hold tite bleep
last 12s you bought?
going to any nights / festivals in the coming weeks?
favourite tune atm?
Not listened yet but have been spinning the POI RTV all day. Might try and grab the Randomer if it's in stock anywhere still. Wasn't massively fond of his LIES release but I do have a softspot for his Hemlock stuff.
you guys are all sleeping on the clone release. better than either of those two imo
Yeah I feel the same. I'm a big fan of his, but never would have expected him to release on LIES as he's never shown any signs of that lo-fi sound before. But yeah, I liked Huh but thought the other two tracks were kinda average.
>going to any nights / festivals in the coming weeks?
>favourite tune atm?
That's cool. I will probably download it as I do love Opal Tapes. What I've heard of his already (incl. that one track on the recent Opal Tapes compilation) has been kind of anonymous / dull sounding. I dunno. It didn't do much for me at all. Will check this though.
Huh, I had no idea he was actually a good producer, had never heard any of his stuff, that's sick.
And lol, we all know Tensnake wants to be the next BUFO. Except he's even weirder looking than BUFO, somehow, yet loves posting pics of himself.
O-one day I'll get signed.
>tfw not good enough to even release on your own label
hmm his stuff to me does sound quite generic/amateur, but i definitely couldn't do better. i'm not a fan of dusty analogue chinstroke techno/house like that anyway, unless it's god-tier stuff like workshop records
how do you feel about scooter
can anyone hook me up with some nonb8 uk funky? i heard seasons by lil silva in the dance and jeeeeez it goes off. such a banger. it's the grime influence with the 8bar switch up and rawness that gets me. dj champion is another good one.
does anyone kno of any proto-grime? like pulse x is commonly accepted as one of the first but the actual roots are p murky. theres that one garage tune about with some lass kicking off about people not eating her pussy which is pretty grime-ish. cant remember what its called tho. plenty of garage mcs i guess but they are all about the champs and stupid voices which isnt grime to me.
i think its just the technology atm. like a lot of dubstep and grimes genre features came about thru workin on pcs instead of hardware. someone will think of something mad thats going to change the way we make music and stuff will start happening again.
>someone will think of something mad thats going to change the way we make music and stuff will start happening again.
im on it m8
gimme a few months & i'll premiere it on /bleep/ so all you forward thinking mofos can say you were on it first
Yeah it just seems like all the big new genres in dance music came about via new innovations in technology or experimentation with new styles tied to a cultural movement or certain scene. And now with the internet and the commercialization of "EDM", it seems that just isn't really possible anymore on the same scale as 10, 20, 30, years ago
yeah but why isn't there anything as innovative as acid house was coming out then? It seems like everything is just going in a million different directions. And then you have "experimental" shit which is just producers just fucking random buttons and calling it a 'tune' bollox i say
>Yeah it just seems like all the big new genres in dance music came about via new innovations in technology or experimentation with new styles tied to a cultural movement or certain scene.
>It seems like everything is just going in a million different directions
cause that's the name of the game now. we've covered the horizontal breadth for the most part, now its building vertical breadth searching for the truly unique and next level projects
new tech won't save anything. all it can do now is either improve production detail or provide new musical gimmicks (like crowdsourced music production is lel), either of those being entirely unnecessary for making the next level of tunes
not to mention there are ways of using already existing technology people have barely begun to scratch the surface of
nah he is right. nearly every scene at the moment is just throwback stuff. it sounds different but the ideas behind the songs dont seem as developed to me. a lot of those old tunes are so amazing bc it just came from nothing.
>all it can do now is either improve production detail or provide new musical gimmicks
there was probs people saying shit like this before the 808 or the 303 came out and paved the way for new stuff. claiming that nothing new will happen in the musical future seems a bit myopic to say the least. History has shown us that the future always brings something new and often unexpected.
Exactly, there's no way to say for sure what will happen because it hasn't happened yet. People have been saying that for years and then all of a sudden comes along something like the 808 or 303 or turntablism or whatever that totally changes the game. I mean, do you think people in 1981 knew that eventually the Second Summer of Love was going to come along and spawn 25 years worth of dance music innovation? No. Of course not.
yeah like for example 4D sound or this thing
Yeah and what? The piano as we know it today has been around for about 150 years or so. Doesn't mean you can't write interesting piano music today and it doesn't mean that different pianos don't have different qualities. So the understanding of synthesis is pretty much complete - companies will keep bringing out synths will slightly different characteristics so it's not as if all (dance) music is going to sound the same from now on.
I can't believe people in here think like this - it's weirdly conservative and closed off.
You say that now, but there's always going to be something more that you can do. Somebody's going to discover some new sound or technique or something that will eventually become the basis for something greater. Mark my words.
>Doesn't mean you can't write interesting piano music today
though i disagree that any piano music can be interesting, that's exactly the point i'm arguing for
>companies will keep bringing out synths will slightly different characteristics
>it's not as if all (dance) music is going to sound the same from now on
i guess that's technically true, even if in practice you'd be fully assed trying to tell the difference between a TR8 and a TR8.1 and a TR8.2 and a TR8 the 2020 edition
>Somebody's going to discover some new sound or technique
im on it ;)
jelly. speakers with 3d placement is a little gimmicky imo but I'd still love to hear it
>there's even a spooky spoken word drop
You'd think with all the access to the history of music on the internet, somebody would have fused breakbeat hardcore, garage, grime, techno, hip hop, jazz, etc. to make some new genre or whatever.
I think the problem is, even if you do create some groundbreaking new sound, the scene is saturated with so many other "producers" and there's really not much of a dedicated dance music culture, these innovations might literally be unheard and not noticed by the general public. Most music genres were birthed thanks to close knit, localized scenes.
imo i reckon the surge of people using modular systems could be the next step. although the tech is older than most of the classic analog synths, the possibilities that come with having a flexible signal path (i.e. not fixed architecture like a traditional synth) could push things forward.
>so long as producers can actually put them to good use, not just making 'experimental' bleeps and bloops
>You'd think with all the access to the history of music on the internet, somebody would have fused breakbeat hardcore, garage, grime, techno, hip hop, jazz, etc. to make some new genre or whatever.
>Fusing X and Y and Z and A = new genre
Genres don't work that way you tard
and breakbeat it's almost a subgenre of hip hop, grime and dubstep are almost subgenres of garage, there is tons of "jazzy" hip hop"
2004 I think
>i saw him live with juan atkins almost exactly a year ago and he didn't appear ill looking
at Mutek? I was there : )
He looked ill to me tbh. I saw him in Mutek back in 2010 too.
He had a "mild heart attack" during a flight. From what I've seen in forums, he has seemingly lost some range of motion in his body.
Maybe I'm being paranoid. Maybe he was tired that night.
that's what i thought you were referencing.. i just personally can't really into that
a lot of producers are really picking up on this, i agree that we'll likely see a lot of cool stuff come out of it. im waiting on analog modern talking lol
still I'm betting that the next "revolution" comes out of sequencing, not synthesis
i was thinkin of them. i thought more fire were grime tbh, they were doing things when grime existed unless im unaware of older tunes. i just remembered heartless crew which i reckon has got to be a huge influence and probably the closest to grime. its just that none of them has that aggression or roadness that makes grime.
This is true. But experimental, when well done, blows anything out of the water that is "normal" and it paves new roads into unexplored territories.
of course, the good to bad experimental bleeps ratio is horrible
>this idea you get for free
first picture if you would a monomer/tenorion
now all you do is add a knob under every column that controls midi or millisecond spacing between that column triggering and the next
now while not exactly a gamechanging idea, you now have a sequencer that is far more capable of syncopation than your usual shuffle knob.
I'm researching some other sequencing shit at the moment that's showing some bona fide promise, but it involves actually taking a very large step backwards in music technology
there'll be no big leaps in synthesis instruments any time soon
just like they'll be no big leaps in amplified instruments
The musical innovations of 50s to 90s was completely mapped to valve, solid state, and digital tech being born
music forms are like geography and the last great unknown continents have been filled in. now its about floral details and existing recombinants
there is still infinite variety possible within the existing parameters.
those strings, rhythms and those bass hits. it was released in 2003 bruv. definitely grime imo but very early. im more talking about stuff released prior to 2002ish like proper roots and influences.
like theres a some garage with that road feeling. its all a bit mincey tho. theres this one garage tune like that thats grime as but i cannot remember the name of it at all.
my bad. not saying there's anything wrong with them, they just rarely seem to have much direct impact on music I and this thread seems to be concerned with (music you dance to in a dark club).
for the record, as a producer myself i've found that thinking outside the box and just going mad with bleeps/bloops for an hour or so can generate some ideas that work in productions that wouldn't have been thought of otherwise
i guess this statement makes sense, i can't really see how synthesis can advance much further (but i guess it's all down to the person on the buttons).
>unless synthesis and sampling could be fused into one machine, with fast and efficient workflow between the two + sequencing capabilities
>music forms are like geography and the last great unknown continents have been filled in.
very well put. electronic instruments have been side effects of technological progress. we're not going to see, much less be able to comprehend, shit like quantum music or anything like that
after all, music is limited to our perception of sound and vibrations and the synthesizer was the technology that cracked open the entire spectrum
i agree on the experimental bleep bloops point, it's becoming a disturbing trend for producers to throw in entire sections of non-functional, vibe-killing synthwank
>see joy orbison and his crew at a venue
>90% of people are on some kind of drug
>everyones shady as fuck
>feels like i'm the elevator to hell
i would have thought i was at a fucking prurient show these places are shit
deep house is most pleb and entry level genre to get into. i got into house when i was around 15 mate dont be so lazy. try typing deep house into wikipedia or looking at ishkurs guide mate i dunno. chances are your uni mates are just referring to dirtybird/au5/hotcreations crew wen they say deep house.
next time you chill play them some Midtown 120 Bangers
>90% of people are on some kind of drug
>everyones shady as fuck
>feels like i'm the elevator to hell
these are the best parts. aside from the music ofc but u are not cut out for this life if some shady people (who are probaly alright if u actually speak to them) scare you. stop bein such a wetty
fuck these threads.
pathetic. one of you fucking volunteering for 4chan hahaha
yeah mate put it on your cv. cunt
came back from a festival the other day and this local homeless boy asked me if i was also homeless. told me he had the illness and he needed me to help him out. gave him a quid bc i felt bad for him. tried to get into a taxi after and the guy didnt believe i had money. i think im one of these shady people hes talkin about lol
brazillians have baile funk which is the most hardcore form of dance to exist. they literally kill and rape each other to this music there. madness.
>i wasnt even wearing anything that weird
>no shoes tho
I think it may have been the significance of what you weren't wearing.
>camo surplus parka adidas trackies and cap
Is this 2005? Are you a fan of happy hardcore and/or bassline?
not really a fan of the genre either tbh im just interested in the cultural aspect.
kuduro/zuke is another intersting international genre thats pretty decent imo http://www.youtube.com/watch?v=4CkXhtw7UNk
ID on everything:
White dress shirt- Maison Kitsuné - Slim-Fit Cotton Oxford Shirt
Light gray tee- James Perse - Cotton-Jersey T-Shirt
Charcoal tee- Alexander Wang - Oversized Cotton Jersey T-Shirt
Black sweater- Maison Martin Margiela - Long-Sleeved Cotton T-Shirt
Wool trousers- J. Crew - Bowery Slim-Fit Prince of Wales Check Wool Trousers
Black jeans- A.P.C. - Petit New Standard Slim-Fit Jeans
Leather jacket- Saint Laurent - Leather Bomber Jacket
Chelsea boots- Church's - Beijing Leather Chelsea Boots
Canvas high tops- Converse - Chuck Taylor Canvas High Top Sneakers
Bauhaus-style watch- Braun x Dieter Rams - BN0032 Stainless Steel Watch
Favorite tune atm : https://www.youtube.com/watch?v=CmSuA66tXVo
no no, the poorfag memetechno man is the one with uniqlo and h&m clothes
sounds like fuckin gabba m8.
But seriously, it sounds like a kid with Ableton and controller playing an incredibly self-indulgent live set.
Too fast and unfocused, sounds like it should break out at some point and the fact it doesn't just makes it exhausting to listen to.
In response to the earlier discussion, I think it can be said that the last real fully fledged genre to emerge was dubstep. I know why these new microgenres and whatnot that have been popping up recently aren't more than a flash in the blogosphere pan.
It's because they have no sense of community. Think about it. Dubstep was successful and influential because it was spawned out of a very distinctive and localized scene (South London). The style went through years of very organic progression thanks to tweaking and experimenting done by producers from that area. It was able to develop properly and healthily in the South London before spreading its influence elsewhere.
All the most important genre are rooted in their local, founding scene. House music in Chicago, Techno in Detroit, etc. Because of these healthy scenes, these styles were able to eventually evolve into solidified genres and spread their influence globally.
However, in the age of "EDM", where being a bedroom producer is easier than ever and many are simply out to jump on the bandwagon of the moment, there is no proper sense of community among DJs and producers for sounds to develop. In their most infantile stage, they are cast upon the public eye for the whole world to see. DJs and producers are no longer part of an exclusive, underground club of dedicated music fans. Your average joe on the street can now easily be a "producer" with the latest app download.
In the past, many of the more derivative and poor quality productions would have simply been ignored or discarded, leaving only certain ones to survive the test of time. Now, derivative is the name of the game and every song, every tune ,every dj and producer, that has saturated the internet gets the same exposure: good or bad.
I think part of this has to do with consumption of media. It used to be you just had very centralized media: radio, record shops, tv, gigs, magazines, and newspapers as outlets for hearing and reading about music. So anyone artist or scene would get a fair amount of attention. But now with the internet, there are a billion different sources for finding music, that no one artist, unless pushed by a major label or some other backer, will get any real exposure.
Random tracks I like: