>this song is over 10 years old
Where does the time go?
2004 was the best year for Grime.
(BINGOCD005)  DJ Slimzee - Bingo Beats Volume 3
>UK Garage, Grime, Mix CD
why don't you agree with it?
I'm talking about nowadays you mong.
do you really think el-b would have as much recognition if burial had never mentioned him? do you really think as many of you middle class adolescent fags would be searching for old garage and jungle tracks had burial never existed? burial has had a fucking huge impact on uk music.
(FER-06872)  Soichi Terada - Sumo Jungle GRANDEUR:
One of the best thing about Jungle January was the anon who recommended this. Another was the anon who recommended the Jungle Tekno comps.
Anyone who got into UKG or Jungle through Burial definitely wouldn't have bothered to keep up with it explore it in depth. They would have checked it out when Burial was the in thing, and then they would have forgotten about when Burial stopped being relevant.
I am yeah i'm not saying it's a bad thing, it's sick music, but my point still stands about el-b
and i've gotten through that phase now
i'm more just into pumping house and techno nowadays and was never that keen on jungle anyway :^)
When i was 15/16 i got into dubstep and then got mad into burial and read all his interviews and shit, and really delved into that whole spectrum of uk music
Those were pretty exciting times, finding all of this music from before/just after i was born and being so interested in the history
I dunno though, i have obsessive (maybe autistic) tendencies and feel like i have to know EVERYTHING about stuff if i'm interested in it.
i would have thought many people went on this same journey after getting into burial? it depends on if you really love the music/ can be arsed
No joke, most of the people I know IRL who heard about Burial when he had just become big would later go on to listen to brostep when it started coming out. People like latching onto trends, few truly delve into the background of it. For example I like to think I listen to a fair bit of Footwork, but I don't really know anything about it's origin or the 1st and 2nd phase of it's life cycle.
These. Excellent track listing, awful covers.
and y i get where u coming from but---post dark dub/tech tunes?
>do you really think el-b would have as much recognition if burial had never mentioned him?
Yes. Because the man is cited as an influence by pretty much all the oldschool dubstep heads, not just burial.
Not to mention the massive tunes he made as Groove Chronicles and the remix he did of Zed Bias' Neighbourhood. Those have been popular since way back when.
>without burial people would give less of a shit about garage as a whole
Not really. From about 1999 through 2001/2002, Garage was fucking massive. After that, there were still some hit garage singles scattered here and there and grime, dubstep, and bassline (which descended from garage) carried on its legacy.
To say that Burial is the main reason that people today care about UK garage is a dumb comment to make.
i never said he was the main reason... you can't deny he made a big impact though he virtually became famous
>there were still some hit garage singles scattered here and there and grime, dubstep, and bassline (which descended from garage)
you don't need to tell me this man i have my own fucking collection of bassline and garage
He legitimately doesn't know what he's talking about. He's not condescending or anything, he just genuinely lacks knowledge.
>i have my own fucking collection of bassline and garage
>you can't deny he made a big impact though he virtually became famous
I mean he's definitely pretty well known. But he's not THAT famous. And besides, most of the big Burial fans that I've seen never really seem to have an interesting in looking back at old dubstep and garage. They just want Burial clones like Volor Flex and other shitty ambient future garage type shit.
ok, yeah maybe i was looking at things from a personal perspective a bit too much
it's nearly all speed garage and bassline house though, you can literally buy a shitload on dnr vinyl for cheap cos no one wants any of them
found some bangers over the years
Probably. There's no doubt that he has turned on some people to garage, but I doubt that most people who liked Burial were very much into the sound of people like Bump and Flex, MJ Cole, Grant Nelson, Todd Edwards, etc. If anything, it was only Hyperdub labelmates, Four Tet, and some assorted dark garage/dubstep heads (ie. DMZ, El-B, Zed Bias, of which the last two were already fairly well known first in garage's heyday and then later in dubstep's early days).
But I mean, how many people do you think went out and downloaded Digital's discography or started listening to early 90s rave music just because Burial namedropped them in some Wire interview from 2007? Not many.
Ask someone who's had a conversation with D Double E, Plastician, Chronik, Novelist, Mumdance, Slackk, Terminator MC and Flava D anything. Obviously not at the same time
Yes I'm a grime dick rider
lmao can we just agree that The Bug and The Burial are the only relevant dub-related artists of the past 10 years?
inb4 some wanker starts yelling about about barely-in-focus clicks and plinks and plonks
post some ACIEEED
well, there's about a 45% split between dub and reeses (idk, pick either jungle, techstep, idc)
and then there's 5% plinks and 5% house, whatever that means
lmao gtfo, you couldn't see a forward-thinking artist if /mu/ shoved it down your throat
Do i really have to go on about how Burial blatantly sampled a certain trip hop artist and how literally the whole album sounds JUST like said trip hop tune?
Or is it you that do not understand what dub really is and how much it influenced?
>Do i really have to go on about how Burial blatantly sampled a certain trip hop artist and how literally the whole album sounds JUST like said trip hop tune?
Yes, he sampled Teardrop on a song on his first album, but he uses 2-step garage beats the vast majority of the time. Are you deaf?
And trip-hop =/= dub.
>2-step garage beats
>vast majority of the time
MA's THUMP THUMP THUMP-CLACK's are literally the foundation to about 90% of Burials work. The plinks and plonks are minor supporting elements to that shit fam
well atleast it clearly separates /bland/ from actually good dance music
He seems pretty sound in the head despite sounding like he's had a stroke. He's got mad love for the scene, was talking about how he'd probably be in prison if he didn't have it as an outlet
it kind of is tbh
both trip-hop and dubstep have large influences in dub music, the difference that separates Burial from other dubstep artists is the melancholic feeling prevalent in all of his work, so in a sense yeah it's wouldn't be too wrong to label Burial trip-hop alongside dubstep
I feel you bro, I love Grime but it isn't exactly about deep lyrics and that. Nines is good for word play, Novelist and the rest of the Lewisham crew aren't bad for rapping about things other than lengs and stacks. Jme used to be cool but he's kind of a wasteman now.
At the moment all the depth is going into the instrumental side of things, some pretty wavey producers around at the moment.
I'm convinced UK Garage is just a meme.
Who gave a shit about Garage before Mike Skinner, Burial, etc. and all those guys started putting it up on a pedestal, claiming how "significant" and "influential it was? Nobody ever liked it before that and now, it's a forced meme to pretend Garage was good.
Very hyped for this, any other UK folks heading down? Fabric isn't my favorite club but I probably won't get stabbed by a yoot in a bucket hat so that's a plus.
of course, the can is a reference to Papa Richardson's dick size
>some of electronic music greatest innovations didn't happen with kids fucking around with gear/software
>bored Detroit kids fucking around with drum machines after listening Kraftwerk songs
>Richard D James
was a DJ since his teen years. First release at age 20
>the current trap/hip hop beats
OF and the rest of the memerappers making beats and changing the game
want me to continue?
FOR A BURIAL/FLY-LO TYPE BEAT
1. sample yourself. keychains, tabletops, bottles, etc.
2. drench stuff in high quality reverb VSTs.
3. wow and flutter tape effects (just sounds cool)
4. "snappy" sounds only.
5. a tiny bit of extra saturation to make it sound more evil.
6. don't quantise, it makes everything sound rigid and boring.
7. basics: kick on 1 and 3, snare on 2 and 4, syncopated perc.
>>bored Detroit kids fucking around with drum machines after listening Kraftwerk songs
lmao, a few days ago you said berlin wouldn't exist with out detroit. now you say this
you're literally a fucking moron hahaha
yeah because Kraftwerk = techno amirite?
And I explicitly said Berlin was just as important, not because they had Kraftwerk but because they supported the trve kvlt techno while the American labels tried to bastardize it into consumerist crap
Keep at it bro, maybe one day you'll get your gotcha moment
well yeah but as soon as talk goes on about their influences Kraftwerk barely gets a mention.
partly because it's superior to that bland shit in every possible way and partly because it's just namedropped like Objekt for hipster cred in here
in the discussion we had, yes it was. I explicitly said so
Then you said BUT BUT BERLIN ISN'T ALL TECHNO
Then I asked what other genres are "Berlin"
and you said "Workshop"
you know, the shit hipster label that releases mostly house music
you know, the music created by gay blacks in Chicago
Keep trying m8. You're just making yourself look more ignorant. I enjoy that. It fuels me
I've been to Detroit. What's your point?
i'm saying that mention of influence is misplaced, as it's much more closely connected with electro & synth-pop and its' successors. i'm guessing most of those simple folk just dont know any better
Something that IDM embraced much more deeply than detroit & chicago shit
>i'm saying that mention of influence is misplaced, as it's much more closely connected with electro & synth-pop and its' successors
A lot of early techno is completely indistinguishable from electro (and IIRC the terms used to be interchangeable). I see your point, but to say their influence was "misplaced" its simply incorrect. They Bel. 3 have always mentioned Kraftwerk as an influence, regardless of what the end sound was.
nice retort m8. you sure supported your views with some facts there
I know it hurts to be schooled, but admit it, you are wrong. If you want to re-visit the conversation, I'm here for a while. Go ahead, state your points, or just keep shitposting, as you're doing right now
asking someone if they've been to detroit or berlin sounds like someone who's a fucking retard because you're just name dropping cities that are linked to techno like that means anything
why are you so obsessed with the "who invented it" shit and why do you only trace shit back to where it suits your case?
your 'hurr durr america invented this and that' is stupid because europe and africa invented all music you know today. europe invented america ffs lol. not that it matters because we're all the same people whether we're from europe or america or where ever. who the fuck cares, you autist
You sound like you know nothing about dance music except all the history articles you've read on it. how about you post some tunes instead of trying to sound like mr knowledgeable cos right now you just look like a goon
>you know, the music created by gay blacks in Chicago
fuck off mate
>why are you so obsessed with the "who invented it" shit and why do you only trace shit back to where it suits your case?
I am not. I simply said a fact. Techno was created in Detroit. That is a fucking fact
>your 'hurr durr america invented this and that' is stupid because europe and africa invented all music you know today. europe invented america ffs lol. not that it matters because we're all the same people whether we're from europe or america or where ever. who the fuck cares, you autist
Funny, because in just about every place but this cesspol of autism I've never seen the notion that "techno was created in Detroit" challenged. Sure, it was greatly influenced by German music no one gave a fuck about at that time. Sure, it survived because it found its popularity in Berlin and that's where Detroit Djs made a living.
But it is a Detroit invention. Sorry if your German autistic ass is buttblasted that your fav genre wasn't a white invention, but you better learn to live with it
>europe invented america
prove that it didn't
lfmao, you literally just said
"I am not [obsessed with the "who invented it" shit ]"
and now you say this hahahaha
this is worse than your detroit/berlin mix up. at least you gave it a few days before you contradicted yourself hahaha
I occasionally do. Not so much anymore. The /jazz/ threads are usually pretty good. I certainly don't listen to exclusively dance music though. My favorite band would probably be Sonic Youth.
>point out blatant contradictions
when was the last time you went to a club m8? lol
ever actually written any music before m8? lol
ever actually learnt about music properly before m8? lol
"Techno" is just a name
You're basically saying if you heard a good techno tune, by your inane logic you'd be thinking "yeah (smug face) detroit was responsible for this.."
that isn't how it works you utter cretin
>>point out blatant contradictions
>lmao, a few days ago you said berlin wouldn't exist with out detroit. now you say this
How does saying Kraftwerk influenced early techno = Techno wasn't created in Detroit?
no mate, obviously the only reasonable way to think about music is to trace stuff back to where you can take ownership of it
dude's just butthurt because he's american and basically irrelevant to dance music/culture, so he has to try affirm himself by taking ownership of dance music by saying detroit invented it
so what? some of its origins are from there, but not all of it. techno wouldn't exist without kraftwerk, so europe gets credit. japan gets credit for building the 808 and shit, europe and africa get credit for the 100s and 1000s of years of musical history they bring to the table
but noooo AMERICA AMERICA WE INVENTED IT
ignore him man, he's literally a kid trying to claim ownership and to make something as complex as music history as black and white as he wants to suit his argument and to stop his feels because he's american and there's no culture there outside of racism and fast food
>You're basically saying if you heard a good techno tune, by your inane logic you'd be thinking "yeah (smug face) detroit was responsible for this..
C'mon now, you're being facetious. I don't even like Detroit techno that much. Look at my fucking trip
The reason we're having this pointless conversation is the amount of ignorance ITT and the last ones (the anon above saying Detroit kids didn't listen Kraftwerk, or the simple fact that's getting everybody butthurt, the fact that techno was created in Detroit) is fascinating. To say the contrary its simply a fucking lie
Not only was the sound created there (and matured in Berlin), but a lot of the early producers flew to Detroit to learn to master the records and took their knowledge back to Berlin. This is literally "knowledge" any pleb could have read in any magazine or article about it.
Of course, this whole thing will be ignored when some other faggot comes up with a fictitious 'contradiction' on anything I've said
>dude's just butthurt
Says the Yuropoor revising history
were you the faggot in the last thread who proclaimed techno was a "white" invention because sure, it was created in Detroit, but it was the industrial landscape of Berlin that gave it its shape?
Or you know, the industrial and post-industrial landscape of Detroit that every fucking Detroit producer has explicitly said inspired them?
Goddamn the amount of German butthurt ITT hasn't been seen since the Treaty of Versailles