Listen to this you knobheads
- Thread starter luka
- Start date
Is that really the case, though? Part of jungle's decline after 94-95 was the amen break becoming a default template. @Matthew wrote about this somewhere. Don't get me wrong, I love the amen to death, but listen to something like edge of darkness - come together (remix) and the break is haphazardly integrated, it creates this weird not quite human, not quite sequencer rhythm, because the break used is much harder to streamline. Amen is basically all in the highs which makes it amenable to chopping and why jungle can coincidentally sound quite egyptian at times.
mvuent
Void Dweller
oh. well in that case i completely take what i just said about him back.
luka
Well-known member
Jungle got rubbish at that point but explain to me again what yore objecting to if you don't mind
Surely though if I took that logic to its limit we'd all be allowed to like Sade and Lonnie Liston Smith?
In terms of garage and ambient jungle, the precisely interesting bits are when the ruff and da smoov collide. Otherwise whilst I really like 4x4 UK garage (house) as a music its not very interesting relatively to New York garage, just a bit of a variation with more of a dub bass. And as we know ambient dnb became mostly irredeemable coffeetable cack by 97.
I'm not in the mood for the inquisitive pasty-faced child on too many smarties tonight Lucius, read what I wrote carefully.
But tl;dr In some senses the amen is precisely rawer because it's easier to layer compared to other breakbeats.
Rawness can become a cliche through overuse, not through aesthetic direction.
It's not so much that the critics don't care, it's now we're (those who like ramshackle music) in the discerning minority. We are against the critics. The lee gamble stuff is a different scene entirely, much closer to 90s idm.
There's a lot of netlabel, bandcamp etc producers making music infinitely more inventive than Lee Gamble but they don't have the cachet to be profiled, or at least not in the same way. Whereas Lee Gamble is tailor-made for critics, in the same way that 90s Orbital or even Mouse on Mars were.
There's a lot of netlabel, bandcamp etc producers making music infinitely more inventive than Lee Gamble but they don't have the cachet to be profiled, or at least not in the same way. Whereas Lee Gamble is tailor-made for critics, in the same way that 90s Orbital or even Mouse on Mars were.
wild greens
Well-known member
There is a lot of fake mythology around these people which helps a lot
wild greens
Well-known member
What like autotune
constant escape
winter withered, warm
Or like crackle? That was my introduction to Mark Fisher, this essay he did called the Metaphysics of crackle.
That's basically all jungle then cos it was made using sampling technology and not analog synths. A distinct aesthetic choice.
constant escape
winter withered, warm
Suboptimal and/or obsolete aesthetics itself becomes an artistic move. Not sure how widely thats used in the kind of hauntological sense Fisher was getting at.