Shuffling / House Music / Cutting Shapes

Leo

Leo

Well-known member
datwun said:
A mate offers up this track as evidence that deep tech is not just influenced by bleep n bass, but essentially no different to it.
To be fair I would not be surprised were it a new Audio Rehab exclusive!
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another one on Warp, 1992:

 
Tentative Andy

Tentative Andy

I'm in the Meal Deal
Love Testone and love how that same 'no-nonsense' (to steal Corpsey's phrase from a few pages ago) sound has come back around again.

Edit: this Eastside bit reminds me really heavily of bleep-era stuff:
 
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Corpsey

Corpsey

bandz ahoy
trilliam said:
energy levels, not rhythmic enough, too out there etc

same sort of reasons y u dont hear mojukin bits played out too tough
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I can see this, actually. Both those bleep n bass tunes sound somehow more ''techno'' than deep tech generally does. There's a pounding static quality to them. Maybe I'm projecting something on there and it could be that technology has just moved on but, although there are quite a few similarities (bass sound, staccato claps etc.), I don't see that being played at e.g. frequency.

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I might try and reach this, my mate is on it.
 
G

glasshand

dj panic attack
Blackdown said:
so bitter about your conspiracy theory of all the middle class journalists/prs/labels who simply "must" be deliberately blocking deep tech - while you simultaneously post on a forum where your audience is 99% middle class journalists/prs/labels.

for the scene to get where you want it to go ie not getting ignored by said magazines/wider recognition of its talents/international bookings etc, it will have to go through those very same gatekeepers - that's the harsh reality of the industry.
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blatant contradiction of urself?

the emphasis on conspiracy theory is ur own mistaken reading of what's bein discussed here.

it's not a conspiracy, i don't think ppl are blocking reports on the scene with some malicious intent. instead, as a more workin class ("road" as it's been referred to here) scene it isnt entering their world, not comin up on the radar. and some prejudices are keeping it off.

the problem is the way these things get rewritten later. look at this vice article where giggle riddim becomes a funky anthem, jackmaster is the first DJ to get mentioned, and arguably peripheral ill blu are the definitive voices on where things went. on an article read by millions funky is consigned to five snare drums in a bar - "Funky now seems more of a strand of percussion within house".. that's why trilliam's makin so much noise. at the very least the article writers arent gunna be so clueless if this thread exists
 
G

glasshand

dj panic attack
NATO said:
This anti-new grime hate is getting dull. As if it's an either/or thing... So many sweeping assumptions being made trying to second guess producer's backgrounds, class, race etc, it's complete and utter bullshit. One of the worst tendencies of this forum is to romanticise the black, working class london life, and to hold it up as some banner of purity. So some people made sweeping, dismissive comments about deep/tech...let's do the same about other types of music without a hint of irony. It's perfectly ok to like both and there is absolutely no reason why they sit in opposition to each other here.
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i agree with most of this and i split my time listening to the new grime/130 shit and deep tech pretty equally. some comments in this thread lean towards class second guessing and bashin the "future" shit for the sake of it. second guessing class is not a good way to go.

but the reason i think its worth bashing the new grime shit/future/whatever sometimes is because of the way the artists are setting themselves up against house, pretty much just cuz its popular and they're not feelin it from perhaps the vague understanding they have of it.

rudewhy quoted beneath's "tech house in not gully" and i read an interview with Dark0 (and Perc, tho he's in techno) where they can't resist having a pop at deep and tech house. maybe if they'd read this thread and followed the deep tech gang then they wudnt do this sorta thing. but fuckin off what's popular atm in that competitive way is a pretty shit move and builds some weird one-way scene beef that i think is shortsighted as fuck. it ties in with those prejudices i mentioned above
 
T

trilliam

Well-known member
nah never that

although tbh it is wholly worth ignoring

rather than address the points i made in the quote he wants to go off on 1

it is what it is
 
T

trilliam

Well-known member
Blackdown said:
you're so angry at anyone who isn't unconditionally positive about deeptech, so bitter about your conspiracy theory of all the middle class journalists/prs/labels who simply "must" be deliberately blocking deep tech - while you simultaneously post on a forum where your audience is 99% middle class journalists/prs/labels.
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you think this fact escapes me lol? the audience of this website is half d reason i started posting here and 100 percent the reason ive pushed this stuff so hard, perfect social experiment tbh

Blackdown said:
you don't have a monopoly on opinions about deeptech. this board is called Dissensus, if you're only looking for people who agree with you you're in the wrong place. if you can't handle differing view points you're in the wrong place.
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the other half is that i like to argue about music, and funnily enough i can do it without calling people pricks
 
D

datwun

Well-known member
I don't know that it would clear the floor! Depends on the rave, depends on the time of night, more than anything it depends on how you mix it, when you bring the bass in, you could do some mudness layering those bleeps over a deep tech track.

Jamie Jones on a very bleepy tip
love it!

To be fair to my friend, it is kind of crazy how a track from 1990 can, bar a couple of thing in the details, sound like it could be released on beatport tomorrow. For me though there are probably few things more worthy of a revisit than bleep and bass, and even if the future-ness of this stuff is mostly in its sound design, the 4D sense of a lot of these tunes with bass lines echoing across the sound scape, drums pattering in and out the ears, the fact that we can modulate bass noises with so much detail now etc, rather than a totally new framework for music, you can't front on the sheer quality of the music itself, or the fact that this is a living breathing club scene and subculture, and pretty much nothing else out there at the moment is...
 
C

continuum

smugpolice
datwun said:
I feel like Theo Nasa and Paul Robinson make the weird, dark, polyrhythmic beats that people like Hessle Audio were pushing, but just has so much more energy as to make that stuff redundant.
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If you're looking for the person to bring that same level of depth that Hessle were/are into then Radford's your man.
 
N

NOAT

Member
glasshand said:
but the reason i think its worth bashing the new grime shit/future/whatever sometimes is because of the way the artists are setting themselves up against house, pretty much just cuz its popular and they're not feelin it from perhaps the vague understanding they have of it.

rudewhy quoted beneath's "tech house in not gully" and i read an interview with Dark0 (and Perc, tho he's in techno) where they can't resist having a pop at deep and tech house. maybe if they'd read this thread and followed the deep tech gang then they wudnt do this sorta thing. but fuckin off what's popular atm in that competitive way is a pretty shit move and builds some weird one-way scene beef that i think is shortsighted as fuck. it ties in with those prejudices i mentioned above
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Agreed. Like I said, there is no reason why they stand in opposition to each other, for either 'side'.

Interested to see whether Trilliam is right about the bleep or bass stuff, someone should set up an experiment.

Also I thought that vid of Majesty was a bit dry tbh, but then I generally think party pics and vids are erroneous anyways. Also not a huge fan of his selection either, so that prob doesn't help. EDIT also don't like venues that are that big and that light either. What a miserable fuck I am.
 
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D

David_M

-
datwun said:
A mate offers up this track as evidence that deep tech is not just influenced by bleep n bass, but essentially no different to it.
To be fair I would not be surprised were it a new Audio Rehab exclusive!
Click to expand...
Come on now, this is exactly what I tried to say earlier in the thread...
It's just like when people said UK funky were just Dj Gregory rip-offs or that Scorn invented dubstep in the 90's, missing the forest cause there's a tree in front of you.

Yeah, there's some slight resemblance in the use of certain sounds, but taking that as any more than casual similarities and passing influence is completely missing the current rhytmic setting and common texture of the new tunes, the way the beats are structured and the general vibe of the music.

Most young pilled up ravers without a music background pick up on all those things but people that's been involved with music for decades can only hear bleepy samples screaming in their face and 4x4 kicks, it's quite sad really.
 
whytea

whytea

Well-known member
D

datwun

Well-known member
David_M said:
Come on now, this is exactly what I tried to say earlier in the thread...
It's just like when people said UK funky were just Dj Gregory rip-offs or that Scorn invented dubstep in the 90's, missing the forest cause there's a tree in front of you.

Yeah, there's some slight resemblance in the use of certain sounds, but taking that as any more than casual similarities and passing influence is completely missing the current rhytmic setting and common texture of the new tunes, the way the beats are structured and the general vibe of the music.

Most young pilled up ravers without a music background pick up on all those things but people that's been involved with music for decades can only hear bleepy samples screaming in their face and 4x4 kicks, it's quite sad really.
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Errr, I do hear all of that stuff in the new tunes. But you must be seriously lacking in imagination if you can't hear the ties between this music and that, despite 25 years of technological improvement. I think deep tech's very spacey, does loads of weird stuff with reverb and echo across the soundscape both in the bass and the drums.

What's interesting about deep tech is that you can't necessarily point to one sound which is like definitely new, but like, there's never been a track which sounds quite like Murder Sound before, there's never been a track which sounds like Massien's Made You Look etc.

I also think that Teston tune is extremely prescient, with grumbling jungle-y bass tones which obviously tie in with the sound RS4 is going for. The claps and high hats in that tune are getting at a a very similar thing to the drums with deep tech now, just the technology was more basic. I also think that apart from a couple of producers like RS4, Martin Ikin and Radford himself, no one in this scene is making tunes with any conscious bleep and bass influence. I don't think it's a conscious revival thing at all, I think it's the fact of a UK raving audience getting into a kind of techy house, and arriving at something similar to the first genuinely UK take on techno and house music, bleep and bass.
 
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