30 somethings talk house nuff nuum for continuum radford is older than my dad show me the dance top knot trilliam was right trilliam was wrong upgrunt house who the fuck is mark radford words hurt
of course. they're mostly different: was just drawing the parallel of the seamless, rolling, focused purism.
whytea
Well-known member
The Nominalist Reluctance fascinates me with current dance music in general -- this sort of shying away from, shrinking back from, the coining of new genre names - so different from the nominalist mania of the 90s, when new names bubbled up constantly, an organic byproduct of the scene's relentless mutational drive. The genre names were, for the most part, generated internally rather than imposed from outside by critics and the industry.
I found this interesting, I think the fact that 'deep-tech' isn't generally used by people in the scene must play a part in why it hasn't been picked up by a lot of journos who are usually waiting to find the 'new thing' and to pounce and write on it
To hear the best of this music you have to know which artists, labels, djs to search for (or follow my blog
)Linked to this is the fact that many younger fans just think of this as house and don't really place it in any kind of sub-genre or on a musical timeline
Last edited:
The 20th century was also a time of great war and suffering. Something that goes hand in hand with real 'newness' imo. It's nice just to relax and not progress for a bit after all the 'progression' we made last century.
whytea
Well-known member
Don't like to break up this good discussion with soundcloud links but some naughty tracks just been uploaded
https://soundcloud.com/louieandersonmusic/myndgamez-louie-anderson-remix
https://soundcloud.com/hugomassien/hugo-massien-just-step-forthcoming-tsm
Hugo Massien absolutely killing it right now
https://soundcloud.com/louieandersonmusic/myndgamez-louie-anderson-remix
https://soundcloud.com/hugomassien/hugo-massien-just-step-forthcoming-tsm
Hugo Massien absolutely killing it right now
nothing but context is everything
being forward thinking and paying attention to trends in underground music scenes is the name of the game on this forum. in addition to that you have the 'hardcore continuum', a "theory" that is discussed at length and highly respected/gospellised despite it being something 90% of londoners grasp instantly without ever having heard the term.
so when you take into account how serious dissensians are about their london music being a johnny come lately or failing to see the signs should be cause to leave a man redfaced, not glossed over with some innocent naivety especially when you consider the amount of wrong and strong and entirely dismissive attitudes here at the start
i do not blame u guys as the majority are actually very detached from the roads, young black culture, and totally misunderstand the hardcore continuum or whatever you wanna call it.
and i am not surprised blackdown was quick to c/s ur quoted statement either datwun
so if most non dissensians go to raves for escapism what exactly is it that dissensians go to them for, seeing as the ears on here are so highly advanced and fine tuned to the workings of hardcore contiuum music there should be some good answers here right?
in actuality there's a high high influx of new listeners just being exposed to house in say the last six to nine months (audiowhore of recent i.e. average age dropped a lot), but then you have a sizeable section that were plugged in from literally this time last year, (summer of festivals i.e. eastern electrics with lovebox and electric daisy being in the heart of east) and a larger section than the first two who were switched on from when hungry for the power got big (came out in '09 but blew up in 2010, game changer, mad waves, cant be understated) and then you have the southport weekender lot whose roots run even deeper than that (5+ years)
that timeline to me is of the things which sowed the seeds for this house wave on the roads, obviously there's no stats for this but being a 2010 house fan i was adequately placed to trace the build up to the deeptech sound while noting developments along the way. yes by 2010 house had been around for years (surprise surprise) but four years is more than enough time to educate oneself on a music genre. especially for someone close to or in their early twenties which as has been mentioned is the age where most people start to get house
so when you consider the timelines and different sources of entry for these ravers it is utterly lacking in insight to make statements that amount to these people dont even know what theyre listening to, are on drugs and following fashion
however its the type of comment i expect to read on here as it can only come from detachment with whats really going combined someone who obviously thinks their listening habits are superior despite that not being quite the case seeing as if it were their eyes and ears would've been clearer alot sooner.
these dubstep comparisons are weak as hell and bare the kind of hallmarks the rewriting of uk funky/dubbage history had on here
how many producers in this scene do you think were active dubstep listeners, or were actually influenced by the sounds in the genre, from when dubsteps main qualities directly oppose deeptechs main qualities how are you drawing these links?
have read many a time about its head space filling, meditative quality of dubstep which is the exact opposite of instant reaction dance music that is deep tech. i mean lets be honest for the most part dubstep is not even dance music. the bass in it that you claim to be a "driving rhythmic force" usually had dancefloors nodding on the spot looking at the flor, or "zoning out" but thats a million miles away from what the bass in deep tech does or even the properties of real club music. even techno in a club prompts more of a bodily response than dubstep unless you're talking about the cotti kind of wobbler stuff (which unsurprisingly has undergone a similar kind of reputation/thought change from cookie cutter to accomplished)
so a real big smh @ this only being interesting due to any kind of (non existant) similarities with dubstep (half the time). as ive said before popular house music itself combined with grime and funky are responsible for the kind of sound being developed, any comparisons with dubstep or strictly based on the darkness of the music and when you consider all music from the roads has dark elements its pretty laughable but predictable guys would wanna shout out dubstep
and with all this name shit as well, this is a sub genre of HOUSE music (no not road house despite what the bm soho guys r saying) that does combine elements of deep house and tech house and put them through the london blender so the name while not enough to get bloggers/internet ravers foaming at the mouth is an accurate representation of the music.
tbh the only reason i pushed this shit on this site so hard was because despite the obvious developments it needs people like the ones on this board (middle class, older, white) to be exposed to it, talk about it and spread the words to others in that same categorey for it get anywhere near the levels of recognition it deserves
but when i read some thoughts im like id rather this shit stayed underground and well away to spare me having to endure some of the cringe bound to follow from the above.
yes longwinded cunty post is longwinded and cunty but tell me im not right
about grimey tech mix shits been grimey
Last edited:
I don't try and claim I'm from the roads or anything other than just being a big music fan. What I love about dance music, is that despite being a geeky white guy, I've only ever got good vibes and respect from all the more road DJs I've met in my time cause they can see the love of the music for what it is...
Far from thinking this stuff needs to be compared to dubstep or whatever, that road music needs to be intellectualised to be important, I more see it the other way round, that consistently for the last 25 years, the best dance music in the UK has been made by people in that pirate radio/rave/hardcore/multicultural/mostly-working class/London-Leeds-Shefield-Birmingham-Bristol continuum tradition, and that if you follow that crowd you're gonna find the best music.
Also, though it doesn't need to be intellectualised, it does provide amazing food for thought! This is also the forum where people quote Delluze & Guattari while talking about Crazy Cousins lol, so it's inevitable that people are gonna talk about connections with the music as they experience it (dubstep and deep tech - a bit like Reynolds seeing a link between grime and Gabba back in day), whether or not those are actually real connections in terms of the scene/producers/DJs/influences. dubstep's definitely not the vibe I get from this music, but if seeing those links is the way it makes sense to people then horses for courses you know...
Yeah, Reynolds could have been more contrite in admitting that this stuff does have value, but then on one level what do you expect? I'm an active DJ and raver, so I need a constant stream of new music to fill my sets and bangerz that are gonna have me screwfacing on the dance floor. Reynolds is now in his 50s living in LA, of course his criteria for liking music is gonna be more tilted towards the stuff which hits him on an intellectual level now.
PS yeah I have an issue with that intelligent appreciating verses escapism dichotomy. First of all, I don't know about everyone else here, but I go to raves to take class A substances, brock out, chat shit with my friends and total strangers and make memories. Secondly, ravers are actually very critical in their appreciation of the music, they might not write essays about it , but they know the difference between a good DJ and a bad one, which is why good DJs light up the rave and bad ones don't...
Far from thinking this stuff needs to be compared to dubstep or whatever, that road music needs to be intellectualised to be important, I more see it the other way round, that consistently for the last 25 years, the best dance music in the UK has been made by people in that pirate radio/rave/hardcore/multicultural/mostly-working class/London-Leeds-Shefield-Birmingham-Bristol continuum tradition, and that if you follow that crowd you're gonna find the best music.
Also, though it doesn't need to be intellectualised, it does provide amazing food for thought! This is also the forum where people quote Delluze & Guattari while talking about Crazy Cousins lol, so it's inevitable that people are gonna talk about connections with the music as they experience it (dubstep and deep tech - a bit like Reynolds seeing a link between grime and Gabba back in day), whether or not those are actually real connections in terms of the scene/producers/DJs/influences. dubstep's definitely not the vibe I get from this music, but if seeing those links is the way it makes sense to people then horses for courses you know...
Yeah, Reynolds could have been more contrite in admitting that this stuff does have value, but then on one level what do you expect? I'm an active DJ and raver, so I need a constant stream of new music to fill my sets and bangerz that are gonna have me screwfacing on the dance floor. Reynolds is now in his 50s living in LA, of course his criteria for liking music is gonna be more tilted towards the stuff which hits him on an intellectual level now.
PS yeah I have an issue with that intelligent appreciating verses escapism dichotomy. First of all, I don't know about everyone else here, but I go to raves to take class A substances, brock out, chat shit with my friends and total strangers and make memories. Secondly, ravers are actually very critical in their appreciation of the music, they might not write essays about it , but they know the difference between a good DJ and a bad one, which is why good DJs light up the rave and bad ones don't...
Last edited:
Corpsey
bandz ahoy
The Dubstep comparison was really prompted by blazey saying he hadn't been this excited by music since setting up subloaded with pinch. I appreciate that its a very superficial comparison and might be seen as intending to "dignify" deep tech in dissensian terms. I don't expect most producers in the deep tech scene were into Dubstep or made it (RS4 being the obvious exception) I was just saying that one reason people who WERE into Dubstep (and danced to it, as I did) might be responding to deep tech is that its a stripped down style with pretty minimal bass and drums and dubbed out effects. Again, this might be misleading to read because the drums are important too, all the little snare fills etc.
I'm totally willing to admit that I didn't see what the fuss was about with this stuff at first (and I'd be an idiot not too cos my reactions are documented in this thread!). Additionally since then I've probably written mistaken things about it even in enthusiasm. I am trying in my own small way to promote the deep tech stuff I like on my blog, but I don't consider myself anything like an authority on any of it and I don't mind being pulled up on bullshit if I've written it.
I'm totally willing to admit that I didn't see what the fuss was about with this stuff at first (and I'd be an idiot not too cos my reactions are documented in this thread!). Additionally since then I've probably written mistaken things about it even in enthusiasm. I am trying in my own small way to promote the deep tech stuff I like on my blog, but I don't consider myself anything like an authority on any of it and I don't mind being pulled up on bullshit if I've written it.
really n truly i didnt say anything here that i didnt mention in that big post before i only replied cause like i said you're a cool guy who defo shows the proper respect levels and tries to meet the music on its level not wanting the music to come and meet you on your level
"for me if this starts to do x and y im gna start liking it but until then i'm not fucking with it and im not even gonna try and see what its all about" thats the attitude a lot of people have in here
@Corpsey, not talking blog posts or articles or anything like that. i am literally talking discussion in this thread. furthermore this is not a witch hunt to say ohhh you werent into it then i was im so great whatever whatever because thats musical snobbery in itself right? but i am very critical of the way this forum interacts with music on a purely online level and the consequences of this
And minimal bass really
Last edited:
interesting debate, friends. all this being said, i think some of you are getting overly-protective & disallowing criticism atm, and it can sour the debate.
i have been following this thread (+ the jackin one) from post one, and i must say opinions have been definitely changing, so this argument about ''people having the same opinions consistently'' doesn't hold up. there was certainly a time when jackin was hailed by some of you as a champion for having the most potential, and deep tech was seen as a pale shadow of tech-house in london (now, the tables have turned, i guess). afterwards, there was some talk of a possible merger of the two, and some time last year, don't know when really, deep tech really really took over. so every couple of years, there's some sound that's been hyped and proclaimed as 'the next big thing'. surely, after seeing too many of these hype-cycles turn over, you can understand the skepticism of some?
i can appreciate the impressions this music and the scene make on some of you guys, and there's no doubt something big is accumulating here worth following (and writing about, otherwise it will surely be forgotten). thinking about travelling to england just to see one of those events.
but being an outsider and only listening to the music itself (i don't think people know about deep tech where i come from), i still feel it hasn't reached a certain saturation point of mutagenicity where it strikes me as a completely novel event.
this, however happened when i first heard jungle, uk garage, grime, dubstep and footwork. i got my mind blown first time i heard those, every time. so surely, you must understand, that while you're raving your asses off to a subgenre of house, we're waiting it to develop to the next big thing.
at the same time, i think reynolds' quick analysis to me seems to be one of the best dissections of deep tech so far. especially the MC part of the B3 recording seems, as he said, almost detached from the music itself. a completely different experience from uk funky, and a most interesting one
i have been following this thread (+ the jackin one) from post one, and i must say opinions have been definitely changing, so this argument about ''people having the same opinions consistently'' doesn't hold up. there was certainly a time when jackin was hailed by some of you as a champion for having the most potential, and deep tech was seen as a pale shadow of tech-house in london (now, the tables have turned, i guess). afterwards, there was some talk of a possible merger of the two, and some time last year, don't know when really, deep tech really really took over. so every couple of years, there's some sound that's been hyped and proclaimed as 'the next big thing'. surely, after seeing too many of these hype-cycles turn over, you can understand the skepticism of some?
i can appreciate the impressions this music and the scene make on some of you guys, and there's no doubt something big is accumulating here worth following (and writing about, otherwise it will surely be forgotten). thinking about travelling to england just to see one of those events.
but being an outsider and only listening to the music itself (i don't think people know about deep tech where i come from), i still feel it hasn't reached a certain saturation point of mutagenicity where it strikes me as a completely novel event.
this, however happened when i first heard jungle, uk garage, grime, dubstep and footwork. i got my mind blown first time i heard those, every time. so surely, you must understand, that while you're raving your asses off to a subgenre of house, we're waiting it to develop to the next big thing.
at the same time, i think reynolds' quick analysis to me seems to be one of the best dissections of deep tech so far. especially the MC part of the B3 recording seems, as he said, almost detached from the music itself. a completely different experience from uk funky, and a most interesting one
wise
bare BARE BONES
Last Bodynod got cancelled the day before the event, licensing issues I think, so hopefully there'll be a rescheduled night with RS4...
could care a less about "souring the debate" its an internet forum made for people expressing their views, God knows I don't agree with every opinion posted here (if any) but i dont start crying about it i make a post of my own simple.
please point me to where i have "disallowed criticism"?
but when you do this please bare in mind that i have been calling this ting a sub genre of house since day one and nothing has changed in this description
i'm not gonna gonna explain what i mean again in re to "people having the same opinions consistently" again simply re-read my post n if u dont get why on a forum like this people flip flopping is not a good look then you dont get it kl
as far as hype cycles go i agree with you on that except unlike most hype cycles this was not started on the internet by bloggers or forums or whatever, it is a physical thing happening outside (imagine that) which is simply being tracked online. so that alone makes it more legitimate than alot of the other things i guess you're referring to, as you are not from england let alone london i can see why you would not get this
once again detachment
on this subject of "completely novel" and "next big thing" i gotta ask why are people acting like house a) doesn't have a bunch of sub-genres very different from each other and b)a sub-genre is cannot be new or original. the very definition of sub genre is what a particular style within a genre, i feel its like i dunno obfuscating stupidity now when ppl bring this shit up
all them genres you named could be called sub genres like grime (instrumentals) could be called a sub genre of dark garage which is a sub genre of ukg on the whole but we still refer to them under three different names so wtf is up with this house hate
and as far it being the next big thing goes
a) it is already the next big thing through the default of it being the new big thing happening now
and b) if you and your friends are waiting for some developments you're gonna be waiting a very long time, i would in fact stop waiting and just cast my opinion now if i were u, dont worry if it changes though we all make mistakes right *innocent giggle,blush*
kmrt
please point me to where i have "disallowed criticism"?
but when you do this please bare in mind that i have been calling this ting a sub genre of house since day one and nothing has changed in this description
i'm not gonna gonna explain what i mean again in re to "people having the same opinions consistently" again simply re-read my post n if u dont get why on a forum like this people flip flopping is not a good look then you dont get it kl
as far as hype cycles go i agree with you on that except unlike most hype cycles this was not started on the internet by bloggers or forums or whatever, it is a physical thing happening outside (imagine that) which is simply being tracked online. so that alone makes it more legitimate than alot of the other things i guess you're referring to, as you are not from england let alone london i can see why you would not get this
once again detachment
on this subject of "completely novel" and "next big thing" i gotta ask why are people acting like house a) doesn't have a bunch of sub-genres very different from each other and b)a sub-genre is cannot be new or original. the very definition of sub genre is what a particular style within a genre, i feel its like i dunno obfuscating stupidity now when ppl bring this shit up
all them genres you named could be called sub genres like grime (instrumentals) could be called a sub genre of dark garage which is a sub genre of ukg on the whole but we still refer to them under three different names so wtf is up with this house hate
and as far it being the next big thing goes
a) it is already the next big thing through the default of it being the new big thing happening now
and b) if you and your friends are waiting for some developments you're gonna be waiting a very long time, i would in fact stop waiting and just cast my opinion now if i were u, dont worry if it changes though we all make mistakes right *innocent giggle,blush*
kmrt
sorry bruva im seriously not this much of a prick in real life i just get passionate about music maybe abit too much. i had a feeling u werent being sarcastic but this is the internet man u gotta be careful.
audio rehab and house entertainment, two of the biggest brands (along with audiowhore which is gonna be in ibiza at sankeys this summer if you're getting down there) are gonna have ministry of sound nights next month and the month after so those are definitely worth a shout as an introduction !