Reynolds' Pazz & Jopp essay

Ok, but what about sounds that have been held at a constant but low level of appreciation? I think the time thing is irrelevant- its about the mass of support within the underground perhaps? But crucially I think the industry operates in a manner that specifically circumvents this mechanism nowadays.

I agree that it's the mass of support and not the time that matters, but you probably need some time to accumulate enough support to reach this threshold. If it takes too long the hipsters have moved on and the music just stays underground with some die-hard fans (like noise and doom metal did for a long time, there's nothing really new about it). So the industry has to generate a lot of interest in a short time.
 

gek-opel

entered apprentice
Asides from the Burial remix it is all a bit bland/authentic/bluesy ready-made music for Jools Holland kinda vibe, or am I being a tad unfair?
 

noel emits

a wonderful wooden reason
I think Reynolds is on to something with the 'spiritual' aspect of these things. There's a need for that so it's there. There's no reason why a deep, spiritual, meditative, contemplative, devotional experience with music should not be liberating and a lot of fun. It's really not necessarily about self-abjection. The abjection may already be there but the music is a response to that, a defiance really.
 

mms

sometimes
Or maybe impotence?

hmm it's more like being buried at the right volume, all these musics as i mentioned before have one thing in common, that they are very 'real' at loud volumes, very physical you can feel the effects on your body on your nose, your legs, organs and skull.
Those things are more about the real effects of sound, time and volume, a sort of amplified soup.
 

gek-opel

entered apprentice
Its showerface music- impressive physicality, but without the kind of heady transcendence of rock, or the rapturous trance-bliss of the dance. Fundamentally about a kind of stasis, spiritual in the sense of being outside of time perhaps, but what makes these genres so interesting is the negative transcendence.
 

noel emits

a wonderful wooden reason
Its showerface music- impressive physicality, but without the kind of heady transcendence of rock, or the rapturous trance-bliss of the dance. Fundamentally about a kind of stasis, spiritual in the sense of being outside of time perhaps, but what makes these genres so interesting is the negative transcendence.

It's just honest. The music's not really going to do it for you, you have to achieve the transcendence by yourself.

Thing is I really love dubstep, noise and drone-metal when they ROCK!
 

gek-opel

entered apprentice
no no, that's how I heard it too. although blackdown is loving on it...

Yes, the live thing with him sampling himself is impressive, but I don't actually like his hyper-conventional style of vocals really, although in the context of the burial mix they work surprisingly well (but obviously a silk purse/sows ear type situation methinks)
 

noel emits

a wonderful wooden reason
Negative transcendence constitutes our supposed cultural reality more or less. Heavy music opposes that by dramatizing it and offering it up for examination and re-contextualised experience.
 

gek-opel

entered apprentice
Thing is I really love dubstep, noise and drone-metal when they ROCK!

Well, they do and they don't. To rock implies some reference to sexual release, but there isn't really any release in dubstep (no drum based ecstasy, just more pulverising bass) or drone-metal (just more feedback)--- I guess Corrupted do kind-of-rock, but it is spread out over 40 mins, it loses the dynamics of rock and ends up in a celebration of boundless power, almost a "Triumph of the will" in music (or is that just from reading those Kino-fist articles whilst listening to snagre/humanos at massive body-eliminating volume...?)
 

noel emits

a wonderful wooden reason
Well, they do and they don't. To rock implies some reference to sexual release, but there isn't really any release in dubstep (no drum based ecstasy, just more pulverising bass) or drone-metal (just more feedback)--- I guess Corrupted do kind-of-rock, but it is spread out over 40 mins, it loses the dynamics of rock and ends up in a celebration of boundless power, almost a "Triumph of the will" in music (or is that just from reading those Kino-fist articles whilst listening to snagre/humanos at massive body-eliminating volume...?)

It's not thrustingly sexual, but it is tantrically sexual; sustained intensity and polymorphously perverse.

Mala from Digital Mystikz talks about 'shaking out your demons', and the best dubstep (and metal / noise) makes me want to do just that, whilst staying hyper alert and listening intently. Gratification can be delayed until that is done.
 

gek-opel

entered apprentice
Its brilliant how dubstep is almost the mirror image of 2step, neither reaches orgasm: where the earlier genre was all twitch and inhuman flex and shudder itchy and insectoid a cocaine-rush of desire for itself, dubstep is like an opiated surrender to physicality beyond movement or motion.
 

noel emits

a wonderful wooden reason
dubstep is like an opiated surrender to physicality beyond movement or motion.

Yeah but look at the people really loving it at a dubstep dance and they are leaping up and down, laughing and smiling.

Perhaps they just have ghosts of 2step in their heads.
 

gek-opel

entered apprentice
Yeah, its still functioning as dance music what might be more interesting if it kept its club-basis, but removed all drums and focused even more closely on the bass-body interaction.
 
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