also uk funky was the most conservative uneventful banal dissensus approved music taking what was good about garage (todd edwards meets timbaland) and chucking it in the bin, only for a bad copy of xerox ibiza house. can't believe so many people fell for it just because of crazy cousinz bongo jam, finally the goldsmiths approved multicultural music i can write about with overt nods to a 'basic conception of Africa.' But we not ready to have that discussion yet.
I should also say, in reference to that conversation between kode and terror, kode says to him that he's a better producer now, technically, but his melodies on his earlier tracks were better. So it's maybe a bit more nuanced than his I said it last night. And terror agrees with a sort of resignation. I mean, that's quite standard really isn't it, that someone will do early work and it's raw and unpolished but just amazing. Then they'll learn the ropes anc what button does what, but somehow they cannot pull a world beating tune out of it.
How often do you hear that someone's early stuff is their best stuff?
It stuck with me cos it was such a frank conversation. And don't forget thst kode resurrected terrors career somewhat for a while.
fam dem basements must've been LIVE thoughwhich is why I became so angered in the Autechre thread. Dissensus' whole approach to grime is that of the nerd. It's extremely hypocritical for people like Luke/Corpsey/Benny to deflect away from this by upholding up a false polarity of gentrification and ruining of some eternal noble savage east london instinct. The gentrification took place for sure but that doesn't equate to you or my personal preferences. It's just unlike the Goldsmiths lot most of us don't make music but it's exactly the same lo fi fetish.
im not afraid to acknowledge the fact that dance music or London music or continuum music was the jumping off point for me. It helped open my ears up to weird free jazz, electroacoustics, industrial, the weirder ends of ragga, etc. It would be totally disingenuous of me to pretend I can talk about this music in the same way as a clubber because I hardly go out these days. And towards the end of my clubbing journey i was increasingly spending my time in obscure 200-300 basements, not fabric or coronet.