Juke
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trza
Well-known member
Rolling Stone took some time off from their busy schedule of setting the women's rights movement backwards or writing about deadmau5 to catch up with footwork:
http://www.rollingstone.com/music/n...volves-past-its-chicago-roots-20150731?page=3
http://www.rollingstone.com/music/n...volves-past-its-chicago-roots-20150731?page=3
rubberdingyrapids
Well-known member
im not paying as much attention to this as a few years back (how time has flown since those bangs n works albums) but i liked the jlin album a lot.
the recent rp boo album is good, and contains a lot of what i like about footwork, if too long as an album. but the things that always bugged me about footwork - the way the samples often sound at odds with each other, rather than how they complement each other, i seem to find it more jarring than ever. maybe i hoped that would stop at some point. i know its always been like that but now i just seem to hear it as being poor handiwork. maybe its just that the novelty has worn off so im looking at it in a less rapturous way.
also bored of the 'bit of everything' sounding stuff - i dont really care that much for OG footwork producers making footwork-D&B-house-R&B-whatever. anyone can do that.
the recent rp boo album is good, and contains a lot of what i like about footwork, if too long as an album. but the things that always bugged me about footwork - the way the samples often sound at odds with each other, rather than how they complement each other, i seem to find it more jarring than ever. maybe i hoped that would stop at some point. i know its always been like that but now i just seem to hear it as being poor handiwork. maybe its just that the novelty has worn off so im looking at it in a less rapturous way.
also bored of the 'bit of everything' sounding stuff - i dont really care that much for OG footwork producers making footwork-D&B-house-R&B-whatever. anyone can do that.
rubberdingyrapids
Well-known member
steve reich invented footwork
i cant remember where i first found out about this piece but its amazing.
its really a lot like primitive footwork. amazing.
i cant remember where i first found out about this piece but its amazing.
its really a lot like primitive footwork. amazing.
baboon2004
Darned cockwombles.
it's great - never heard the full piece before.
maybe you found about it from here? -
maybe you found about it from here? -
rubberdingyrapids
Well-known member
could be (i thought someone here posted it, not sure), i think it was just when i was looking up steve reich stuff last year for some reason and couldnt believe the similarity. even the phasing (?) on the vocal sounds like it.
rubberdingyrapids
Well-known member
http://thequietus.com/articles/19707-live-report-jlin-exchange-bristol-review
jlins doing quite well isnt she? i love the album. though it makes me think its a sort of techsteppy, or just a more rigid, blockier, industrial, mechanical, gridlike, etc etc, version of footwork. luckily i love all that stuff but it is interesting how it takes a lot of the slippery rhythmic sense and programming from footwork and gives it a squarer, slightly more punishing dimension.
jlins doing quite well isnt she? i love the album. though it makes me think its a sort of techsteppy, or just a more rigid, blockier, industrial, mechanical, gridlike, etc etc, version of footwork. luckily i love all that stuff but it is interesting how it takes a lot of the slippery rhythmic sense and programming from footwork and gives it a squarer, slightly more punishing dimension.
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sadmanbarty
Well-known member
comewithme
New member
Dj Nate returning to footwork?
sadmanbarty
Well-known member
Here’s some maximalist Footwork and Jersey Club from the Japanese label Trekkie Trax. It draws from J Pop, Chiptune and EDM; the result being something quite different from its American counterpart.
There’s a lot more on the label and there is also a lot of idiosyncratic Nuum influenced stuff.
There’s a lot more on the label and there is also a lot of idiosyncratic Nuum influenced stuff.
skweeelicious!
bass downstairs
Mix of recent footwork, Club, slow juke
https://soundcloud.com/stickem/march-2016-mix
https://soundcloud.com/stickem/march-2016-mix
sadmanbarty
Well-known member
Polish Juke is a Polish Juke/Footwork label (believe it or not).
Here’s a hardcore-inspired LP from them:
Their most distinctive music is the stuff that eschews footwork’s typical 808 bass sounds, instead opting for things that tend to be a bit more mid-rangey.
(I think Intruder Alert are also Polish. Maybe worth keeping an eye on what’s coming out from there.)
Here’s a hardcore-inspired LP from them:
Their most distinctive music is the stuff that eschews footwork’s typical 808 bass sounds, instead opting for things that tend to be a bit more mid-rangey.
(I think Intruder Alert are also Polish. Maybe worth keeping an eye on what’s coming out from there.)
sadmanbarty
Well-known member
Completely missed this one, it's from November last year:
Sectionfive
bandwagon house
Would anyone in the know or otherwise like to speculate on how influential this thread was in bringing this sound across the Atlantic and less important but sort of tangentially;
...exporting it back to White America.
In my mind, Ben UFO was the first person to play Footcrab on Ruffage Sessions in early 2010, that was close to a sleng teng moment at the time. Mu officially signed Nate (who first appeared here via imeem) a few weeks later and the Hyperdub started running things from there on in with Swamp orbiting around. Rashad & Spinn did the FACT mix, Boiler Room and the rest shortly after. Footwork had a huge influence on all the dubstep splinters, breathed new life into dnb on the D-Bridge side of things, Pritchard stuff, and formed a big part of the trans-atlantic Nightslugs conversation. There was a few weeks when everyone was mixing Addison Groove into Girl Unit into Pearson Sound but it all sorted of filted down after that.
Paradinas, Goodman, MMS, etc, would have been regular/ occasion lurkers/posters so I presume this thread was ground zero?
Interesting now that the pallet and style has been completely absorbed into the nuum gene pool while guys from Chicago are increasingly less 'house' and more nummish, unfortunately tbh
...exporting it back to White America.
In my mind, Ben UFO was the first person to play Footcrab on Ruffage Sessions in early 2010, that was close to a sleng teng moment at the time. Mu officially signed Nate (who first appeared here via imeem) a few weeks later and the Hyperdub started running things from there on in with Swamp orbiting around. Rashad & Spinn did the FACT mix, Boiler Room and the rest shortly after. Footwork had a huge influence on all the dubstep splinters, breathed new life into dnb on the D-Bridge side of things, Pritchard stuff, and formed a big part of the trans-atlantic Nightslugs conversation. There was a few weeks when everyone was mixing Addison Groove into Girl Unit into Pearson Sound but it all sorted of filted down after that.
Paradinas, Goodman, MMS, etc, would have been regular/ occasion lurkers/posters so I presume this thread was ground zero?
Interesting now that the pallet and style has been completely absorbed into the nuum gene pool while guys from Chicago are increasingly less 'house' and more nummish, unfortunately tbh
CrowleyHead
Well-known member
I don't think its unfair knowing how many influencers actually posted on this thread. Two people are known affiliates to the Fade To Mind / Night Slugs crew now and one became a DJ on Rinse; Goodman's already someone, we all know Ben Ufo glanced at the thread. They might've known prior about the music but I'm sure that the interest in the whole scene was granted a pulse considerably by this thread and perhaps other realms of communication. As someone who was watching this thread sporadically, a lot of y'all kept this thing consistently active when everything else fell by the wayside.
Seizing on something else you said though... I mean, not for nothing, a bunch of these kids if left to their own devices might've followed the DJ Nate model and gone on to make more hip-hop based music, and maybe one or two of them would've stayed making juke/footwork on soundcloud for a community that was small and hard to break. And fwiw now a lot of the kids and elders have a novelty value that keeps them feeling of importance for 'music enthusiasts'. On the one hand its great for them, but on the other hand a lot of it is influenced by working to the desire and the curation of benefactors, subliminally.
Its a cheap and odd distinction, but I feel like that a lot of the people you described aren't doing the traditional nuum activity of finding a genre and making it their home due to the genre they wanted to break into being overcrowded and inhospitable (the old grime/dubstep story of "we wanted to be junglists but it was already an established pecking order" bit), a lot of these other lot just got bored. I'd argue there's more nuum to say, the Kowton/Blawan/Untold-types going off to make weird techno stuff than these guys who reinvent themselves every year to whatever's trending.
"Oh Fly Lo-type beats""nah, funky house""Nah, juke""Nah nah, halfstep 'grime' ""nah nah, footwork influenced JUNGLE!".
Like, I don't need to insert names, you can pick whom could be an appropriate candidate for that sort of behavior.
What consistently happens is that the kids who these producers are inspired by/sign and sponsor sporadically while emulating/lose interest in have to end up figuring out if they want to emulate their world or redefine that to keep it interested to such a voracious and petulant market. Thankfully Planet Mu have done their absolute best to stay loyal to this scene and help work with the younger artists while curating the older artists but there's a weird disparity between the self-released stuff these artists might do and what inevitably gets released on a higher platform that suits the tastes of the benefactor. (Not a shot at Paradinas either, just he's in a weird mentor/appraiser role for some of these younger artists and invariably their careers get altered by his taste. Its no different than Goodman either) and so that resulting disconnect considering what media/press/whatever goes around the prestige label rather than the artists/genres who may not be thinking as consciously about promotion...
Seizing on something else you said though... I mean, not for nothing, a bunch of these kids if left to their own devices might've followed the DJ Nate model and gone on to make more hip-hop based music, and maybe one or two of them would've stayed making juke/footwork on soundcloud for a community that was small and hard to break. And fwiw now a lot of the kids and elders have a novelty value that keeps them feeling of importance for 'music enthusiasts'. On the one hand its great for them, but on the other hand a lot of it is influenced by working to the desire and the curation of benefactors, subliminally.
Its a cheap and odd distinction, but I feel like that a lot of the people you described aren't doing the traditional nuum activity of finding a genre and making it their home due to the genre they wanted to break into being overcrowded and inhospitable (the old grime/dubstep story of "we wanted to be junglists but it was already an established pecking order" bit), a lot of these other lot just got bored. I'd argue there's more nuum to say, the Kowton/Blawan/Untold-types going off to make weird techno stuff than these guys who reinvent themselves every year to whatever's trending.
"Oh Fly Lo-type beats""nah, funky house""Nah, juke""Nah nah, halfstep 'grime' ""nah nah, footwork influenced JUNGLE!".
Like, I don't need to insert names, you can pick whom could be an appropriate candidate for that sort of behavior.
What consistently happens is that the kids who these producers are inspired by/sign and sponsor sporadically while emulating/lose interest in have to end up figuring out if they want to emulate their world or redefine that to keep it interested to such a voracious and petulant market. Thankfully Planet Mu have done their absolute best to stay loyal to this scene and help work with the younger artists while curating the older artists but there's a weird disparity between the self-released stuff these artists might do and what inevitably gets released on a higher platform that suits the tastes of the benefactor. (Not a shot at Paradinas either, just he's in a weird mentor/appraiser role for some of these younger artists and invariably their careers get altered by his taste. Its no different than Goodman either) and so that resulting disconnect considering what media/press/whatever goes around the prestige label rather than the artists/genres who may not be thinking as consciously about promotion...
CrowleyHead
Well-known member
lol A good many years on this board too late but hey.
Its so funny for me because obviously I like this stuff but... in 2010 or so, local representers who posted here would mention things like "yeah the scene is the best its ever been" or the youtube channels for the dancers would show New Boyz the 'jerk' rappers showing up in Chicago and giving some cheeky praise (which is kind of silly to quantify now as the New Boyz were an obvious one hit wonder in America but they actually got that hit wheras Footwork got nowhere close; obv. huge power dynamics there like a vocal lead genre trend with dancing as a feature/theme vs a instrumental lead sub-genre but w/e)...
Now its 2016. Chicago itself made at least two different sub-movements in music over on the rap side that attracted a whole bunch of kids away from juke, because how abstract is 'mild popularity in europe on the internet, my track has x thousand views on youtube' with 'man my cousin got a hit record on the local radio and his youtube got a million views because it got on Worldstar, and people on IG doing his dance in my neighborhood' and that's a huge swath of people not energizing the scene until it became as relatively small a clan as it's been.
I think about this in relation to jungle which like... There are people who soldiered on, continued, thrived on varying scales. Maybe a good pocket of 150 or so musicians who are always doing something at some point, whether its albums, just releasing stuff, working on tunes. Its like... Even including the dancers, a third of that here, and nowhere near the feel of cultural impact. But then again, the US is not the UK so...
Its so funny for me because obviously I like this stuff but... in 2010 or so, local representers who posted here would mention things like "yeah the scene is the best its ever been" or the youtube channels for the dancers would show New Boyz the 'jerk' rappers showing up in Chicago and giving some cheeky praise (which is kind of silly to quantify now as the New Boyz were an obvious one hit wonder in America but they actually got that hit wheras Footwork got nowhere close; obv. huge power dynamics there like a vocal lead genre trend with dancing as a feature/theme vs a instrumental lead sub-genre but w/e)...
Now its 2016. Chicago itself made at least two different sub-movements in music over on the rap side that attracted a whole bunch of kids away from juke, because how abstract is 'mild popularity in europe on the internet, my track has x thousand views on youtube' with 'man my cousin got a hit record on the local radio and his youtube got a million views because it got on Worldstar, and people on IG doing his dance in my neighborhood' and that's a huge swath of people not energizing the scene until it became as relatively small a clan as it's been.
I think about this in relation to jungle which like... There are people who soldiered on, continued, thrived on varying scales. Maybe a good pocket of 150 or so musicians who are always doing something at some point, whether its albums, just releasing stuff, working on tunes. Its like... Even including the dancers, a third of that here, and nowhere near the feel of cultural impact. But then again, the US is not the UK so...