Dubstep
the rsd cd is just his singles from the past couple of years collected on cd (bar the best one imo, which was a anon white label called 'murderation'), so yeah, it's really good. people should talk about smith's stuff more, he's fucking on it. some of the stuff on that radio mix he did earlier in the year is unreal.
it bloody hurt i could tell you and the scars took quite some explaining to friends and family. now that they've healed tho, at least people stop avoiding me in the street like i'm on crack...
Alfons
Way of the future
is there something about reviewing hyperdub releases that brings out the worst in people? http://www.residentadvisor.net/review-view.aspx?id=6764
bloody site better than the pitchfork one but should have lost the first paro
benjybars
village elder.
yeah that new one is MINT!
he's quality. Phonebox was one of the best releases of 2008 imo
definitely. the loot remix was one of my favourite tunes from last year.
Alex, it sort of seems like it's trying to say that Hyperdub is only going to appeal to people who are already fans of it or stuff very similar, but beyond that not that many people will be interested in it, although if that is what they're trying to say then the fact the review appears on a techno and house website sort of contradicts what they're saying.
I'm pretty sure a good chunk of that record got played last night. It's all classic Rob.
Richard Carnage
Well-known member
"Originally they wanted to call this 5 Years of Low End Contagion. They were right not to. Contagions don't spread beneficially, or even neutrally: they pollute and toxify. They mutate only to keep eating. They pillage. But that's not the remit here. Assuming Hyperdub leads from the head—and there's no reason to suspect otherwise—then the ongoing mission is that of mutation without parasitism, an additive reshuffling of codes to create new behaviors and evolutionary lines within them. Hyperdub isn't a record label, or a virus, so much as it's a culture unto itself, and I suspect that at least some part of the appeal of digging through their progress to date is that it turns us all into anthropologists, tracing networks of links and gauging the distance we've traveled from the source."
Let me abbreviate the pseuds' corner commentary:
- Blah blah blah... Hyperdub isn't a "contagion" as it leads rather than follows (ie. it's not parasitic)
- Assumption that it is a leader....
- ... and creates new mutations from originally existing bass music forms
- Hyperdub is a "culture unto itself" - ie. inspires a devout following, one that is obsessed with the lineage of sound system culture.
It doesn't sound like a sly dig to me. Not sure how you're reading it. I thought the RA review was a little generous when talking about the new stuff, to be honest. Expected much more, but am quite happy with just picking up the Zomby/Samiyam 12". There's no arguing about the quality of the back catalogue.
Funny, but if it's in response to the Pitchfork thang it's kinda off-target... the reviewer points out that Hyperdub's catalogue is mainly offshoots or tangents that are connected to dubstep but basically aren't dubstep. I totally agree.
Also, I don't think much Hyperdub stuff sounds like it's written for the club. I've never read / heard an interview with anyone on the label - do the artists say that's what they're about?
I'm being picky with my words - no argument that it's part of the world of "dance music" and am sure you could dance to a lot of it, but is e.g. Burial's stuff or the Kode 9 & Space Ape album written with the dancefloor in mind?
i reckon most of the 12s are for dancing and the artist albums so far have been more for listening overall.
This follows as a pretty standard and sensible template.
most of the artists are djs and producers making music for dancing inc kode9.
the whole pitchfork review is just a huge mess imho not worth the analysis.
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well first of all, the beginning of the article draws from videos that do not feature hyperdub artists. the opening two paragraphs are about dubstep in general. (and has been pointed out already, the result is pretty half-ass).
i wouldn't be so daft as to insinuate that the dancefloor is HD's only concern, but the idea that it isn't a concern of those represented on the label is just as bad. we've heard this argument with regards to burial many times, and while obviously his albums have been crafted with consideration for other listening contexts, they (and the 12"s... of course... those things designed for DJs...) certainly feature more than enough tunes that are perfect for the dance floor... a lot of his uptempo 2step beats are precisely the kind of stuff that can leaven a dancefloor locked into halfstep (or whatever) for too long... even from my provincial experience out here in Vancouver, i've experienced this often enough on dancefloors with this music.
you could run down the paragraphs and contest on an almost point by point basis--which i don't really care to do. it is just a shame that, yet again this music is being misrepresented to an audience that is perhaps largely unfamiliar, and hardpressed to get at the goods. obviously pfork is lucky to have Blackdown's column on their pages--but that's not drawing new reader's the way a "best new music" review does, i doubt.
i think there is a distinction to be made between being 'dangerous' on the dancefloor and being dancefloor 'unfriendly'.
i wouldn't be so daft as to insinuate that the dancefloor is HD's only concern, but the idea that it isn't a concern of those represented on the label is just as bad. we've heard this argument with regards to burial many times, and while obviously his albums have been crafted with consideration for other listening contexts, they (and the 12"s... of course... those things designed for DJs...) certainly feature more than enough tunes that are perfect for the dance floor... a lot of his uptempo 2step beats are precisely the kind of stuff that can leaven a dancefloor locked into halfstep (or whatever) for too long... even from my provincial experience out here in Vancouver, i've experienced this often enough on dancefloors with this music.
you could run down the paragraphs and contest on an almost point by point basis--which i don't really care to do. it is just a shame that, yet again this music is being misrepresented to an audience that is perhaps largely unfamiliar, and hardpressed to get at the goods. obviously pfork is lucky to have Blackdown's column on their pages--but that's not drawing new reader's the way a "best new music" review does, i doubt.
i think there is a distinction to be made between being 'dangerous' on the dancefloor and being dancefloor 'unfriendly'.
Yeah, OK, fair call one and all.
nomos
Administrator
benjybars
village elder.
keysound 015= sully- the loot rmx/in some pattern. Just been mastered this week!
yes bruv!
Keysound are ON IT right now.