Neon Screams!

[Benny Bunter]

Same with the mumble rap one

 

[luka]

i like a lot of it when im drunk doees my head in when im sober same with the dancehall

 

[Benny Bunter]

I don't know, I havent stopped drinking and smoking since the 1st lockdown

 

[Benny Bunter]

Just happy to be into some proper music again that's not OLD

 

[Benny Bunter]

Dancehall especially for me has been incredible these last couple of years, as good as ever.

 

[bun-u]

I’m looking forward to checking it out…but even without reading I sense he could‘ve done with unshackling himself from Dads. He also should’ve asked Joe Muggs to do the foreword

 

[other_life]

purchasing this as soon as i get my paycheck. also forwarded a link to buum

 

[luka]

I’m looking forward to checking it out…but even without reading I sense he could‘ve done with unshackling himself from Dads. He also should’ve asked Joe Muggs to do the foreword

poor old Muggs

 

[other_life]

one thing relevant to the buum music connection is that buum started making raps because he felt that to move forward with the kinds of meta-level statements on music and culture he wanted to make he had to move past making sampler jams/blends/mixes and make those kinds of 'collisions' happen primarily with his own voice

 

[other_life]

don't want to say too much ab the thesis of this book w/out reading it but maybe as there is a return to downtempo after the vector/a vector of futurity in music being speed there is also a return to the vocal after another vector of futurity being the development of electronic music equipment-as-weaponry and the refinement of its use

 

[other_life]

but as with any return which is also an advance, this is on a higher level and encompasses the previous forward development #haggle #dianetics

 

[other_life]

one thing relevant to the buum music connection is that buum started making raps because he felt that to move forward with the kinds of meta-level statements on music and culture he wanted to make he had to move past making sampler jams/blends/mixes and make those kinds of 'collisions' happen primarily with his own voice

https://soundcloud.com/ auriburners /sets / buum-vocal-music /s-ur63a0Sogmz
[dissensus embed was being weird w this bc it's a private playlist]

 

[mvuent]

don't want to say too much ab the thesis of this book w/out reading it but maybe as there is a return to downtempo after the vector/a vector of futurity in music being speed there is also a return to the vocal after another vector of futurity being the development of electronic music equipment-as-weaponry and the refinement of its use

yes he says exactly that in the book

 

[IdleRich]

He married her and they now have two kids,

“We all have that cousin that look fine as hell, and in our minds, we all all say “damn I wish she or he wasn’t my cousin” but I’m one of the only brave n*ggas to not give a f*ck and give that a*s a good thrashin even if she my cousin. If you ain’t hittin your cousin and she fine, you gay, sh*t, even if your momma fine and you aint hittin, you gay”.

Good job they censored that and made it pure.

 

[IdleRich]

I've paid for it!

Better than reading it no?

 

[mvuent]

Does he quote "Noted rap blogger, journalist and cultural philanthropist* Jack Law"

*bought luka the avengers boxset

at some point in the drafting process there was mention of "producer and blogger Mvuent" but, aesthetically speaking, it's probably for the best that didn't make it in

 

[mvuent]

i don't remember seeing the distinction author kit mackintosh makes between the nightmarish faux-utopia of "mumble rap" and the apollonian geniune utopia of "frag rap" before but maybe i wasn't paying attention. it's really interesting.

 

[mvuent]

that's a big part of the fun with this, getting the perspective of someone who a) has an extremely vivid, overactive imagination and b) knows a ton about a particular area of music. all these distinctions in shade of affect within what, to the uncommitted/uninitiated, can seem like homogeneous territory.

 

[linebaugh]

this mix is a compelling sell for the book. I thought it was just going to be a very imaginative defense of trap/drill/etc. but this suggests some other element in the mix.

 

[luka]

What is This Music? “Drill Isn’t a Genre, It’s an Aesthetic Stance.”

Shimmering amid swelling, celestial strings, an angel sings. Its voice quivers, shivers and then pirouettes before retreating back into a thick mist of reverb. As the track progresses it becomes ha…

lithub.com

Shimmering amid swelling, celestial strings, an angel sings. Its voice quivers, shivers and then pirouettes before retreating back into a thick mist of reverb. As the track progresses it becomes hard to discern what exactly you’re hearing. Listening to the drums you might say it was UK drill—you can certainly hear some of the genre’s fidgety rhythmic intricacy in there—but it’s not that straightforward. There are these big, clunky claps that aren’t as nimble as the rhythms in UK drill; they’ve almost got a lumbering stadium rock quality to them. You also have those strings that are at once wistful and triumphant. They’re far too expansive—far too Hollywood-scope—for the sombre solipsism of modern British street music. Once you hear the vocals it’s clear this music definitely isn’t British.
They’re American and a little Quavo-esque with all that Auto-Tune and vocal reverb, except the rap’s fractured rhythms are delivered with the frightening, cut-and-paste aesthetic of a ransom letter, it’s just not Quavo’s style—the vocal psychedelia’s too grounded. So, what is the music then?