mixed_biscuits
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But if he's not playing it then he contradicts his previous assertion; I'm afraid he's locked in.
Goldie returnz...
- Thread starter Benny Bunter
- Start date
I mean I'm probably one of the last of the committed DnB loyalists on this board at this stage I reckon, I still love it, I still play it out and on the radio, and I still follow it, I think this album is pretty good as far as a Rufige Kru album in 2025 goes, I struggle to think what else he could have done here.
Is the criticism that the boundaries of the genre are reasonably well tested and there's no point adding new music to the pile, even if it's tastefully executed and in keeping with the heritage of a 30+ year old alias?
Is the criticism that the boundaries of the genre are reasonably well tested and there's no point adding new music to the pile, even if it's tastefully executed and in keeping with the heritage of a 30+ year old alias?
Yes but this isn't necessarily the fault of Goldie. It's just that we can't imagine what music of the future would be on a mass level. I mean, I can certainly tell you where I think music of the future has to go, as I'm sure @0bleak can.
But, I mean to say, as mass cultural, popular phenomenon. It reminds me (actually) of how blackdown tried to impress upon me (on twitter no less)! that basslines in UK drill are 'acidy'.I mean, begging the question much?
The fact is, most pop music is produced using sample packs and template sounds. And as soon as anyone tries to point out the emperor has no clothes people become indignant. Democratisation like all things has its positive and negative aspects.
You can put your chips on the black music establishments in America and ja but what exactly is music of the future in a UK context?
This is why I went back into the archives. Traversing the paths not taken. It's not an overvaluation of the machine so much as engaging in a balance sheet.
I think music critics haven't truly come to terms with the internet. Not fully at any rate. Which is why we keep regurgitating this conversation.
there's also a danger of seeing these constructs of science fiction as post-ideological, except they always are and always were ideological. Whilst I wouldn't defer to Zizek on questions of politics or even programatically, he highlights this in the sublime object of ideology, which you should re-read. The question to be asked to my mind is how can we even speak of a music of the future when the imperative under contemporary capitalism is to ruthlessly consume? Ironically, we will probably hear a music of the future through a forced (dictatorial) quota on production.
This is why I maintain that Autechre are relevant vis-a-vis most other so-called 'idm' acts. geometric discipline married to algorithmic choice.
Blissblogger2
Active member
That's all very well, but since the artist in question once literally defined his music as coming from the future - what else is the conceit of "Terminator"? - then it seems unavoidable to be bemused by the new stuff's stuck-in-an-eternal-1995-ness
He could redo the Sarah Connor sample from "Terminator" - "you're listening to things I've already done"
He could redo the Sarah Connor sample from "Terminator" - "you're listening to things I've already done"
I told you:
war on the middle class, death to the middle class, shit on its cursed ideals!
But yes, I concur.
This was tbf Crowley's bone to pick with everyone on here. Insofar as social class is semi-ethnicised in the UK our intelligentsia can't see that all culture is bourgeois, especially when produced by the working classes. After all, it is the proletariat which must (as class-in-itself) reproduce the conditions of bourgeois society.
We are not quite done with capitalism yet, but we will be done with it for sure. It is our destiny.
We are not quite done with capitalism yet, but we will be done with it for sure. It is our destiny.
I'm not saying that this particular album is brilliant or anything, but if anything it's stuck in a kind of tasteful moody 1997-ness, and take my word for it when I say I would take that over the stuff he was putting his name to at various points subsequent to the milennium. I'd rather hear him have a go at making the sort of stuff he could have been making if he hadn't spent years getting sidetracked by cocaine and Noel Gallagher collabs, just to see where he takes the whole thing after that.
It seems churlish to complain that what was someone's vision of the future 30 years ago didn't quite pan out that way, or indeed that, having helped lay the foundations for a sustainable career in a genre he paid no small part in creating, that he should have moved on and created something else, and those seem to me to be very much a product of the internet.
It's not a criticism that ever seems to be leveled at Techno people for example, and the idea that Jeff Mills is a bit of a failure because the UFOs never did show up in the end is surely preposterous.
I'm not sure the hardcore continuum adequately accounts for the kind of long tail scene based collective willing into being of a perpetual ideal state for every branch of the tree that used to get kind of forgotten about when the attention shifts elsewhere.