shit he is literally taking it back to south london with that track!!!
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
I don't particularly have an ear for electronic music. I like the occasional melodic trance song, but I typically prefer classical, classic rock, folk and the like. Perhaps my indifference to the track you posted is simply an issue of not acquiring the taste for it, much like a quality American microbrew will taste terrible to someone first tasting it, despite the obvious quality of ingredients and production. The closest I've probably gotten to properly listening to electronic music is Pink Floyd and other progressive rock, but that has lyrics and melodic riffs to supplement to the experimental sounding electronic sounds. I do agree with the alien sound scapes, though, and it was the element I most appreciated in the song. You can find similar effects in Floyd's longer tracks, like the middle sections of Echoes, and the track you posted seemed like a highly refined modern evolution of that.
Regarding Skrillex, Deadmau5 and other pop electronic artists, I fully agree. It's thoroughly repulsive how overhyped and overplayed their music is on this campus.
Regarding Skrillex, Deadmau5 and other pop electronic artists, I fully agree. It's thoroughly repulsive how overhyped and overplayed their music is on this campus.
what a coincidence!nukchebi0 wrote:
I don't particularly have an ear for electronic music.
trance = trash. that is a total truism in electronic music. that is 100% the sort of music that you need to be on MDMA and UV-glo to like.
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
Right, so you have to be an aficionado to not like it?Uzique wrote:
skrillex is the most popular dance artist in the world right now. just nobody that is actually into the music likes his stuff.
Fuck Israel
no, actually the vast majority of people who don't like skrillex are people that have no knowledge of electronic music at all - people like nuk, for example - who just hear vile and brash WOMP WOMP WOMP godzilla flatulence and, instead of having the american teenager reaction of "cool! let's mosh!" are more like "honestly what the fuck is this noise". the point about the aficionados is that the skrillex-type of dubstep is so far removed from the original scene that it's almost perverse. they have and want nothing to do with it. most of the haters of skrillex are just regular classic rock joes and people that can't understand for the life of them why everyone is getting so excited about a guy pressing buttons on a laptop to make a lot of repetitive noise.
by saying that he's "the most popular dance artist in the world" right now is simply like saying justin bieber is one of the "most popular child stars in the world right now". both have massive anti-fanbases. it's not just the elites of the scene that are dismissing bieber, is it? regular people can tell when regular shit sucks. it's just the usual case of mainstream award shows and album sales figures not corresponding to any real reality except the bubble of corporate america. it has no valence with real music listeners of any sort - the circus of award shows and music charts will continue, regardless of what people on the ground think, because the record companies still need to generate hype and market a new annular 'in-thing' for their sales cycles.
by saying that he's "the most popular dance artist in the world" right now is simply like saying justin bieber is one of the "most popular child stars in the world right now". both have massive anti-fanbases. it's not just the elites of the scene that are dismissing bieber, is it? regular people can tell when regular shit sucks. it's just the usual case of mainstream award shows and album sales figures not corresponding to any real reality except the bubble of corporate america. it has no valence with real music listeners of any sort - the circus of award shows and music charts will continue, regardless of what people on the ground think, because the record companies still need to generate hype and market a new annular 'in-thing' for their sales cycles.
Last edited by Uzique (2012-04-12 07:25:06)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
Meh, I still prefer it to the slow lounge-jazz type dubstep which is oh so true to its roots, but then I prefer dance/electronic to begin with.
You could say that about any genre - if you didn't take part in the Battle of Borodini you can't truly appreciate the 1812 overture as a piece of music so theres no point in even having an opinion on it - bullshit.if you aren't going to clubs to actually experience it, in full-volume darkened rooms from 10pm-6am, then of course 90% of its point is lost on you.
Fuck Israel
no, not really. some music is made to be listened to in any context. dance music is made for a dancefloor. it loses its energy and 'point' when it is decontextualised to a laptop speaker (technically it loses its point too; laptop and pc speakers cannot even manage the sub-bass). likewise with musical genres such as techno: arguably a techno track is best understood in a 3,5,6,10 hour experience - one long hypnotic 4/4 experience. breaking it down into a small 3 minute soundbite loses the entire force of the music. the 1812 overture is a self-contained piece of music. most dance tracks are intended to be ephemeral - it's how they fit into the larger context of a night, woven in with other tracks, that makes them powerful. you can't really understand what i'm talking about until you've actually been to a club and felt the weight on your chest. you should at least listen to a 1hr+ mix to judge the genre, because it is music meant to be played in a long format.
i also don't know what you're talking about with "lounge-jazz". if it's not fratboy saw-sine waves pummeling your face, it's lounge music? are you a kid, or what? you argue like a pathetic little twerp. it's like you know you don't know what you're on about so you try to make a bunch of wild-ass statements... why? seems like no other reason than provocation to me. some dumb old guy firing out terms. dubstep has plenty of energy - it draws massive audiences to the nightspots every week. the point is that the real stuff is more cerebral, more subtle, has more to appreciate. for dj's, producers and listeners alike there's more there to feast on than 6 hours in a club listening to skrillex. can you imagine how it would be to spend a dubstep-night listening to brostep? every 2 minutes the same lead-up to the same over-cooked drop? it would become monotonous. all i mean by real dubstep being deeper and more thoughtful is that, say, a big drop will come every 25-30 minutes, which will drive the crowd crazy in a different way. the skrillex type dubstep is sucrose-filler, hyperactive, e-numbers music: bam bam bam, all the time. it loses its effect after about 3 songs. when you're in a club from 10pm-6am you want something more.
i really wouldn't call one of mala's sets "lounge jazz". i'd say it's just as full-on and intense as skrillex's schlock. it's just more sincere, more culturally vibrant, and more meticulously arranged - on the level of the song and the level of the overall set. anyone can make a skrillex dubstep song in 15 minutes using some free software. it's almost obscene how dumb and simple this music is. do you think all these people making joke-dubstep youtube videos are professional producers or something? no. everyone just acknowledges that the skrillex brand of dubstep is like a vending machine format. you put in your dime and out pops a song. it's inane.
here's what would be considered a 'proper' dubstep affair:
(watch 2 minutes or so of this from 4:30 onwards, after the sound-system warm-up)
the focus is on the music and the sound-system, especially (jamaican soundsystem culture - the speakers and soundsystems have as much of a reputation as the artists themselves). all the songs performed are freshly cut dubplates and vinyl for that performance - not some douche in fake glasses pressing play on a laptop and twisting some nobs. everyone is facing the front with their eyes and ears trained on the actual music at play. it's a totally different atmosphere and vibe to a brostep night. it can be just as heavy. again, i wouldn't call mala 'lounge jazz'. it's just more cerebral. he's clearly someone that does it for the sheer love of the culture he is from in london. skrillex is a dude stood on a stage with a laptop playing mp3's he made in the hotel room earlier that day. mala turns up to play on one of the most powerful soundsystems using a bunch of freshly-cut pristine audio quality dubplates that he has just come from the pressing house with. it doesn't really compare in terms of overall aural experience or authenticity.
i also don't know what you're talking about with "lounge-jazz". if it's not fratboy saw-sine waves pummeling your face, it's lounge music? are you a kid, or what? you argue like a pathetic little twerp. it's like you know you don't know what you're on about so you try to make a bunch of wild-ass statements... why? seems like no other reason than provocation to me. some dumb old guy firing out terms. dubstep has plenty of energy - it draws massive audiences to the nightspots every week. the point is that the real stuff is more cerebral, more subtle, has more to appreciate. for dj's, producers and listeners alike there's more there to feast on than 6 hours in a club listening to skrillex. can you imagine how it would be to spend a dubstep-night listening to brostep? every 2 minutes the same lead-up to the same over-cooked drop? it would become monotonous. all i mean by real dubstep being deeper and more thoughtful is that, say, a big drop will come every 25-30 minutes, which will drive the crowd crazy in a different way. the skrillex type dubstep is sucrose-filler, hyperactive, e-numbers music: bam bam bam, all the time. it loses its effect after about 3 songs. when you're in a club from 10pm-6am you want something more.
i really wouldn't call one of mala's sets "lounge jazz". i'd say it's just as full-on and intense as skrillex's schlock. it's just more sincere, more culturally vibrant, and more meticulously arranged - on the level of the song and the level of the overall set. anyone can make a skrillex dubstep song in 15 minutes using some free software. it's almost obscene how dumb and simple this music is. do you think all these people making joke-dubstep youtube videos are professional producers or something? no. everyone just acknowledges that the skrillex brand of dubstep is like a vending machine format. you put in your dime and out pops a song. it's inane.
here's what would be considered a 'proper' dubstep affair:
(watch 2 minutes or so of this from 4:30 onwards, after the sound-system warm-up)
the focus is on the music and the sound-system, especially (jamaican soundsystem culture - the speakers and soundsystems have as much of a reputation as the artists themselves). all the songs performed are freshly cut dubplates and vinyl for that performance - not some douche in fake glasses pressing play on a laptop and twisting some nobs. everyone is facing the front with their eyes and ears trained on the actual music at play. it's a totally different atmosphere and vibe to a brostep night. it can be just as heavy. again, i wouldn't call mala 'lounge jazz'. it's just more cerebral. he's clearly someone that does it for the sheer love of the culture he is from in london. skrillex is a dude stood on a stage with a laptop playing mp3's he made in the hotel room earlier that day. mala turns up to play on one of the most powerful soundsystems using a bunch of freshly-cut pristine audio quality dubplates that he has just come from the pressing house with. it doesn't really compare in terms of overall aural experience or authenticity.
Last edited by Uzique (2012-04-13 08:09:40)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
Uzique, do you consider Datsik, Excision, and Bassnectar to be equally offensive as Skrillex?
yes. they all ride the same one trick pony. how do people even differentiate between their music, really? different youtube search words? that's about all the operative difference there is. these people came and hopped onto the dubstep thing in like '10 or '11 or thereabouts (i think excision was around for longer, but i mean in terms of really getting popular), and they took a ship that had been sailing since 2004'ish and steered it into shit harbour (i am allowed such a contrived extended metaphor here; bad writing for bad music)
Last edited by Uzique (2012-04-13 08:48:15)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
Yeah, that is very understandable. My suitemate (who really is in a frat) thinks all these artists are amazing; maybe I can ask him how he notices differences in songs that are as formulaic as standard pop fare.
And yes, basically. Whenever he pregames now its constant flitting around on Youtube from one supposedly amazing track to the next. The only thing that really changes is the title and the visuals of the associated video.
And yes, basically. Whenever he pregames now its constant flitting around on Youtube from one supposedly amazing track to the next. The only thing that really changes is the title and the visuals of the associated video.
Last edited by nukchebi0 (2012-04-13 09:21:33)
how do you even dance to skrillex =.= fucking grammys
http://en.wikipedia.org/wiki/Grammy_Awa … _Recording
http://en.wikipedia.org/wiki/Grammy_Awa … nica_Album
http://en.wikipedia.org/wiki/Grammy_Awa … _Recording
http://en.wikipedia.org/wiki/Grammy_Awa … nica_Album
the grammy's has never recognized dance music. skrillex just got an award because he makes electronic-rock music that can be repackaged and sold to the same captive audience that the grammy's and mainstream record industry have always had. they're not exactly 'finally recognizing dance music' as all the press made out. the audience of dance music are still as disconnected and far-removed from that self-congratulatory bullshit as it always has been.
the funny thing is that during his acceptance speech he gave a shoutout to "croydubs" (croydon). as if the guy has ever been to croydon. the sort of scene you'll find there (watch: my above video) is world's apart from the tween-fest, laser-parties that skrillex has for his 'live shows'. i walked past skrillex at the boiler room (about 12 miles north of croydon, still in south london though) and nobody was even paying him any attention. zero respect, zero recognition. he gave this contrived shout-out to the scene that he stole his sound (and success) from. it was so fucking insincere. unbelievable. he'd still be some b-rate emo band rockstar if it wasn't for all those dudes making music in south london, who are still mostly all broke with zero to show for dubstep's new 'OMG!!!!' success in the states.
the funny thing is that during his acceptance speech he gave a shoutout to "croydubs" (croydon). as if the guy has ever been to croydon. the sort of scene you'll find there (watch: my above video) is world's apart from the tween-fest, laser-parties that skrillex has for his 'live shows'. i walked past skrillex at the boiler room (about 12 miles north of croydon, still in south london though) and nobody was even paying him any attention. zero respect, zero recognition. he gave this contrived shout-out to the scene that he stole his sound (and success) from. it was so fucking insincere. unbelievable. he'd still be some b-rate emo band rockstar if it wasn't for all those dudes making music in south london, who are still mostly all broke with zero to show for dubstep's new 'OMG!!!!' success in the states.
Last edited by Uzique (2012-04-13 09:56:26)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
suitemate lol
Tu Stultus Es
grammys were considered worthless shit like 10 years ago
I cant believe theyre still around
I cant believe theyre still around
_______________________________________________________________________________________________ 
they don't have rooms at yale. they have 'suites'. shit i went to a public school and we were 'boarders'. how plebian does that sound? yale must be on another level of poshness even from the english upper classes.eleven bravo wrote:
suitemate lol
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
boarding public school?
_______________________________________________________________________________________________
Yes yale is douchey and pretentious blah blah blah.
boarders also sounds super douchey.
Yale describes bedrooms arranged around a common room as suites, hence the usage of the word. My friend at a state university lives in a similar arrangement and they are also called suites. Hence its not really a yale thing (unlike abusing coke and hiding it.)
also true story, all the rich brits here who went to eton college and the like join the douchiest or maybe second douchiest frat.
boarders also sounds super douchey.
Yale describes bedrooms arranged around a common room as suites, hence the usage of the word. My friend at a state university lives in a similar arrangement and they are also called suites. Hence its not really a yale thing (unlike abusing coke and hiding it.)
also true story, all the rich brits here who went to eton college and the like join the douchiest or maybe second douchiest frat.
http://en.wikipedia.org/wiki/Public_sch … Kingdom%29Mutantbear wrote:
boarding public school?
i went to a school of the same class as eton and i'm not in a fraternity. nor are any of my friends. must be the american ivy campuses that attract the douchey sport-frat types. over here you normally go to a posh traditional english uni and have lots of formal dinners in tuxedos. if you're really in the top 1% you'll join the bullingdon club at oxford and will go around with future world-leaders smashing up restaurants and generally not giving a fuck because you're made, anyway. it's not really a 'frat culture'.
calling where you live a 'suite' makes me think you live in vegas or something.
Last edited by Uzique (2012-04-13 10:10:34)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
and honestly did you get this line wholesale from american psycho or are you just happy living inside a world of endless cliché?nukchebi0 wrote:
Hence its not really a yale thing (unlike abusing coke and hiding it.)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
do frats even exist in england?Uzique wrote:
http://en.wikipedia.org/wiki/Public_sch … Kingdom%29Mutantbear wrote:
boarding public school?
i went to a school of the same class as eton and i'm not in a fraternity. nor are any of my friends. must be the american ivy campuses that attract the douchey sport-frat types. over here you normally go to a posh traditional english uni and have lots of formal dinners in tuxedos. if you're really in the top 1% you'll join the bullingdon club at oxford and will go around with future world-leaders smashing up restaurants and generally not giving a fuck because you're made, anyway. it's not really a 'frat culture'.
calling where you live a 'suite' makes me think you live in vegas or something.
obviously i jacked it from the movie, but only because i know from personal observation that many people do coke and most of them try obsessively to hide it.Uzique wrote:
and honestly did you get this line wholesale from american psycho or are you just happy living inside a world of endless cliché?nukchebi0 wrote:
Hence its not really a yale thing (unlike abusing coke and hiding it.)
http://www.youtube.com/watch?v=1NyzQwwO4Os
all my friends do coke and none of them hide it. they're from blue-blooded families. i dunno why yale has all the contrivance and social knickers-in-a-twist type stuff. just get loose! do some coke, man! it's great! mungo has a yacht he's taking out on the sound later with an eightball, it'll be a belter!
and no, frats don't exist in england. most of our oldest unis are in small collegiate systems anyway that kinda operate like mid-sized frathouses - only the focus is academic instead of on drinking. we're kinda over the drinking and sports thing by the time we get to college age here (read: most). we have formal dining clubs instead, which is a more uptight way of drinking a shitload of port and brandy and getting drunk. the uniform is a tuxedo rather than a football jersey. we have strong sporting clubs and sport traditions that carry over into university sporting 'societies', but they don't have the whole social structure of a fraternity/sorority. they're more just like excuses to get drunk once a week after the match.
this has come a real long way from dubstep anyway, which derives from possibly the least-privileged background. seems kinda perverse to hang on this 'suite' point.
and no, frats don't exist in england. most of our oldest unis are in small collegiate systems anyway that kinda operate like mid-sized frathouses - only the focus is academic instead of on drinking. we're kinda over the drinking and sports thing by the time we get to college age here (read: most). we have formal dining clubs instead, which is a more uptight way of drinking a shitload of port and brandy and getting drunk. the uniform is a tuxedo rather than a football jersey. we have strong sporting clubs and sport traditions that carry over into university sporting 'societies', but they don't have the whole social structure of a fraternity/sorority. they're more just like excuses to get drunk once a week after the match.
this has come a real long way from dubstep anyway, which derives from possibly the least-privileged background. seems kinda perverse to hang on this 'suite' point.
Last edited by Uzique (2012-04-13 10:19:42)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/
Back to the other bass, as pour so much hate on Radio1, what's your view on Fabio, Grooverider and co.?
Do you go with the view that the DnB awards that I went to are catering to the 'douchebags' like me when they are so well supported by the DnB labels like Ram, Playaz and Hospital? Just wondering what the 'real' DnB scene is if none of those guys are part of it.
Do you go with the view that the DnB awards that I went to are catering to the 'douchebags' like me when they are so well supported by the DnB labels like Ram, Playaz and Hospital? Just wondering what the 'real' DnB scene is if none of those guys are part of it.
i don't rate it, simply. i liked hospital about 4-5 years ago when liquid was fun and new. what is it now? there's nothing being put out nowadays that you couldn't listen to 5 years ago, as well. it's become moribund and has run out of steam. by all accounts most people would say jungle and dnb died out in the late 90's/early 00's (think Goldie), but i wasn't clubbing then so i can't make a statement like that. but, again, in the circles of producers/dj's, that is the commonly held view. dance music moves on really fast and jungle/dnb exhausted itself years ago. i like quite a lot of it but i haven't been to a dnb night (and had fun) in years. sure the radio will play it and clubs like fabric will still put on a night every 2 weeks... but that's because there's still an audience. i'm not saying nobody likes dnb, i'm just saying it's not that relevant anymore. it slowed down and met house music and became the weird club autonomic 135bpm stuff. nonplus records. exit records. perc trax. lots of amazing labels putting out 'forward looking' dnb music.
you're free to like your breaks and liquid stuff, it's good. i don't dislike it. i just don't see it going anywhere anymore. i'll still listen to high contrast or london elektricity every now and then, if i'm in the mood. but the only 'scene' still going in the UK w/r/t that stuff is full of northern pilled up monkeys and chavs. you know it's true cause i've seen you guys discuss before how dnb shows are just full of the wrong sort of people. up north stuff like happy hardcore and bashment music is still popular, too... so you get the idea. it's just not at the forefront of dance music anymore. dance music constantly moves on - that's the nature of it. from rave in the early 90's to dubstep now in the 00's, it's one long chain. dnb lies in the past. london/bristol as two cities have massive dnb history/heritage, but they are also at the forefront of music and are constantly surging on, pushing forward. that's just the way it is. mainstream dj's and mainstream clubs will still make their money out of dnb, but that doesn't really mean anything. clubs and radio dj's make their livings out of loads of different stuff. you guys are free to listen to annie mac before a heavy night-out as sort of predrinks pulse and tempo raisers. it does its job. personally? as a dj and someone really into the music, i don't think annie mac is any good. she's a radio personality, she does her thing. as a dj and example of leading dance music? nope. it's music for the car when you're on your way to the first bar of the night. that's why she has her spot when she does. she isn't gilles peterson.
my favourite classic sort of dnb ended with photek*, really
*interestingly, photek has made a bit of a comeback lately now that slowed-down drum'n'bass has met house music and uk bass music. he just put out a dj kicks mix (which is a very highly-rated taste-making set of mixes) aaaand... half of the tracks are house music and chilled out stuff. hardly anything in the 160/170bpm dnb range. which is pretty telling. photek was one of the major figureheads of dnb and still commands huge respect
this guy is one of the last true experimental people in dnb, dbridge (who, with instra:mental [boddika and convex] revived and reinvented dnb a few years ago with their Autonomic radio/podcast series. not joking, the influence of this one podcast changed it all, and launched boddika into a new uk bass career)
here is dbridge slowing down nearer to 135bpm, again... this is pretty much what happened to dnb in london/bristol (note the autonomic credits)
instra:mental, boddika and jon convex pre-uk bass music
and before ya know it dnb sounds like this
aaand we're back full circle, photek - one of dnb's legends - putting out records with... pinch. cutting-edge dubstep in 2012.
so with all that recent history and change in sound in mind... nah, i can't really listen to hospital records in 2012. it's just moved on so much from then - including the crowd, the scene, the dj's/producers that i highly rate. people will still always stay behind doing their niches, and 'mainstream' dnb will always have a massive audience. but then so does early 00's trance music. doesn't mean i'll be listening to it any time soon.
by the way i really think it's kinda funny that your way of legitimating dnb in your post is because there are award shows, lmao. that's really not credible. a bunch of people giving each other awards is just an excuse to promote themselves and sell more records. there's probably a lot of money circulating in the hospital records type music because the mass audience have twigged onto it. again, doesn't mean it's the cutting edge or that it's even relevant. i'd say that when a music genre starts setting up its own music awards, you know it has ossified and gotten old. far from a justification for its super influence today, is it? nobody recognizes or cares about those awards other than the small bunch of labels/artists already inside them. good for them. the outside world carries on.
you're free to like your breaks and liquid stuff, it's good. i don't dislike it. i just don't see it going anywhere anymore. i'll still listen to high contrast or london elektricity every now and then, if i'm in the mood. but the only 'scene' still going in the UK w/r/t that stuff is full of northern pilled up monkeys and chavs. you know it's true cause i've seen you guys discuss before how dnb shows are just full of the wrong sort of people. up north stuff like happy hardcore and bashment music is still popular, too... so you get the idea. it's just not at the forefront of dance music anymore. dance music constantly moves on - that's the nature of it. from rave in the early 90's to dubstep now in the 00's, it's one long chain. dnb lies in the past. london/bristol as two cities have massive dnb history/heritage, but they are also at the forefront of music and are constantly surging on, pushing forward. that's just the way it is. mainstream dj's and mainstream clubs will still make their money out of dnb, but that doesn't really mean anything. clubs and radio dj's make their livings out of loads of different stuff. you guys are free to listen to annie mac before a heavy night-out as sort of predrinks pulse and tempo raisers. it does its job. personally? as a dj and someone really into the music, i don't think annie mac is any good. she's a radio personality, she does her thing. as a dj and example of leading dance music? nope. it's music for the car when you're on your way to the first bar of the night. that's why she has her spot when she does. she isn't gilles peterson.
my favourite classic sort of dnb ended with photek*, really
*interestingly, photek has made a bit of a comeback lately now that slowed-down drum'n'bass has met house music and uk bass music. he just put out a dj kicks mix (which is a very highly-rated taste-making set of mixes) aaaand... half of the tracks are house music and chilled out stuff. hardly anything in the 160/170bpm dnb range. which is pretty telling. photek was one of the major figureheads of dnb and still commands huge respect
this guy is one of the last true experimental people in dnb, dbridge (who, with instra:mental [boddika and convex] revived and reinvented dnb a few years ago with their Autonomic radio/podcast series. not joking, the influence of this one podcast changed it all, and launched boddika into a new uk bass career)
here is dbridge slowing down nearer to 135bpm, again... this is pretty much what happened to dnb in london/bristol (note the autonomic credits)
instra:mental, boddika and jon convex pre-uk bass music
and before ya know it dnb sounds like this
aaand we're back full circle, photek - one of dnb's legends - putting out records with... pinch. cutting-edge dubstep in 2012.
so with all that recent history and change in sound in mind... nah, i can't really listen to hospital records in 2012. it's just moved on so much from then - including the crowd, the scene, the dj's/producers that i highly rate. people will still always stay behind doing their niches, and 'mainstream' dnb will always have a massive audience. but then so does early 00's trance music. doesn't mean i'll be listening to it any time soon.
by the way i really think it's kinda funny that your way of legitimating dnb in your post is because there are award shows, lmao. that's really not credible. a bunch of people giving each other awards is just an excuse to promote themselves and sell more records. there's probably a lot of money circulating in the hospital records type music because the mass audience have twigged onto it. again, doesn't mean it's the cutting edge or that it's even relevant. i'd say that when a music genre starts setting up its own music awards, you know it has ossified and gotten old. far from a justification for its super influence today, is it? nobody recognizes or cares about those awards other than the small bunch of labels/artists already inside them. good for them. the outside world carries on.
Last edited by Uzique (2012-04-13 12:21:38)
libertarian benefit collector - anti-academic super-intellectual. http://mixlr.com/the-little-phrase/