Martin Dust
Techno Zen Master
In lots of things, but mostly to true values of the clubbing, no pills, no ego, no fights, no lights - just good music.
kode 9 and spaceape album
- Thread starter mms
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In lots of things, but mostly to true values of the clubbing, no pills, no ego, no fights, no lights - just good music.
@nomos,
well, year, i am being kind of dismissive here, and no doubt taking things a bit far, but i'm still not entirely convinced by your rebuttal here. After all, 'Swarm' doesn't exactly feature the kind rasping metallic sounds being referenced here. More like, Kode just needed a name :slanted: .
I could understand kode's desire to keep things separate if they weren't working the same kind of sphere. But they evidently are.
I think this whole thing says quite a lot about the nature of theory, and specifically the ccru project, which k-p points towards to:
No-one thought that jungle 'needed' theory; but we all thought theory had to take account of, to register, jungle
i.e. that ccru was an abstraction from jungle, and became something quite different. Evidently completing the loop and having theory inform the music is not really being attempted, or at least not by kode 9, and may be for good reasons. Is theory limited to being essentially passive, in this manner?
I don't think space ape's incantations are particularly relevant here, as although they do add a nod theory, there's no real evidence of theoretical analysis/interpretation pushing the music (as opposed to vox).
@k-p,
I was quite surprised when i read your response the jbs gig, for me it was somewhat of a disappointment. There were some fantastic moments, particularly the climax of under the sun, in it's hypnotic majesty (and dare i say it, quite spacerock guitars!), but, as mentioned before, the drummer ruined a fair amount of the songs. It's unfair to have a go at him specifically, as for my money, the whole idea of having a live drummer was just doomed to failure. So much of So this is Goodbye relies on quite subtle shifts in the drums, the introduction of a single HH providing the momentum at times. That just got completely lost in the live environment, leaving certain tracks lifeless. It only really worked for the songs that allow for a more krautrocking hypnosis, with simpler beat structures, where the drums do less of the work. To be fair to the drummer, what was being attemped was very difficult, and he did an ok job with what he was trying to do. It was just a bad idea in the first place.
I would have been much happier with laptop drums, but with the addition of other live elements to keep your interest. I was disappointed with In the morning, in particular. All the vocal 'uh' noises that form part of the beat structure were just crying out to be sampled live, but instead they were left to the backing track (and disappointingly quiet too). More live looping shit would have been much more fun.
well, year, i am being kind of dismissive here, and no doubt taking things a bit far, but i'm still not entirely convinced by your rebuttal here. After all, 'Swarm' doesn't exactly feature the kind rasping metallic sounds being referenced here. More like, Kode just needed a name :slanted: .
I could understand kode's desire to keep things separate if they weren't working the same kind of sphere. But they evidently are.
I think this whole thing says quite a lot about the nature of theory, and specifically the ccru project, which k-p points towards to:
No-one thought that jungle 'needed' theory; but we all thought theory had to take account of, to register, jungle
i.e. that ccru was an abstraction from jungle, and became something quite different. Evidently completing the loop and having theory inform the music is not really being attempted, or at least not by kode 9, and may be for good reasons. Is theory limited to being essentially passive, in this manner?
I don't think space ape's incantations are particularly relevant here, as although they do add a nod theory, there's no real evidence of theoretical analysis/interpretation pushing the music (as opposed to vox).
@k-p,
I was quite surprised when i read your response the jbs gig, for me it was somewhat of a disappointment. There were some fantastic moments, particularly the climax of under the sun, in it's hypnotic majesty (and dare i say it, quite spacerock guitars!), but, as mentioned before, the drummer ruined a fair amount of the songs. It's unfair to have a go at him specifically, as for my money, the whole idea of having a live drummer was just doomed to failure. So much of So this is Goodbye relies on quite subtle shifts in the drums, the introduction of a single HH providing the momentum at times. That just got completely lost in the live environment, leaving certain tracks lifeless. It only really worked for the songs that allow for a more krautrocking hypnosis, with simpler beat structures, where the drums do less of the work. To be fair to the drummer, what was being attemped was very difficult, and he did an ok job with what he was trying to do. It was just a bad idea in the first place.
I would have been much happier with laptop drums, but with the addition of other live elements to keep your interest. I was disappointed with In the morning, in particular. All the vocal 'uh' noises that form part of the beat structure were just crying out to be sampled live, but instead they were left to the backing track (and disappointingly quiet too). More live looping shit would have been much more fun.
C
captain easychord
Guest
bingo
the undisputed truth
Banned
clubbing values ? I'd say they were always about getting stoned on whatever, pills merely carrying on that tradition, getting egocentrically fancied up, gangsterfied undercurrents of violence via the pimps, pushers and big moneymakers, lighting accentuating the mood of the music.
Dubstep in the values you espouse seem more suited to the home environment, enjoyment in solitude. I don't find it to be especially hopeful music. More introverted, dread inspiring, fearful and ultimately hopeless.
You've been nighclubbing in moscow all your life by the sounds of it....
Of course dubstep isn't to be enjoyed in solitude as the quality experience (at times) of going to clubs and listening to it, is amazing esp when crowd's energy levels are thru the roof such as at dmz usually, plus the music demands to be heard on a good soundsystem, it's simply built for that.
I'd agree with martins description of a club working well, apart from the pills thing, i think dubstep could do with more peaks and troughs, it needs some more efeeling.
I also don't think dubstep is fear inspiring, dread is a different thing from fear inspiring, and not all dubstep is dread at all, thats a stereotype really.
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the undisputed truth
Banned
mms said:
Ever been to a hiphop club ?
I really don't need the bass weight of a heavy club vibe to feel the music. I just need to know it's there if you need it. Kinda like a big V8 engine. Its handy to have all that muscle under the hood but it's just a dick thing isn't it?Even the most mourning and yearnful of dubstep tunes still has an underlying current of menace which never let's you forget we live in dreadful times. The dread comes from knowing it's going to get worse before it gets better. It will get better though and that aspect does come through in the music.
Memories of the future in hopeful times.IMHO. I can't wait to hear the album
UFO over easy
online mahjong
CCRU makes me feel stupid
CCRU makes me feel stupid
don't let them get away with that.
Ever been to a hiphop club ?
no i think you're missing something here, big constant bass creates quite a strange feeling thru a crowd, as it's physical you get these massive oceanic rushes of bass waves, fed back thru the crowd with energtic exhuberance , the only thing i can really compare it to is surfers just as they catch a wave.
Bass can have other effects, catatonia, mournfullness, dread, and a sort of unidentifyable fat energy. Dread, i'm not sure if its knowing it'll get worse, it's an indulgence, as music can't hurt you its sort of enjoying that edgy sensation of paranoia really,without any real paranoia and without any rational reason to feel paranoid. this again isn't the only thing present in dubstep,there are plenty of uppier bits.
Another way of thinking about the CCRU crew's work is as a drug- just like drugs it works alongside the music as an intensifier, (though unlike drugs and dance music where the music evolves partially to suit the peculiarities of the favoured narcotics of the scene CCRU crit-babyl is retrofitted around the music itself). Just like drugs there exist both believers and non-believers, those to whom it is a vital rush and those who think it merely "gets in the way" of the music itself. Tatarsky is semi-correct when he assessed it as a brain-wank, but really its more like the mental equivalent of sniffing reverse-poppers ...
nomos
Administrator
Boomkat is currently saying 2 days. Could be that he just had to wait until he got back from playing Australia to get it all sorted.
My epic review is up at my new blog. Turns out I had a lot to say. Read it here...
>>>>> http://www.deeptime.net/blog/
My epic review is up at my new blog. Turns out I had a lot to say. Read it here...
>>>>> http://www.deeptime.net/blog/
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the undisputed truth
Banned
DO NOT GO TO grime.ru AS YOU MAY WISH TO DOWNLOAD AND PREVIEW THE ALBUM IN QUESTION ALONG WITH A FEW OTHER GOODIES !!!
crazy russians :slanted:
EDIT... link to Steve Goodman in nomos blogpiece
Steve Goodman
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Steve Goodman (July 25, 1948 – September 20, 1984) was a Chicago folk music singer and songwriter.Born on Chicago's north side to a middle-class Jewish family, Goodman began writing and performing songs as a teenager, after his family had moved to the near north suburbs. While a student at Maine East High School[1] in Park Ridge, from which he graduated in 1968, Goodman began performing in Old Town and attracted a following[2]. By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer at the well-known Earl of Old Town folk music club in Chicago, while attending Lake Forest College. During this time Goodman married Nancy Pruter and paid bills by writing advertising jingles.
It was also in 1969 that Goodman would be diagnosed with leukemia, the disease that would be present during the entirety of his recording career until his death in 1984
R.I.P 9
otherwise a nice piece of penmanship nomos
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