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just listened to "Humber" by ramadanman. loving beautiful track.
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Jun 28, 2011 23:12
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28 Gun Bad Boy posted:So anyway how is this done? I would definitely like to know some of your favorite mixtapes as well from the periods of time you've written about. I don't remember them from your last two parts - unless I'm a moron and missed them. Also, I NEED to know who does this remix: http://www.youtube.com/watch?v=KSniMIN650E I mean, everyone theorized about Sicko Cell forever, what made it hard was that oneman was playing it as well, but with this, I've only heard it from Jackmaster and Jamie xx, which means that it's probably someone in the Numbers crew.
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Jun 29, 2011 01:14
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a milk crime posted:I would definitely like to know some of your favorite mixtapes as well from the periods of time you've written about. I don't remember them from your last two parts - unless I'm a moron and missed them. Some of the best and most influential mixtapes to me have been the Yaman and Phoenix Line studio tapes. Both series studio mixed so sound quality is actually good. The best bit is nowadays they're easily availible from hardscore.com. Originally I had them ripped off of like Kazaa or off some website at some stupid bitrate(like 64kbs or something crazy like that!). That was the olden days though and listening to them in good quality was just fantastic. I also had/have (depending on what I deleted, saved to CD/DVD, or external HD) several full tape packs of like Dreamscape and I want to say World Dance and more. Naturally like those raves full of a good mix of stuff from that era. But the best mixtape I ever had was a live tape from Jungle Fever in mid-93. I want to say June/July. It was DJ Ron and it was just amazing, pure amazing. I actually think it may have been taken from that documentary I posted a while back as the start of the tape the MC(Navi I think it was, or was it Moose?) is like biggin up the Channel 4 massive, the camera crew etc. Including the best shout out ever! "Has anyone lost a set of keys!?" That set more than anything has made me go, 1993 Jungle, that's the best. 94/95 cool, but the stuff from 93 is just amazing. Pure intensity and everything is played together, Bukem lines up next to a jump-up thing it's just, wow. I'll need to dig it out of my external HD. "We have the permit to burial, the license to kill!" gently caress me, gently caress that was just something else. Man I love MCs I really do. That's the hard bit though, while my records are nice and anally sorted (by genre, then record label. Sorting by artists are for losers who no memory), my music folders are pretty much one big dumping of ripped CD folders and odds and ends. Trying to find anything is ridiculous especially since half the time I can't remember the file name! Anyway since I've decided sleep is for the weak, I'm about 80% through the next part, so don't be surprised if it pops up over the next few hours. If not, tomorrow.
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Jun 29, 2011 02:22
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Welcome to the third part of my UK Bass history guide. I intend this to be a rough guide to the history of the current UK dance music scene. An attempt to educate and show people what came before. It's not meant to be a completely 100% accurate in-depth report of the sound and scene at the time, but is hopefully good enough that people will be able to understand and form the links in what has turned out to be a 20+ year old musical scene.   Timescale: Early 1991-Mid/Late 1992 Key Labels: Ibiza Records, Reinforced Records, Moving Shadow, Suburban Base Last time in my UK Bass History guide we were taking a look at the more mainstream sounds of Hardcore. This time however we will lift up that rock and have a look at what was crawling and mutating around underneath it. The other side of Hardcore that was developing alongside the Overground sound. This time we delve headfirst into the Underground. The more Underground Hardcore scene existed side-by-side with the mainstream sound, but while the mainstream stuff courted the suburban, satellite town population the more rougher underground sound kept to it's roots. Young, working class, Urbanites. A more streetwise sound, appropriating more from the Ragga and Reggae ends of the musical spectrum versus the European Techno that the mainstream had become more attached to. This can be seen by the return of the Reggae-influenced basslines, as well as a greater reliance on the bass end of the frequency chart much like what had happened with Bleep 'N' Bass. But like it's overground alter-ego it remained a more amateur, bedroom production based music, retaining the more rougher, sample-based core. It also shared a sense of humour with it's A-side half, such as often speeding up sampled vocals into chipmunk territory. Angry chipmunks, but chipmunks nonetheless. Only this time the samples tended to be built on top of the bassline. On top of the groove, rather than in the mainstream sound which at times could weave tracks around a sole sample. The bass was the king here and it wasn't going to let anything else forget about it. Like I said in Part 2, I urge you to listen to this Part along with that in order to better understand the differences (and similarities) between the overground and the underground sound. Tube-Tape Playlist Link Fabio & Grooverider "Rage" (Perception Records, 1990) We're going back a wee bit here first. Back to 1990, a time when Bleep 'N' Bass behemoths roamed the land. But we're going south, not north, to London town. Here in a chilly Autumn night in 1988 the clubnight Rage is opened. DJs Fabio and Grooverider the ones in charge. Rage specialised in a more underground sound compared to other clubnights at the time like Spectrum. Rage is the womb where the sound of the future known as Jungle would be conceived. And this track was what was playing when the spiritual fathers of that scene looked into it's wallet and went,"gently caress, no Durex. Oh well!". But onto the actual track. In all honesty this song is probably slightly forgotten about nowadays and probably for good reason. It's not really terribly exciting. Taking big chunks from 808 State's Cubik, it's a fairly decent late-era Bleep 'N' Bass/very early Hardcore track. But it has all the common elements to be found in Underground Hardcore. But the track itself isn't that important. What is important is the energy behind the track which at the time hadn't quite reached critical mass yet, but this slight burst of overpressure would show the way that energy would be directed when it did boil over. 4 Hero "May The Wicked Perish In The Fire Of Hell" (Reinforced Records, 1991) 4 Hero and the Reinforced label they run would be one of the main backs the Underground Hardcore (and latterly Jungle/Drum & Bass) scene would be built off of. This great song is off their first album - In Rough Territory - is one of many off that album that shows 4Hero in a pivotal point of transformation between their earlier, Bleep influenced stuff and the Underground Hardcore sound. A breakbeat skitters underneath a rolling bassline which bops high frequency notes on it's mid-Atlantic roughness. A vocal sample tells you "this is a very depressing place/and it's oppresive/and all sorts of just unhappy, sorrowful things". A true state of the scene at the time maybe. While still drug-fueled, long gone were the halcyon days of the Summer of Love. The whole dance scene had come down to earth with a tremendous bump. Violence had creeped back in again (as witnessed by the closing of the famous Hacienda in 91), and drugs had become watered down and cut with god knows what. Here 4 Hero and the other artists in this list were the unlucky ones. The ones on the street when the world collapsed. Unlike the mainstream artists sheltered like some rich fatcat banker in their ivory towers, 4 Hero saw the devastation caused. Even the track name (fantastic as it is) is very apocalyptic, end-of-days-esque. Like a preacher on the street shouting at his flock as the world crumbles,"Do not ye listen to the sound of the temptress mid-range! Listen ye to the almighty father our lord Bass! Perish shall the wicked in the fires of hell for their lack of sub-frequency oscillations, amen!" Lennie De Ice "We Are i.e." (i.e. Records, 1991) The big one, the one everyone says was the key proto-Jungle track. And I'll need to agree. A prime cut of Underground Hardcore this one. Everything about it screams hardcore. A massive, massive reggae bassline plods through the track like it was just made for the sub-woofer of a tricked out Renault 5. BomBomBomBom-BomBomBom-Bom-Bom. Just slams you to the ground and pounds on you mercilessly like you've just been jumped by said youts in the Renault 5. Pistol samples shoot out, sounding like they've just been ripped from a Clint Eastwood movie. But this ain't no Paint Your Wagon that's for sure. A Guy Called Gerald "Anything" (Columbia, 1991) Let's get this out the way. Yes he did do the world famous track Voodoo Ray. Yes it is loving amazing I agree. But it's a complete loving crime he has never been acknowledged as much as he should be for his later work. After the success of Voodoo Ray and the album that followed it Gerald was riding on a high. Then the record label - Rham - a nice, steadfast indie label stole all the cash and left him drifting. So he signed to major label Columbia and put out such an album full of fantastic gems such as this. But getting fed up with the House end of things, Gerald began walking down his own path. A path that would lead to the future before anyone else would even see it on the horizon. Anything is off his Sunshine EP which along with another EP(which contained that which gave me my username - 28 Gun Bad Boy) both dropped as white label in 1991, followed by Gerald himself being dropped just afterwards. Columbia just didn't know the genius they were sitting on. I mean gently caress me, these tunes are just amazing. Chuck them forward 2-3 years and they'd still be perfectly playable. Razor thin breakbeats dance and occasionally twist and pitch around underneath a simply humongous bassline that just rattles your chest like nothing else. A trademark for Gerald, his bleeps just echo around the sonic landscape like they've just been screeched off by a bat in a pitch black cave. Echo location at it's finest, guiding you into a hypnotic skankin' trance. "Anything can happen, you'll see/Anything can happen, believe me". Oh I do believe you Gerald, I do. And you lot will as well as we ride the sinewaves onto the next track. Ibiza Crew "Lady Feeling" (Ibiza Records, 1991) While not the first release on Ibiza Records, nor the first release by Ibiza owner Paul Ibiza (those acclaims go to this track), it is the first to be given an IR catalogue number so I'll count it. Ibiza were probably the Underground record label of the time. Releasing just a sheer barrage of records from late 1990 all the way up until the mid-90s, as well as having a brace of sub and sister labels as well. It's reach and influence cannot be overstated. This track is just a simply proper Underground Hardcore affair. Retaining the bouncy piano of House and the mainstream Hardcore, it's swaggering bassline sets it apart from it's upper-class cousins. Again it's a rough(though tight) production as a lot of these underground tracks would be. But you quickly forget about any dirtiness as the tune is just so hot you can't help but put your hands on it. Break The Limits "Paranoize" (Break The Limits, 1991) Break The Limits is probably better known as their later incarnation of Nu-Matic. Comprised of Matt Edwards and Mel Tanur(better known as Jungle don Bay B Kane), BTL would feature a more hip-hop sound than Nu-Matic(in actuality after the first couple of Nu-Matic singles Tanur would have a bit of an acrimonious split with Edwards) that fits in perfectly with both the Rave and the UK Hip-Hop scene that at the time was flourishing. Here a breakbeat powers under tumbling mad hatter style keys that like the track title accurately states is just pure paranoize! A real falling down the rabbit hole experience. Only wearing a pair of Jordans. And having a Mercedes badge on a gold chain wrapped round your neck. DJ Trace "Love Dove Sound" (Orbital Records, 1991) The first release from DJ Trace. You could say this is an early example of the Hardcore sound taken to its extremes. Nothing but a big massive in yer face bass that just never stops for the entire length of the track while a breakbeat tries in vain to push into the mix, succeeding only occasionally when there is a slight pause in the bassline. Reggae vocals exclaiming "this sound is a love dove sound" repeats every other bar (maybe an ecstasy reference. Dove = E. But gently caress knows what the pills Trace was taking were cut with in order to come up with this sound). Manic shouting cuts in half way through in an attempt to busy up the high end frequencies, but ends up just buzzing in your head like some ultra migraine, melting your brain when combined with all the other elements. Noise Factory "Jungle Techno" (Ibiza Records, 1991) Another gem on Ibiza. Noise Factory were a very prolific act, releasing many tunes both on Ibiza as well as their own Ibiza-run label 3rd Party. Criminally under appreciated these days I think, NF were one of the pioneers of Jungle. Even this tracks title, while I don't know if it was the first time the word "Jungle Techno" was used, it certainly wouldn't be the last. And this track would help provide the blueprint for the Jungle Techno sound. Rough, tribal like drum hits pierce the vale of bass weight that warps in and out like a tide while frantic piano stabs work alongside pitched up (but not cheesy chipmunk like) vocal samples. Retaining all the energy of mainstream Rave but directing it towards and rougher, more darker pathway. LTJ Bukem "Logical Progression" (VMR Records, 1991) The first ever solo release by LTJ Bukem. And like all his early stuff just sounds so drat slick and futuristic. High, crystalline string like bits glide through the murky cosmos while suddenly a bouncing piano line breaks the ice, with a chorus of "you'll have a good time, good time!". Like I said it just sounds pretty slick compared to a lot of other stuff at the time. Not quite as well put together as his later tracks but you can see the (logical) progression from this to his later work. Now the real question is who's work did he wholesale rip off that piano line from. It must be from someone as it's what Bukem does best. Answers on a postcard please. D'Cruze "I Believe" (Boogie Times, 1991) Boogie Times records was the record shop that would give birth to Hardcore and Jungle giants Suburban Base Records. But they also put out a handful of tracks on the Boogie Times label before mostly shifting onto the Sub-Base thing. Like this track here, the first by Sub-Base loyalist D'Cruze. A squelching acidic synth line burns on top of a solid steel break, while a piano line switches places with - what I can only guess is - some kind of fiddled with in a sampler flute-esque instrument. This song is probably a more upbeat example of the underground sound, at times almost bordering on mainstream (shock horror!) which is a line Sub-Base would walk a very fine line during these Hardcore days. Doc Scott "Surgery (Midnite Mix)" (Absolute 2 Records, 1991) One of three mixes on Doc Scott's now legendary first release: the NHS EP. Now personally I prefer the Midday mix on this disc, but for the purposes of this guide I think the more energetic, more ruffnek Midnite mix is required. An utter roller of a tune is the Midnite mix. A grinding, repetitive, bass crashing beast of a tune. A heavy 4/4 kick punches like a press while massive sub-bass shakes at your foundations and the occasional stabs sound like they were lifted out of Halloween or some other dodgy horror movie giving a real menacing air to things. Doc Scott would go onto do work with Reinforced records(personally my favourite work of his was when he was on Reinforced), as well as Goldie's Metalheadz label before finally bringing to life his on 31 Records label. Nebula II "Atheama" (Reinforced Records, 1991) Recognise that initial sample? If you don't shame on you, go back to part 1 and try it again. A massive track in the underground at the time, selling around 15,000 units. And no wonder, this is just a complete alien invasion of a track. No wonder the looping samples just scream "confusion!". It's like they're in the aftermath of some alien attack with the tracks massive, screeching laser cannon of synth just cutting through everything in it's path like it was butter. Later Nebula II would sadly not follow the screaming, fleeing refugees into Jungle, instead taking off for that wierd alternate universe that is Trance. I can't complain to much as the Trance they made was actually not half bad. Code 071 "A London Sumtin'" (Reinforced Records, 1992) Ah Reinforced, it's the gift that just keeps on giving. Anyway, come 92 the initial spirit of togetherness and general love doviness in the Hardcore Rave scene finally blew away after having many holes poked in it during the course of 91. Here we see the Underground sound retreating back to it's home ground that is London where it would spend the next year or two incubating, quietly(well maybe not so quietly) tinkering with itself, mutating into Jungle. This is almost like a homecoming track. From this track we can see where things had lead to. Melancholic pads hang over the actual track, casting a downbeat light on things like those orange sodium streetlamps beam down and illuminate just a small section of the darkness in their wierdly hypnotic, hazy light. As if to remind the rest of the tune, you're back home to regroup. You're doing it on your own. You're building things at street level. Tek 9 "Just A Dream (Remix III)" (Reinforced Records, 1992) You didn't believe me when I said Reinforced just kept giving did you? Well this is the last on this list I promise. Tek 9 is Dego, one half of 4Hero and probably my favourite half. Not that Marc Mac(the other half) is bad. Oh no both are fantastic songwriters and producers, but while Marc hit a more popular - but still rough - sound with his Manix project, Dego kept to the underground with Tek 9. Again another pointer to the future, Just A Dream goes back more to the Bleep 'N' Bass days with a tight focus on both the lows and the highs, without filling up the mid-range with too much sampling and other junk. This remix is my favourite version of the tune by far. Growling sub-bass sweeps the track like a lighthouse light while spacey, computery bleeps make a reappearence on the top end. But the track retains that euphoric, ecstatic rushing sensation of Hardcore with vocals and a fast attacking mid-range choir accelerating the track and keeping it away from the 120bpm Techno of Bleep 'N' Bass. All this gelled together into one slick, effective unit in the skilled hands of Dego. Rhythm For Reasons "The Grand National (Tango Remix)" (Formation Records, 1992) A remix of the second (I believe) tune on Leicester's very own Formation Records. The Grand National was probably the tune that put Formation on the map. Just such a energetic, Warp 10 speed of a track. That melody is just amazing and in my general wierdness really does give it the Grand National feel, like you're the jockey just pushing this horse to go that little bit faster, to get in front of that other guy and get to the otherside. But the remix adds in that slight sense of danger in the track. That bit of worry and paranoia like you're just about to fall off the ride. Remixer Tango would go on to remain on the Formation stable for a bit and pen a whole bunch of great tunes that would quickly be tagged with the Darkside Jungle name. The House Crew "We Are Hardcore" (Production House, 1992) Oh come on now you didn't think the high pitched vocals were completely gone were you? Hell no. But this track, this is like the ultimate expression of Underground Hardcore. It could so easily be a more mainstream track, but it does away with all that, choosing to instead fill itself with intense, brooding, electric stabs which forces the track away from the highlife at knifepoint, while also keeping the potentially uplifting piano line in check. Cut in with samples from We Are i.e. ("we are Blame "Piano Takes You (Music Takes You)" (Moving Shadow, 1992) Actually this one could've been in the mainstream section as this was a popular tune. But Blame is a future Jungle king and deserves to be here in this part. And I chose the Piano Takes You mix because well dammit, I'm just gay for piano lines like this. I love it and I'm not ashamed to admit it. But it shows you just how good Moving Shadow really were. Like Sub-Base they seemed to be able to skirt between the Underground and the Overground, pushing out tune that appealed to both sides. Though personally I think they came out of it with a better face and more integrity than Sub-Base did. Tone Def "Aftertouch" (Moving Shadow, 1992) Another classic case of Moving Shadow sticking the best track of an EP on the inners of the disc, just to make it that bit more likely you'll never hear it. Tone Def was - as far as I'm aware - a purely Rob Playford thing (though if it's not I'd love to hear who else was involved) which is a bit of a rarity as normally he just engineered on a track, or worked alongside someone else. Anyway Aftertouch is another example of a MS track that could easily have moved up the ladder into the mainstream I think. It has a lot of the right ingredients to do so, especially the latter half of the song with it's vocals and uplifting synth line that tries to lift the track into a euphoric state. But like all great tunes it knows exactly where it wants to be and the subdued, rhythmic chanting and deep bass at the start of the track firmly places it in the more progressive, Underground camp. A fantastic song from a fantastic release, by what I think is sadly a lesser known Moving Shadow artist. Bodysnatch "Euphony (Kuff Mix) [Just 4 U London]" (Big City, 1992) Bizarrely depending on which pressing you get this utterly, utterly, brilliant track will either be called Euphony or Just 4 U London. Honestly what is there to say about this track that hasn't been already said? An early classic not just in the Hardcore scene, but it's also one of the key tracks that helped to create Jungle. All of Bodysnatch's track are great, and sadly I think the rest become overshadowed by this beast of a tune. But it can't be helped as this is just too powerful. Again a call out to London, the place where the music had retreated back to in order to re-arm and re-supply from an out of control and critical thought devoid mainstream sound where cheesy sampling tunes had started to rear their ugly heads and actually become a chart power somehow. London has always been the heartland for the UK Bass/Hardcore Continuum(much to people like me - non-Londoners - sadness and at times bitterness), and this is just one big shout out to the city. But it may have been Just 4 London but a tune like this extends past all boundries and would be a pivotal and influential track to those in the know. And speaking of influential... Metalheads "Terminator" (Synthetic Hardcore Phonography, 1992) Hear that sound? That's the sound of Jungle being born. Taking all that came before it and just taking it one step further. That's what this track did. Metal Heads was really Rufige Kru, who was really Goldie. Why did this tune crop up as Metal Heads and not Rufige Kru like his earlier work appeared as? Maybe it was signing to Synthetic, a way to keep the Rufige Kru name out of their hands. I've always felt bad it wasn't on Reinforced who put out the majority of Goldie's early work, with classics such as Darkrider and Ghosts Of My Life. But anyway, Terminator is just a total mindfuck of a track. It builds on what the likes of 4 Hero was doing before, pitching breaks about but this just takes that to the extremes, pitch shifting the drums all over the shop like they were moving into lightspeed and flying around the galaxy. The entire track just has so much direction about it. It's going somewhere and you're not going to stop it! Buzzing Hoovers judder and blaze over the soundscape like some kind of post-apocalyptic thunderstorm all while these drat drums just constantly keep your feet working in a complete frenzy. Goldie always said he was on a lot of pills writing this track and you'd need to be. It's the only way that this track could break orbit like it did and reach into outer space, dragging with it an entire scene who stood in wonder at this track. Here's on the darkside of sound if where Jungle would become a legitimate and powerful musical entity. But that's for next time on the UK Bass History Guide! Additional & Recommended Listening: Sadly the more Underground Hardcore has never been that big on the compilation side of things. Period compilations include Reinforced Records Callin For Reinforcements which include a lot of classic 91/92 Reinforced tracks. As recommended last time Kickin Records Hardcore(Leaders Of The New School) and Hardcore Leaders II do a decent job of showcasing a the underground sound alongside some more mainstream attempts. Jumpin' & Pumpin's first volume of their Jungle Tekno series also showcases the 92 sound fairly well also. Otherwise that's about all I can think of. Even now I struggle to think of any modern compilations that deal with this 91/92 sound. So that means if you want any of these tracks you'll need to actually buy them! Price wise for these types of Underground Hardcore tunes can actually vary. Some will set you back just a couple of pound like most of the Ibiza stuff, while some like the early A Guy Called Gerald stuff, Bodysnatch and Terminator will probably set you into the £20-30 mark or even more in the case of some AGCG stuff! So unless you have a really good second hand record store nearby, keep a close eye on Discogs, as well as eBay and you might score a bargain or two. 28 Gun Bad Boy fucked around with this message at 02:21 on Jul 4, 2016 |
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Jun 29, 2011 03:47
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Much appreciated as always 28GBB! Right now I'm really loving the new Jon Convex. His style suits me a lot better than Boddika's, frankly. No idea why. Martyn's quite the curator. Beyond that, this Damscray guy has really impressed me and the new Presk single is really great, though I can't seem to find any streams from it. Dubby techno / garage fusions, reminds me of Headhunter or Pearson Sound at points. Check it out if you can.
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Jun 29, 2011 08:25
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a milk crime posted:
That has to be Jamie xx himself surely; the piano is so reminiscent of far nearer and the whole attitude of the track resembles his adele remix. Track opened up the Ben Ufo b2b Jackmaster b2b Oneman three hour set for Boiler Room (now out as a podcast) aswelll, big vibes.
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Jun 29, 2011 08:31
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So a couple of mixes have floated on out there over the past week or so that's really grabbed my attention. First is Grievous Angel's Grime mix. A nice bundle of stuff from the early to to around 06/07. Pick it up here. Those of you raised on strictly Butterz instrumental stuff be warned. This is the original full strength stuff. Also with Vibezin's first real 12" release out on Keysound round about now, he's done a mix for XLR8R that you can grab here. Vibezin is one half of United Vibez who host one of my favourite, most long term shows on SubFM. I'm glad his work is finally getting out there more between this release and his thing from L2S last year as he's a good producer who's work I've been hearing almost every week for 5+ years now.
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Jun 29, 2011 12:08
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inafoxhole posted:That has to be Jamie xx himself surely; the piano is so reminiscent of far nearer and the whole attitude of the track resembles his adele remix. Track opened up the Ben Ufo b2b Jackmaster b2b Oneman three hour set for Boiler Room (now out as a podcast) aswelll, big vibes. Yeah, I knew it started the Boiler Room birthday - Jackmaster opened it up that night, so that's why I said that he has it and guessed it was from the Numbers crew. The percussion and the fact that it uses a Janet Jackson sample makes me also believe that it's Jamie as well. Speaking of the Boiler Room birthday podcast, it's so sick going back through the whole thing and remembering how huge it was. One of my favorite parts was when Jackmaster mixed in Bok Bok's Silo Pass -- it was huge. Asbo then sounded like he ruined his pants and yelled for Jackmaster to pull it up and started rambling about how Bok Bok "is a friend of me, a friend of we large up to everyone in the room tonight!" It was so big, so huge. Proof that MCs are cool. So many good songs. I sound like a corndog, but whatever There was a remix though that maybe 28 GBB would be able to tell me where to find/buy it: The Destiny's Child - Bills Bills Bills (Phuturistix Remix). That's at least what Oneman calls it on his tumblr, but I've tried looking for it under that name, under just like Zed Bias remix, etc. Any ideas anyone? Edit: Also totally didn't say anything about the Hardcore Part 2 post. Going through all of the tracks now. Once again, amazing stuff. So much knowledge being dropped from one source, it's incredible. You have to show us a picture of your record/tapepack collection at some point.
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Jun 29, 2011 15:05
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a milk crime posted:Yeah, I knew it started the Boiler Room birthday - Jackmaster opened it up that night, so that's why I said that he has it and guessed it was from the Numbers crew. The percussion and the fact that it uses a Janet Jackson sample makes me also believe that it's Jamie as well. I can't actually think of a Phuturistix release actually coming out. That song was remixed by many, many garage folk though. DND did one, El-B did one. A lot of white labels as well, but I can't remember a Phuturistix one at all.
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Jun 29, 2011 15:27
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Is it the bills bills bills harmonimix by james blake ? http://www.youtube.com/watch?v=iVL5jILb5xM got it on vinyl 
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Jun 30, 2011 03:02
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just want to thank everyone for this thread. amazing amazing stuff. got hours of listening ahead of me.
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Jun 30, 2011 04:24
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qwako posted:Is it the bills bills bills harmonimix by james blake ? No it's not that, I have that white label as well, it's a 2step garage remix
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Jun 30, 2011 04:37
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VIP cut from DOK's latest EP on Hyperdub. I've always liked him: http://www.youtube.com/watch?v=agx7HsmQC2Y&feature=related Also, it appears Griminal has a mixtape coming out soon, but who knows with him.
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Jun 30, 2011 05:18
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28 Gun Bad Boy posted:So a couple of mixes have floated on out there over the past week or so that's really grabbed my attention. First is Grievous Angel's Grime mix. A nice bundle of stuff from the early to to around 06/07. Pick it up here. Those of you raised on strictly Butterz instrumental stuff be warned. This is the original full strength stuff. Some heavy tracks on there, loving the vocals in the second half. Classic bars, plus this Nasty Crew - Run 4 Cover on a Rossi B & Luca production I'd never heard before. Anyone know the riddim from 36:20 or so? Sounds like it might be a Footsie tune with that reggae sample..
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Jun 30, 2011 06:51
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GET MONEY posted:Some heavy tracks on there, loving the vocals in the second half. Classic bars, plus this Nasty Crew - Run 4 Cover on a Rossi B & Luca production I'd never heard before. Anyone know the riddim from 36:20 or so? Sounds like it might be a Footsie tune with that reggae sample.. It helps if I remember to post the track list I guess. http://blog.grievousangel.net/new-grime-mix-2
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Jun 30, 2011 10:55
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a milk crime posted:Speaking of the Boiler Room birthday podcast, it's so sick going back through the whole thing and remembering how huge it was. Anyone got a setlist? there's a tune at 31.02 that's just massive
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Jun 30, 2011 14:07
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So, the new James Blake single is pretty meh. The first track especially just whiffs of  http://pitchfork.com/news/43060-listen-james-blakes-new-single/
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Jul 2, 2011 11:36
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nationalista posted:So, the new James Blake single is pretty meh. The first track especially just whiffs of To be honest I've always found most of James Blake's tracks to be a bit well, not exactly mediocre, just a bit blah. It's generally a bit too kind of IDM-ish(very loosely -ishy I'm saying here) and chin strokery for my liking. Not enough sex really. This just continues the biege woolen jumper trend. Oh and just to remind me that I'm no longer 19 anymore, I'm a week behind learning that N-Type has restarted Terrain Records. Oh the shame, in my glory days I'd have known about this before N-Type himself had made a decision! For shame self, for shame. Anyway it's now going to be a 140bpm Jungle/Hardcore inspired thing and first single out is a Benton/Arc 88 thing. The Benton track is pretty decent, though it could've done without the Dreams Of Heaven vocal sample(it's a bit of a big target I guess. One of these days someone is gonna sample directly from the original and I'll be happy.) Anyway it's the Arc 88 track that's the better one here. Bit more going on in it. I'd actually forgot that Terrain even existed. It only had 2 releases, both of which were really good actually. S.N.O., who put out that great track Disturbance on Earwax and had an EP on Terrain, while Omen, one half of Random Trio, had a track called Rise which had a Skream and N-Type mix on the flip(typically no one had uploaded the original mix which is probably the best one). I was always surprised this didn't end up getting sued off the face of the planet with the nice big blatant Star Wars sampling. Probably a good thing it came out in 2006 before all heads were looking at Dubstep. We'll see how this 140 Jungle thing gets on. It reminds me of the J-Tek stuff from a few years back. That was D&B folk like Digital, Outrage and Randall trying to bring that Jungle Tekno sound of 1992 back at 140bpm. So we got tracks like Falling Bombs by Modular & Outrage, and a fine(no pun intended) remix of Opus III's Fine Day. Naturally they had 2 real releases before switching to digital and completely losing my interest and seemingly most other peoples, so it was a bit of a failure all around. Shame as I think if they toughed it out for a wee bit longer they could've hit the UK Bass scene when it was all coming together and really had something.
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Jul 2, 2011 13:59
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I have to agree about James Blake, i didn't understand the hype really. It seemed totally deliberately marketed to a certain crowd without the actual substance behind it. Look at that latest cover on boomkat or something. What pretentious nonsense honestly is this. But next week does look good for releases besides that.
infinity2005 fucked around with this message at 00:38 on Jul 3, 2011 |
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Jul 3, 2011 00:15
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first attempt at a proper UK bass tune: http://soundcloud.com/blackasaurus-rex/kid-fisto-the-future-ep-full too bad baltimore rarely, if ever, have bass music nights. it's usually pretty cheezy electro and brostep stuff
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Jul 3, 2011 00:18
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infinity2005 posted:I have to agree about James Blake, i didn't understand the hype really. It seemed totally deliberately marketed to a certain crowd without the actual substance behind it. Look at that latest cover on boomkat or something. What pretentious nonsense honestly is this. But next week does look good for releases besides that. The cover is very Timorous Beasties, which I like, shame the music doesn't match the grandeur of that high end design. I thought the CMYK release on R&S was alright, but the stuff he's had out since has just been pretty flatline. Speaking of R&S it's revival continues with a release by The Chain. It's the b-side I'm liking the sound of, very hands in the air type stuff. Who would've thought 5 years ago R&S would actually be cool again, everyone had just written it off as doing nothing but re-issuing old Aphex Twin stuff and the occasional repress of Outlander and Jaydee singles. And I've just noticed The Guardian trying to copy my idea, with a history of music thing. Though they naturally had to cover all genres since 1900 and put it in a flash thing to try upstage me! See this is why I read the Sun, at least the sports section is decent plus I get some tits on page 3. After pretty much missing all the Jungle(bar Timeless of course), they decide an important event is Tiesto DJing at the Olympics. At least they did one right thing and had 4Hero's remix of Nuyorican Soul's Black Gold Of The Sun as a noteworthy event to include. Best remix ever.
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Jul 3, 2011 01:10
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You didn't include the 'Did Charly kill rave?" bit did you? Since it was kinda big turning point.
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Jul 3, 2011 06:11
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infinity2005 posted:I have to agree about James Blake, i didn't understand the hype really. It seemed totally deliberately marketed to a certain crowd without the actual substance behind it. Look at that latest cover on boomkat or something. What pretentious nonsense honestly is this. But next week does look good for releases besides that.
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Jul 3, 2011 08:44
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infinity2005 posted:Look at that latest cover on boomkat or something. What pretentious nonsense honestly is this. These comments about the James Blake covers aren't talking about next week's release (order/pan) are they? Because that's just the standard Hemlock recordings cover; bit weird to use that as an angle of critique. That being said I do agree the samples of this release do sound a bit disapointing, and that's coming from someone who likes both the early EPs and the album. It always seemed to me like the 'backlash' against the album was a result of it being a pretty stark departure from the EPs ('CMYK' in particular) and that it's sparse, piano+bass+vocal effects nature seemed maybe a bit basic/simple when compared. EDIT: Regarding that janet jackson remix, Jackmaster just tweeted (well a day ago now) that it'll be out in August. Copping it for sure. inafoxhole fucked around with this message at 12:47 on Jul 3, 2011 |
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Jul 3, 2011 11:47
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Stench Of Profit posted:I quite liked his early EPs but the album was real bad Eh, limit to your love is alright. Shame he didn't make more songs like this: http://www.youtube.com/watch?v=gDb-9bNRW_Q&feature=related
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Jul 3, 2011 12:05
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infinity2005 posted:You didn't include the 'Did Charly kill rave?" bit did you? Since it was kinda big turning point. Well I did actually include it in a list, and I did say the original was outdated and cheesy nowadays. Actually I talk about it in my Far Out review. Though more from the Sesame's Treat/Trumpton angle which were far, far, far worse songs that only appeared nearly a year after Charly first hit. I'm still going to be big headed though and say they stole my idea. I want my money The Guardian! Those guys can afford it since they only drive 1.0lt Kia Souls and Hybrids! I read their last piece they wrote about Top Gear, I know the truth! Plenty of spare change in the company car fund.  inafoxhole posted:These comments about the James Blake covers aren't talking about next week's release (order/pan) are they? Because that's just the standard Hemlock recordings cover; bit weird to use that as an angle of critique. Well that's what I get for not picking up anything on Hemlock before. But it's been a while since I've seen a cover that so perfectly matches the music. Well actually no, I'm talking bollocks as the cover far outclasses the music. Seriously that's some nice pattern there, I like it. I don't like a lot of the stuff off his album etc, not so much because it's more basic, just that it's not really got any real punch behind it and tries to cover too many bases. It's just ends up kinda watered down Blue-Eyed Soul a lot of the time. Now, not that I don't like that stuff, normally I love it. But in this case, the production isn't really exciting or have enough energy for the dancefloor like his earlier stuff, and his vocals just aren't really powerful enough, in my opinion, to really be powerful soul and to be able to stand up on their own. It all just ends up too wishy-washy. Like I said before I get like subliminal-IDM vibes off it sometimes which is just generally an automatic thumbs down from me, I don't know if that makes any kind of sense? Limit To Your Love was pretty nice though, even if I just want to rip out that drum track and just have pure piano and vocals. Though let's not beat around the bush here, the real problem is he's doing Joni Mitchell covers. That poo poo just don't fly with me man! Bloody Joni Mitchell honestly...
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Jul 3, 2011 13:06
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Untold's a graphic designer iirc so he probably designs them himself re: hemlock covers.
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Jul 3, 2011 14:16
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beeps-a-palooza posted:first attempt at a proper UK bass tune: http://soundcloud.com/blackasaurus-rex/kid-fisto-the-future-ep-full I wasn't particularly fond of the intro but once it really kicked off it definitely had me bobbin my head. You'd be surprised how fast it can catch on, man. All it takes is playing a few parties with the right people and in no time you'll have your own night at a local pub or something. I suggested Koreless last week at a local dubstep night and now a lot of people want to hear him more than they do Skrillex and that's a pretty big deal around here. Hell there are people that already want me DJing at a bar in downtown Ft. Worth because of my choice of music and I barely know how to do it. Oh and going back to the Orphan101 recommend, Under the Radar is really really loving cool. Am I right in thinking that this is just perfectly executed work with a synth? Me and him have the same first and last name apparently 
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Jul 3, 2011 18:20
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HatchetDown posted:Oh and going back to the Orphan101 recommend, Under the Radar is really really loving cool. Am I right in thinking that this is just perfectly executed work with a synth? Me and him have the same first and last name apparently to me this sounds like a shackleton record without any of the depth and/or subtlety
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Jul 3, 2011 19:23
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HatchetDown posted:I wasn't particularly fond of the intro but once it really kicked off it definitely had me bobbin my head. You'd be surprised how fast it can catch on, man. All it takes is playing a few parties with the right people and in no time you'll have your own night at a local pub or something. thanks man, I appreciate it. once i finish making acouple more tracks. I honestly think this track would really shake a nice system up, but there are no labels around here that release this poo poo. it's all uk poo poo, swamp81, tempa, etc. i guess ill try them
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Jul 3, 2011 19:37
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HatchetDown posted:I wasn't particularly fond of the intro but once it really kicked off it definitely had me bobbin my head. You'd be surprised how fast it can catch on, man. All it takes is playing a few parties with the right people and in no time you'll have your own night at a local pub or something. I suggested Koreless last week at a local dubstep night and now a lot of people want to hear him more than they do Skrillex and that's a pretty big deal around here. Hell there are people that already want me DJing at a bar in downtown Ft. Worth because of my choice of music and I barely know how to do it. Hah! Oh man bad luck on the DJing thing, 'cause I want you to take a look at your bank account. Note the numbers? Now make all those numbers Zero. Begin with a 0 and end in a 0. That's the joy of buying records and trying to keep on top of new sounds and releases. Proud of ya! Koreless btw has a new track on the Brownswood Electric 2 sampler 12". Not actually on the CD itself bizarrely, just the sampler. Check out the CD while you're at it. It's all over the shop style wise but it's really good, might be something you might like there. mr box posted:to me this sounds like a shackleton record without any of the depth and/or subtlety I've actually quite liked the Orphan 101 stuff. That one with Headhunter he did was really nice. Definitely a bit more dancefloor based though I think. You could make the Shack link easily though since he's had stuff out on Apple Pips which is obviously Appleblims label so there's the influence, though I didn't like that release so much. beeps-a-palooza posted:thanks man, I appreciate it. once i finish making acouple more tracks. Isn't Joe Nice still in Baltimore? Does he or the rest of his circle play out there? If he does - or even if he doesn't - you could always try passing some stuff on to him once it's all polished and perfected, good way to get things rolling on ground level, build up some buzz. Ignore this if Joe Nice is playing something completely different these days as I've not heard him DJ or even a mp3 set in like 2-3 years!
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Jul 3, 2011 20:10
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28 Gun Bad Boy posted:Koreless btw has a new track on the Brownswood Electric 2 sampler 12". Not actually on the CD itself bizarrely, just the sampler. Check out the CD while you're at it. It's all over the shop style wise but it's really good, might be something you might like there. Oh poo poo thanks for the heads up, It's Away too! I've been waiting for the official release on it ever since I heard the Boiler Room Mix. Just bagged it with the Ghostpoet Survive It 12" Ahahaha I'm so excited  Edit: In the last thread someone posted a link to a good vinyl site that shipped from the U.S., does anyone have any ideas or know which one I'm talking about? I'm having trouble finding it. HatchetDown fucked around with this message at 20:55 on Jul 3, 2011 |
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Jul 3, 2011 20:38
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I just made two new future/2-step tunes: http://soundcloud.com/djchumpchange/poles-of The above one is a bit more clip-clapppy and "organic" while this one... http://soundcloud.com/djchumpchange/watchin Is dark 2-step heavily influenced by Wookie, el-b, etc. Hope you guys enjoy
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Jul 4, 2011 01:54
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I managed to get my roommate into uk bass when she heard me playing Katy B, so much shes been listening to her album nonstop. Any suggestions for similar music featuring a female vocalist? The only reason she got really into it is because she really loves her voice.
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Jul 5, 2011 04:16
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unknown poster posted:I managed to get my roommate into uk bass when she heard me playing Katy B, so much shes been listening to her album nonstop. In terms of actual albums, Pinch's first from a few years back - Underwater Dancehall - had a nice mix of male and female vocals on the first disc. Maddslinky(aka Zed Bias) had an album out tail end of last year called Make A Change which features vocals by the likes of Jenna G and Tawiah on a bunch of tracks. Very bumping that one. Tru Thoughts who put it out also re-issued his classic 2003 Broken Beat album Make Your Peace with a sadly not as good front cover, but the sound is still great and has a couple of vocal cuts on it as well. And just to continue the Zed Bias love in, he also had a House album out a few years ago called Experiments In Biasonics which - surprise, surprise - is cut with female vocalists along with some nice male MCing by Broke N English and Ink Lined Minds. But female vocals still are the queen in the Garage and UK Funky(and Broken Beats) scenes so you might have more look in there at the various singles and what not. Geeneus had an album out on Rinse a few years ago simply called Volumes 1 that had some of the early tracks Katy B put her vocals to as well as other female vocalists. Though all that stuff - like the Maddslinky/Zed Bias stuff - really works best if you don't mind shaking yer arse to it at the same time. Like all good tunes make you do. It's not really intense, singer-songwriter woe is me depressing stuff. Though thinking if she likes the Katy B stuff she should be in the clear for that. Oh I guess there is always the Magnetic Man album as well, Katy B is on a couple of things on that too.
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Jul 5, 2011 05:01
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There's a new album called Pursuit Grooves - Frantically Hopeful which might be just the kinda sound she's looking for, that's a female artist with a lot of her own vocals. I think she makes the songs at least. It's not bass but there's also always Jenna G who's had an album and contributed on many tracks, dubstep ones as well probably i just can't remember the names of them. The focus is never really heavily the vocals though is the problem. Let us know her response to some of the suggestions.
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Jul 5, 2011 09:40
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infinity2005 posted:There's a new album called Pursuit Grooves - Frantically Hopeful which might be just the kinda sound she's looking for, that's a female artist with a lot of her own vocals. I think she makes the songs at least. It's not bass but there's also always Jenna G who's had an album and contributed on many tracks, dubstep ones as well probably i just can't remember the names of them. Totally forgot about that Jenna G album. It's Drum and Bass but don't hold that against her. She's got some cracking pipes on her and the actual production is done by some solid hitters like Zinc and Total Science so it's not totally dire.
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Jul 5, 2011 11:31
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unknown poster posted:I managed to get my roommate into uk bass when she heard me playing Katy B, so much shes been listening to her album nonstop. I've always liked this Katy B tune : http://www.youtube.com/watch?v=E8D986hIobE (Geeneus ft. Katy B: As I) Has she listened to Ms Dynamite yet ? She features on Lights On. If not, here's a couple of tunes: http://www.youtube.com/watch?v=4XD7lM-rnm0 (new single, called Neva Soft, banger) http://www.youtube.com/watch?v=OKB3hJBvAZY&feature=related (DJ Zinc - Wile Out, bigbig tune) http://www.youtube.com/watch?v=F8PZq5FI3yk&feature=related (older UKG tune, Dynamite Queen. Summertime vibes on this one. You can dig around for vocal UKG tunes with girls singing if she likes this one.) http://www.youtube.com/watch?v=Dc9WRyjYKOs (Sticky - Boo. feel the bad gyal baaaass) http://www.youtube.com/watch?v=oIyKcNvJNfo (Sticky - Bad Gyal. This one has more dancehall vibes) http://www.youtube.com/watch?v=oXZhK1uUYo4 (Menta - Ramp. Darker, more El-B type vibes) http://www.youtube.com/watch?v=A8IMm0fZI8I (Toddla T - Want U Now)
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Jul 5, 2011 16:07
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Maguro posted:I just made two new future/2-step tunes: So when are you releasing something I can buy?
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Jul 5, 2011 16:17
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Shitpost Gaze posted:So when are you releasing something I can buy? Thanks, I guess when someone signs me! Hahaha. Its always been a dream of mine to have my own tunes on wax so maybe Ill look into whatever local pressing plant does all the punk 7"s around town. Not really too keen on the idea of paying for a digital download unless its from a label but if demand is high enough we will see
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Jul 5, 2011 17:11
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