BF2S Forums what are you listening to right now?

Er, no. I know I'm butting into the middle of an unrelated pit fight here, but can you take a chill pill for just a sec? I wasn't trying to naysay or tear you down about living abroad, not that you need my permission anyway. I was just curious as to how things will turn out and even admitted my knowledge may be a little out of date, or to add, from misrepresentation. Looking it up, the number's more at 4% now. I was thinking 1%.

I don't recall ever talking about Confucius here, let alone saying Confucianism is bad. I don't know where you got that.

You're probably not going to South Korea because it's going to be an uninteresting experience. I'm sure you can see your way to understanding curiosity about it on the forum after you've brought it up.

Well now that learning I'm not picking on you is out of the way, I can't wait to hear about Dilbert's potential adventures in working out of Rajasthan.

uziq wrote:

you talk about racist attitudes but i'm going to be hanging around with korean millennials, not grizzled korean war veterans who spit in the street whenever they see a GI in uniform. a good proportion of young asians go abroad travelling or to study, in any case. it's not like i'm going to be trying to penetrate some closed, hermetic world full of racist asian supremacists.

For crying out loud that's not at all what I was implying, but whatever. Way less interested now that you're so prickly about it.

One of my neighbors taught English in China for awhile in the 90s/00s and talked about it at some length, I'm aware. Kind of already said I might be a little out of date, off the mark, misrepresented, pick a thing I can highlight. Why do things always seem to degenerate into some exhausting battle?

Anyway, I can wait until the froth simmers down a bit for you to keep us updated on your own time. You have a lot to say about what you expect, but I was more curious about how it will actually turn out. Relatively recent anecdotes I've read have had mixed experiences and it would be interesting to compare it with someone's who's been on the same forum for over a decade.

And no I don't think you'll be glowered at from windows and balconies while going for a coffee.

Fucking 9am and I'm already rubbing my temples.

It wasn't really begging an immediate answer, was it. "I wonder how it will turn out." What are you, a fortune telling psychic? Cross your palm with a gold doubloon for mystical portents.

"Bon voyage!"
"GRR! It'll be some good, some bad! RAR!"

e: larssen comes right out and says that someone's parents are going to spit on you but somehow it all transmuted into me being the bad guy. smfh

The answer I'd have been looking for if I directly asked is when the Korean curriculum swapped out of that, if it was ever there (I'm not familiar with the history of Korean schooling). Not what your experiences in the country will be like, before they happen. All your sass for nothing. Yes, zeek, like other countries, I'm sure there are bigots, and I'm sure there are non-bigots. I'd think most of the bigots would be older. Hurr-durr, what a grand revelation. Thank you, Your Enlightenedness.

child prodigy from detroit.

he's just been releasing top quality cuts of music on the best detroit labels since he was about 14/15.

his music is super informed by funk and motown, the basslines are great, the drumming is great ... it's catchy and it makes people move?

i mean it's house music, not berlioz, and he does it very, very well, and has shown a precocious talent for it since before he was old enough to even be on a dance floor.

seeing as you can't identify the difference between something made in fruityloops and something made on a $2000 synthesiser, i'm not going to belabour any points talking about how well-produced and put together his music is. but it's beautiful and warm and sounds great when spun on vinyl, which is how all this detroit stuff is meant to be found and played.



his music also isn't really 'formulaic'. it is frequently very odd and 'out there' in terms of time signature, drum pattern, and structure. what's formulaic is the stuff you linked in that live video. every song is EXACTLY the same structure and sound. why are you so excited about a guy playing 2 hours of laptop generica but this is any different? one is really at your pitch and the other, erm, isn't? i'm having a hard time just deciphering what it is you call a 'taste', to be honest. doof doof doof / uhn tish uhn tish uhn tish with a fake-ass poser on a laptop amazes you no end, but something made with soul and swing and funk strikes you as 'unoriginal'? do we even have the same ears and listening equipment, or what?

If you think this is bad I dunno what to tell you man sry. At the end of the day it is 100% deep/prog house though so if the elements in the genre are not to your liking you could just say it's not for you?

I find it to be relaxing most of all.

My question was sincere because I honestly do have a hard time recognising all that makes this apparently fantastic.

Last edited by Larssen (2020-12-19 15:32:41)

prog house is just very cringe and relies upon the same 2-3 tricks every time. i could not tolerate an entire festival of it. the silly melodrama of it and the fact every single fucking song has some portentous build-up and drop. it’s the same dynamic in every single song: tension, release. slow build up to an inevitable climax.

i don’t think anyone who is invested in dance music could honestly describe prog or trance as ‘non-formulaic’. i don’t think being wildly original is even necessarily the most desirable thing in dance music: after all, it’s about maintaining a groove and a vibe over many hours and keeping people moving. but you’re here saying ‘what is interesting about this music at all?’ to me and then linking ... fucking prog house and trance. what makes it worse is that this is all pretty much 100% software stuff that all has the exact same beige, over-compressed, weak sauce sound signature to it. i mean, listen to THAT kick drum in every. single. prog. house. tune. STRAIGHT out of ableton. i mean, come on man you’ve REALLY got to try harder. you have the self-awareness of a mayfly.

also i listen to a shitload of ‘deep house’, it’s one of my most purchased genres, i’ve got a stack of vinyl full of it. your silly anjuna day parties stuff is not ‘deep house’, they are almost entirely a trance label (anjuna is a beach in goa ffs). i don’t know why you even try to put that label on it or why his music is described that way: making sticky melodramatic music doesn't make it 'deep house'.  ‘maybe that genre is just not for you?’

this is 'deep house':

Last edited by uziq (2020-12-19 23:25:49)

i’m guessing trap.

i'm not being a genre snob, i like (some) trance and some prog house ... i honestly listen to (and mix) everything. it all has a time and a place. ultimately there is not a great deal of difference between a 120bpm 'deep house' track and a 124bpm 'prog house' track. we're splitting differences here.

seeing as you mention race, it's pretty weird how inverted your tastes are when it comes to, erm, really traditionally black music. house and techno emerged from detroit and chicago, and the whole 'deep house' scene, the 'underground', is still based on detroit record labels, detroit record stores/second hand spots, small press labels, small club nights, and a lot of artists who are really grinding it out to make a living. you dismiss all that as 'unoriginal and unimpressive' or whatever and opt for ... erm, a german white guy on a stage playing the most soulless, neutered, clinically boring version of that music possible. i hate to use such a problematic term but it's basically straight-up appropriation when a bunch of white germans or italians or whatever in v-neck tshirts try to claim their music as 'deep house'. deep house is kenny larkin, mike huckaby, larry heard ... omar s, moodymann, theo parrish ... it's detroit and it's chicago. i thought you were terribly interested in the 'african american' experience? anjuna and all these luxury cercle events hosted at french chateaux or what-the-fuck-ever are really not what the scene is about. that is straight-up whitewashing the scene in favour of a bunch of beatport.com millionaires and coked-up promoters.

prog house is just ... fine. the tracks you linked are ... fine. but they're definitely not wildly inventive and they're entirely formulaic. there's musicality in them, they're decently crafted, but they do all sound very much the same. i mean how many eyes-closed, hands-in-the-air moments do you need from an album? that's my problem with trance and prog house generally, they're a bit like 'dance music for beginners'. you can't listen to that stuff for 10+ years and still be interested in hearing the same dramatic, slow build ups leading to the same glitter-cannon/reach-for-the-lasers drops. it gets fucking old real fast.

If the purpose in your music is to show at least some creativity I really don't understand how you can't appreciate some experimentation in that way. Is Tiësto's rendition of adagio for strings also cringe and portentous to you?

my guy, adagio for strings in a trance cover is 'experimentation' to you? jesus fucking CHRIST do some digging. that is not experimental music. that is corny as hell and very very predictable stuff. it's the dance music equivalent of a movie soundtrack over-using violins and strings. how the fuck is straight lifting an adagio from classical music 'experimental'? it's like fucking emotion ON LOAN.

i think you have an extremely narrow and limited exposure to these genres and really are so far out of your depth that it's not a very edifying conversation. the 'deep house' scene has existed since the 1980s. 'experimental' electronic music goes back even farther than that. copy+pasting the MIDI sequence for adagio for strings into fucking software and transposing the violins into trance synths is NOT it.

Last edited by uziq (2020-12-20 04:10:15)