WebEschatology

Well-known member
how would you characterise yours?
honestly? fuck knows talking to some people who say their into this stuff and certain other bands makes me wonder if my tastes ossified before they even started.

maybe i'll have some Saul on the road to Damascus moment where i come across something and it'll have me swear its era defining but til then fuck knows
 

wild greens

and sardines
I find it quite interesting how conceptually this stuff and its 1000 chops per minute/supposed abrasiveness should in theory be quite standoffish and aggressive, but it ends up going the other way and the music actually ends up feeling quite meek and ineffectual because its been made to feel "extreme" or whatever

A lot of stuff has ended up like this to me over the last few years- if you think of post-spongebob dubstep, for example- wherein scenes become caricatures and the supposed aggression or toughness actually ends up being a signifier.

Edited, sounded rubbish
 
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wild greens

and sardines
Post-internet rave stuff — I find it interesting because it uses this glitchy aesthetic to reveal the technology it’s produced thru — manifests a cultural mood that feels really relevant to people of my generation who grew up with internet technologies, and then pushes that into a collective dance/rave music.

What's "your generation"? I havent read the thread
 

Leo

Well-known member
I find it quite interesting how conceptually this stuff and its 1000 chops per minute/supposed abrasiveness should in theory be quite standoffish and aggressive, but it ends up going the other way and the music actually ends up feeling quite meek and ineffectual because its been made to feel "extreme" or whatever

A lot of stuff has ended up like this to me over the last few years- if you think of post-spongebob dubstep, for example- wherein scenes become caricatures and the supposed aggression or toughness actually ends up being a signifier that the producer or crowd are anything but.

Terrible music to my ears to be honest. Truly awful.

what's missing is a sense of actual danger. there's no unsettling aspect, it's more cartoonish than intimidating.
 

wild greens

and sardines
I don't find it cartoonish tbh it sounds like python to me or kotlin maybe; is it not programming music? / being on the internet makes me so codelike i like to listen to this

Not that everyone should be tough of course, quite the opposite. There are lots of different people in the world
 
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woops

is not like other people
Doormouse, Shitmat, Alec Empire, Venetian Snares, Enduser, Bong-Ra, even Squarepusher. Isolated, decontextualised white boy projects each and every one.
i've met almost all these people as it goes
 

wild greens

and sardines
Theres a good tune with a sample in here but i don't know what page now

I am glad I didn't grow up with the internet in my face tbh but you have no choice now- bombardment disorientation thats what i am calling it
 

thirdform

Well-known member
im not convinced there is a groove for what its worth. theres a pulse, but not a groove. its more rudimentary than that.

No, there really is. The fact that you can't hear it is probably why you've cancelled funk you silly goomba. Almost 90% of the stuff I play is groove based, it's why I am intent on avoiding barty music, trance, all this frictionless millenium stuff in my mixes. It's not that I'm always anti those approaches (well, i am) but the point is to take the futuristic element of 70s-80s funk and force it into the present and future. For example:

 

thirdform

Well-known member
I am glad I didn't grow up with the internet in my face tbh but you have no choice now- bombardment disorientation thats what i am calling it

Come on this all sounds pretty conservative, exactly the approach Simon and co. were castigating when they wrote about the hardcore continuum.

you're vindicating the deep house purists and all!
 

luka

Well-known member
you probably have an idiosyncratic conception of groove that includes the pogo stick bounce and all sorts of other things
 

thirdform

Well-known member
At least Ross From Friends is getting people out dancing. In a room. Together.

The irony of bashing this modern house trend as 'decontextualised white boy vanity projects' is that is EXACTLY what Break/glitchcore was.

Doormouse, Shitmat, Alec Empire, Venetian Snares, Enduser, Bong-Ra, even Squarepusher. Isolated, decontextualised white boy projects each and every one.

Alec Empire is a bit more complicated than that I think, remember he was being played by Easygroove and Ratty in 93-94, he made quite a bit of germanic hard acid and jungle, as ravey as you can get. This is why true dance music as I say resists journalistic zeal, the ideological zeal lies elsewhere, in how you want to hurt/elevate the crowd with your beats something @blissblogger touched on.

But overall, yes, you are right.
 

thirdform

Well-known member
you probably have an idiosyncratic conception of groove that includes the pogo stick bounce and all sorts of other things

No it's the tightness and bump between the drums and the other elements, such as high hats, toms, etc.

This tune has no groove


Completely flat, absolute moroder pulse, basically the human face of fascism.

this on the other hand despite being at a gabber tempo is insanely groovie, all the elements are sculpted to be in a rhythmic dialogue with the 4-4 kickdrum, rather than just being some twinkling arpeggios on top of it. Absolute negative space through maximalism.


@chava will know what I'm talking about.

Another example:

 
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thirdform

Well-known member
this is the sense in which chicago and detroit are important, the first unity of black funk and electronics with European industrial. Hip hop borrowed from Kraftwerk, sure, but it was in Chicago and Detroit that Liaisons dangereuses, D.A.F got played, and later Front 242.
 
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