UKG revival (again)

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Who loves ya, baby?
"How real is any of the past, being every moment revalued to make the present possible..."
 

version

Who loves ya, baby?
Alot of Dissensias seems to be Gen Xs however, so I understand the critique towards retro after having seen constant innovation for decades. I have to defend retro in continuum genres though, as they were so short-lived. So good music, but for so short time, so why not make more of that stuff? Would suck to leave, like jungle, forever in 93-96.
This is an interesting point. Maybe the older lot were spoiled in much the same way the Boomers are viewed as having been re: economics. I saw a comment under a Ray Keith tune the other night saying the progression from '91 to '93 was staggering.
 

blissblogger

Well-known member
haha! CCRU fans, what a giveaway (although somebody's missed the 't' in hyperstition here)


from the bandcamp:

Fiesta Soundsystem - Inflorescence pt.1
.
Hyperstition- ice cold atmospheres and a writhing 147bpm break

Bken Lkage - Sheets of gut wrenching paranoia build and build into a climactic, time-shattering amen rinse-out

GST separate - bassweight and flickering drums trace out a menacing hologram of old school grime

Mentasm dub - oft sampled techno classic twisted into a technoid stepper with a rib shaking bassline

Qkru 2501 - Rave requiem with lullaby pads and angular drums that hang in the air
 

hucks

Your Message Here
This is an interesting point. Maybe the older lot were spoiled in much the same way the Boomers are viewed as having been re: economics. I saw a comment under a Ray Keith tune the other night saying the progression from '91 to '93 was staggering.
And even the change within years was staggering. Even if, say, you think it all went wrong in 95, that's a change that happened in one year...
 

luka

Well-known member
Staff member
im not questioning that rule btw just saying it's interesting those genres are tied to a particular period whereas you can make the same boring house forever. It's so boring it's universal
 

luka

Well-known member
Staff member
This is an interesting point. Maybe the older lot were spoiled in much the same way the Boomers are viewed as having been re: economics. I saw a comment under a Ray Keith tune the other night saying the progression from '91 to '93 was staggering.
Barty still insists that innovation is still ongoing in music and at the same pace and intensity as ever. And even if it's not true it might be the right position to hold. He was definitely right about drill.
 
It is weird that you can make the same house tune for 40 years and that's fine but jungle and garage you're not allowed.
broader more accommodating template isn’t it, both formally / technically and in actual ethos
 
Agreed it can do anything. But the speed of jungle alone, and fucked up sonics put off most without even considering the message or identity aspects.

House is the universal source, open and fundamental, the centre, a basic murmur that we can all return to in the body. Jungle and garage are deviations and quickenings under certain social conditions. They're exciting in fruition because they're creating new ways to be but feel like faximile in retrospect because the conditions, the inputs aren't the same
 

luka

Well-known member
Staff member
true. I despise house But not as much as I despise people who listen to house. You hate house too don't you
 
Not at all! Love plenty of house music, I can hate its dominance and agree it can be the most featureless, plodding boring shit in the world in certain hands. the mythology around it can feel very dull and insincere too, mostly doesnt match with the experience of hearing it in clubs
 

Rudewhy

Well-known member
im not questioning that rule btw just saying it's interesting those genres are tied to a particular period whereas you can make the same boring house forever. It's so boring it's universal
Is it not the case that House became detatched from the social and cultural environments of the working-class black communities in which it was incubated very early on which allowed it to become this universal, global sound which (as you correctly state) never changes and, despite it's various mythologies (Chicago, Madchester, Ibiza etc), is formed by hundreds, if not thousands, of micro-scenes across the world that display absolutely no awareness of the social contexts of those said mythologies. Whereas UKG and Jungle, despite their appropriations by middle-class white people first in the Post-Dubstep scene and now by this trust fund illustrator lot, have never really become detatched from the aesthetic of the working-class (and in many cases cases semi-criminal) lived experience of a failed British modernity that was London in the 1990s - decrepit tower blocks hosting pirate radio stations, graffiti strewn trains dating from the 1960s, teenagers operating in warfare like conditions in the "concrete jungle" - which itself has become an integral part of the self-perpetuating myth of those scenes and their attraction to many outsiders in the first instance.
 
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Rudewhy

Well-known member
Szatan's article also alludes to the uptake of certain tracks by the Minimal Techno scene - if UKG is to ever break free from it's own mythology, I expect it will be via that scene's championing of it.
 
Szatan's article also alludes to the uptake of certain tracks by the Minimal Techno scene - if UKG is to ever break free from it's own mythology, I expect it will be via that scene's championing of it.
because its an endorsement that strips it of all social and visual info and identity? pure sonics. swing and dubby bass and triplets etc
 
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