Mr. Naga Pickle
Well-known member
omg i can't believe u actually got to go to this! was the biggest subhead fan for years! wonder what jason is up to these days?
"Why do bankers love techno?"
- Thread starter blissblogger
- Start date
reminds me why I don't post on here so much.
Reduction is an intellectual exercise, which is mostly the preserve of the left. Not that I think there is much difference between the two, and I wouldn't call jungle right wing.
Everyone in dance music is a braindead liberal. Hedonism is liberal thatcherite excess. Applies just as much to techno heads, house heads, UK funky heads, jungle and garage heads. Behave yourself!
if anything, your argument makes jungle out to be inadvertently neo-fascist, in the De Benoist metapolitical sense. let a hundred relative distinct cultures bloom. Fuck that!
The very strength of jungle, at least initially, was its very universal anti-essentialism, the ability to warp all familiar sources and split them off from their origins and reflect in a very real sense, the faustian existence we reside in with the move from intensive to extensive accumulation. In a way, jungle was pure cultural appropriation, in an organic and innocent sense. This was not a cosmopolitan I respect your culture and you respect mine, far from it. The future at that time would take, mutate and malform. There is a very real sense in which todays university educated leftists would not be able to countenance sampling. Luckily most of them don't go into musicology, so we don't have to be privy to them squirming under the contradictions of all of this.
But it all soon become genrified and codified.
The very strength of jungle, at least initially, was its very universal anti-essentialism, the ability to warp all familiar sources and split them off from their origins and reflect in a very real sense, the faustian existence we reside in with the move from intensive to extensive accumulation. In a way, jungle was pure cultural appropriation, in an organic and innocent sense. This was not a cosmopolitan I respect your culture and you respect mine, far from it. The future at that time would take, mutate and malform. There is a very real sense in which todays university educated leftists would not be able to countenance sampling. Luckily most of them don't go into musicology, so we don't have to be privy to them squirming under the contradictions of all of this.
But it all soon become genrified and codified.
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woops
is not like other people
read these posts then look yourself in the eye in the mirror and ask yourself if your completely thick
IdleRich
IdleRich
I dunno though, that might be banking now, but banks used to exist without the machines, the machines aren't fundamental to it, they just make it go faster, whereas techno needs machines doesn't it? I think that's quite a big difference no?
woops
is not like other people
germans used to play oom pah the machines just make it go faster
Sure, but it's not pure academic electronic music in the 50s-60s mould with the sine waves and oscillators of the rundfunk studios in Cologne. Or the GRM in France with the extensive transformations of sample sources.
Now that is music which cannot at all be even vaguely approximated by real instruments. Some techno and some jungle can, though they will and would sound ham fisted and contrived and immediately fake on first listen.
IdleRich
IdleRich
Yeah,I think you'rebasically agreeing with what I said; you can approximate techno with live instruments, but people didn't do that before it had been invented cos they didn't have anything to approximate. So technology is fundamental to techno even if it is not needed to make it now.
Guido Fawkes was an acid house promoter.
yes, gets namechecked in Energy Flash.
Precisely.
Although you could argue that certain ends of West African, Middle Eastern Turkish psych, were they made today, with more stripped down and minimal motifs, could be convincing approximations of the techno mindset.
if you strip out the melodies, vocals and just leave the drums and rhythm guitar you get something like an ancient techno.
to add to the thread, part of the reason why I gave up all clubbing at beginning of 2017, well, apart from being sectioned, was that a lot of the stuff we wanted to avoid in techno clubs, supersaw eurotrance, tech house, late 90s funkless swedish one bar loop gear was making its return. The hard/distorted kickdrum/greyscale/industrial stuff of the early 2010s from the likes of Ancient Methods, Orphx, Mike Parker, L.I.E.S, Truss etc was a welcome development after the mnml clickety clack fest.
But what makes techno specifically techno, (at least of the European detroit-influenced kind) and why it's difficult for outsiders to get with is that it is very specifically in some senses an intervension into the industrial music continuum as much as it is disco. To make the music from bands like Clock DVA and Cabaret Voltaire more funky, more mathematical and geometric in some ways.
When this key thread is lost, you just end up getting the overwhelming dominance of the eurodisco continuum. Always a case of tempered instincts to unleash maximum dancefloor destruction.
Now one could say isn't that limiting techno? And in the European context sure. But there is also the lineage one can tap in right from 92 hardcore into the force inc/praxis, dj.ungle fever cologne, (and later subhead, ugly funk) etc lineage. This is rave techno but in a specifically 92 ardkore (I wouldn't even say jungle) format. But instead of pianos and chipmunk vocals you get globular attitudinal synths and skipping beats, general noise nastiness, 303 or otherwise.
Now these lines do often cross each other. Wonky techno was big in Germany with lots of productions on obscure labels, and you could convincingly argue that the archetypical tresor/berghain sound was forged more so in Birmingham than it was Berlin.
But I do not think these hipster types are dancing to much of this sound. If they are its incidental. It's probably more the sounds of the likes of Charlotte De Witte, Amilie Lens, Bicep etc.
So things really have not changed much from the 90s superclub era in that regard.
But what makes techno specifically techno, (at least of the European detroit-influenced kind) and why it's difficult for outsiders to get with is that it is very specifically in some senses an intervension into the industrial music continuum as much as it is disco. To make the music from bands like Clock DVA and Cabaret Voltaire more funky, more mathematical and geometric in some ways.
When this key thread is lost, you just end up getting the overwhelming dominance of the eurodisco continuum. Always a case of tempered instincts to unleash maximum dancefloor destruction.
Now one could say isn't that limiting techno? And in the European context sure. But there is also the lineage one can tap in right from 92 hardcore into the force inc/praxis, dj.ungle fever cologne, (and later subhead, ugly funk) etc lineage. This is rave techno but in a specifically 92 ardkore (I wouldn't even say jungle) format. But instead of pianos and chipmunk vocals you get globular attitudinal synths and skipping beats, general noise nastiness, 303 or otherwise.
Now these lines do often cross each other. Wonky techno was big in Germany with lots of productions on obscure labels, and you could convincingly argue that the archetypical tresor/berghain sound was forged more so in Birmingham than it was Berlin.
But I do not think these hipster types are dancing to much of this sound. If they are its incidental. It's probably more the sounds of the likes of Charlotte De Witte, Amilie Lens, Bicep etc.
So things really have not changed much from the 90s superclub era in that regard.
you got this ep in flac 24 bit, boss? want to upgrade my 256 kbps mp3.
glitchform2004 (at) protonmail dot com
Mr. Naga Pickle
Well-known member
i do not, but holy crap does that sound good this morning! thank you so much for posting!
Leo
Well-known member
I actually spent yesterday going back to those days, listened to "Acid Resistance" Vol. 1 and 2 mixes, "Temple NYC Volume One", Ultrahigh "The View of Ultrahigh". I first got turned on to electronic music buying stuff at Temple Record, in the basement of Liquid Sky, which was cofounded and run by Can Orel (aka Khan, brother of Cem Oral/Jammin' Unit), DB and Igmur Koch (Dr. Walker). Koln scene was great, both mental acid and weird experimental stuff.
