It's a cruel cruel summer: the sounds of deep tech / shuffle / cuttin shapes / upgrunt house / etc. etc. in 2014

Yeah, was wondering about that track as well. Tried for a while to figure out who produced it, but no luck. It has this low in the mix echo of vocals shifting in and out it that's crazy psychedelic.

Syap - Your Hate

paris to london connection

was due to come out on Audio Rehab

nice 1, much obliged

i kinda get the impression radford has too many bits stocked up, even with two labels on the go

If the times were a bit different, I feel like Shiba San's 'OKAY' might have had the unifying crossover appeal of maybe a '138 Trek'.

Yeah it makes me think of "Doom's Night" but same thing.

How so?

https://www.youtube.com/watch?v=21nXc71abno

lol the producer was proper feeling himself the day this was made

amazing tune

How so?

Despite drawing together a bunch of threads in UK house - from interzone pop, jackin' bass and deep tech - I imagine it'd also crossover into post-minimal sounds and just party/festival sets in general.

Also, like the Timo Maas remix (I guess), it's inspired, but with zero pretension.

That said, it's got tons of YouTube views and has topped Beatport, so I imagine it's getting played out a fair bit. Still, I've never actually heard it at a party or club yet.

Babylon System!

ikr

a 10 minute ascent to high camp dubstep gothique heaven

LOVE THIS. IT KILLS ME SO MUCH.

ALSO GLADIATOR.

I feel like this stripe of deep tech is kinda very very belatedly turning early Faithless into a totally brilliant proposition?!?!

B-side to "Babylon System" ("One Spliff") is pretty amazing too. Total widescreen reggae eeriness.

I KNEW YOU WOULD LOVE GLADIATOR.

heh i was in the process of awarding myself a coconut for invoking robert del naja way back when but perhaps faithless works better still

maybe split the difference with this imo salient addendum, remixing the massive attack of today

https://soundcloud.com/beepdee/hot-natured-feat-the-egyptian

rs4 'all around' maybe too now i think about it. and truce 'take control' may as well be the most important brit record for a decade. can i crowbar route 94 'misunderstood' into this as well?!?

btw i know it's been floating around for ages but beep dee 'from above' deserves some talk, it is just something else srsly

The mean of Robert Del Naja and Faithless is The Aloof, right? Which maybe works even better still. Though I'd need to relisten to the first album again to make sure.

RS4's last two EPs plus "Gladiator" makes for a pretty great unofficial debut album btw.

@MikoMcha dunno where your clubbing or raving but that shiba san tune has been getting rinsed all year

banger but one of the baitest house tunes about so it's kinda cringe seeing you trying to hype it up #justsaying

fuckinell that "babylon system" tune

tim you're gonna have to hand-hold a bit here, is this actually widely considered a separate genre or just by you for purposes of this thread? still unsure what makes it different from the interzone or house threads but all i know is it regularly provides some incredible tunes (some of which never did seem to get released?? like the one at the start??). nu-faithless seems weirdly on the mark tho.

i read the thread and i didn't understand the rtc post you pasted to illuminate us last time

xxp lol the whole point of what miko was saying was about the way in which it's an unusually everywhere crossover so how is that hyping up a bait tune? good luck trying to look bad on the internet u plum

not like he's going "hey guys have u heard this song 'mind ur step' it seems popular"

(not that 'mind ur step' got one single mention on ilx but still)

tim you're gonna have to hand-hold a bit here, is this actually widely considered a separate genre or just by you for purposes of this thread? still unsure what makes it different from the interzone or house threads but all i know is it regularly provides some incredible tunes (some of which never did seem to get released?? like the one at the start??). nu-faithless seems weirdly on the mark tho.

Given that it's a fairly small scene that remains rather ignored by the outside world, i guess you could say it's narrowly considered a separate genre.

All house-derived genres have increasingly blurry borders tho. You could say that deep tech is part of interzone because e.g. DJ Q will occasionally play deep tech tunes, but as per jackin' house to do so would be to ignore that it also can and does function perfectly well as a self-contained standalone scene.

I think increasingly one needs to hold this double-identity in mind with this kind of music: neither insisting on a genre's separateness nor pretending that a distinct identity doesn't exist. And I say this from a fairly clinical standpoint: i love heaps of deep tech tunes but I don't (yet) feel like a cheerleader for the scene in the way I was for uk funky, where it used to annoy me to see people dismiss its viability as its own thing. If people want to treat deep tech as a composite flava in the mix I'm fairly cool with that, even if it's not the whole story. In particular, I feel like deep tech looks bad under most external frameworks, hence vahid et. al. vomiting in the first few posts of this thread.

i.e. I'm not sure that you could really post "Babylon System" in another extant thread: it's too self-consciously epic to be a DJ Q tune, not pop/crossover enough for the current interzone thread (though this is as much an issue with the terms of that thread as anything else), and 99% of the house/techno bobbins regulars would hate it.

Basically one needs a space where to describe something as nu-faithless will not automatically be taken as a deadly insult.

@rizla teef Yeah, basically I don't hear any of this stuff at the kind of clubs and events I go to in Holland or Germany.

@rtc im trying to 'look bad' on the internet but ur the one name calling? well played

mind ur step and okay are both bait city just different season and anyone with even the most basic interest with popular house would know this

@rizla teef ...well, there's clearly different worlds in dance music, even in terms of what's popular for house (huge, huge category). Things might overlap in some instances as Tim points out, but there's definite partitions and blockages elsewhere. One world's bait city basically doesn't mean shit elsewhere. Which was my point in the first place about a track like that crossing over, etc.

Anyway, it's not really an important point.

@mikomcha i can appreciate that

living in london im definitely over exposed to house whether it be the cuff, hot creations, crosstown stuff or the "deep tech" style

the easiest way to understand how this stuff is "new" is by looking at how uk garage grew out of the new york/jersey sound in the early 90s okay tune cro

/

just seen ur new post so i'll only ask where exactly is that okay tune crossing over to make it comparable to 128 trek or even say benga/coki night in terms of multi genre appeal

its a big tune but i feel definitely being over complicated/analysed, it's not that deep

Thought was interesting, for instance, that Hannah Wants was dropping Ten Walls in her sets. But I can't imagine those kinds of DJs here playing something like OKAY, even though a lot of newish non-vocal deep tech would bang in their sets imo - tunes that are way more tracky and vibey than what I've been hearing out at festivals in these parts. There's really no reason they shouldn't. Willing to admit I could be wrong here tho, I'd also be surprised if they weren't following some of it.

Another example - here's this crew Colors in Amsterdam that play some 'UK bass' stuff, but it's all a bit tastefully compiled across established acts, so it often doesn't really scratch the surface of what's going on in terms of new London music (mainly focussed on Night Slugs, Numbers, Ben UFO, Pearson Sound, that sort of thing).

Maybe I need to make more of an effort to explore what's happening though. I do keep to a fairly routine club circuit.

okay is not deep tech though bro i think this is where the confusion is stemming from

it's a popular house track thats been released by a very of the moment house label

hannahs sound isnt as focused as it was say when jackin was doing bits so it should be no surprise that she's playing ten walls, house is that sound atm and ten walls is a major beneficiary of the current wave

Oh, right - now that would definitely explain it! :)

Hmmm, I blame that Benny B mix above for crossing my wires! I think I've also associated the tune with Mark Radford in my mind for some reason, which is probably a bit weird. At least from a distance though, there does seem to be a bit of a bleed between London deep tech proper and other strains of bass-heavy house. Maybe this gets back to lex's question.

like i said the easiest way to understand this music, it's developments, trajectory and "newness" is by paralleling it with how UKG grew out of american house and garage

id explain more but my right hands in a cast so its kind of long right now lol

are you trilliam by any chance?

what gave it away ;)

'okay' (and ten walls if we're mentioning it) may not be deep tech per se but nor in my view is the scene (whilst still being very distinct as a whole) so formally codified and encapsulated now that those tunes are irrelevant and not part of the conversation to some extent. like yeah they're big popular tunes but there's elective affinities at play too - 'elephants' is a viable set moodpiece, 'okay' has that chunky clipped bass bubble that miko is quite right to associate with radford's sometimes broader interpretation in his shows

the idea of establishing a "true" deep tech (i still like calling it shuffle tbh btw fuiud) rubric & canon is an interesting one - like for instance 'okay' might not be but shiba's remix of mk 'always' in my opinion indisputably is - and to do so (and finally be of use to lames who can't ever be bovd to click on a mix or two) would most likely require a chronological recap of some sort

so let's do that!!!!!!!!!!!!!

2011 - funky peters out, hot creations crosstown rebels etc help to normalise an urban club relationship with house (police have nothing to lock off etc), jamie jones mix of azarii catches ears, audiowhore and house ents events establish themselves. mark radford and others of a techy persuasion continue to play alex niggeman martin landsky minimal type stuff, begin to gain a small foothold

2012 - while the above two strands continue alongside each other, "deep" house n bass catches on and spreads out (interzone), dusky shadow child moda etc widely popular stuff. but london develops a particular fascination of its own (arguably seceding from the garage side) with tunes such as the randomly-selected following

Kolombo and Ante Perry - Completely Positive (Walker & Royce Remix)
Alex Arnout - One (More)
Telepopmusik - Try Me Anyway (Dirty Channels Remix)
Baunz - The Same Thing (Huxley Dub) [pay attention to the switch at 3:30 as a before/after instructive audio document ]

fun club shuffling cutting shapes dance scene coalesces around this new icy fauxstere centripetal boogie. newcomers plus guys who used to make grime and bassline and funky and dubstep etc get involved and start to make their own bits to match, labels spring up and formalise, fashion becomes style etc

2013 to date - scene grows, all of the above continues intertwined but with its own selective localised focus now, an additional grimier/jungle menace minimal strand inevitably develops (Carnao Beats - Just Say Nothing), nuum mixer churns anew. "g-house" from europe begins to have an additional effect (as it does everywhere), hard straight down the line bangers with rap adding to the vox sample matrix

basically how i personally break it down to an extent, ur all cordially invited to educate me otherwise

what is g house

jon carter of mars

https://soundcloud.com/amineedge/amine-edge-dance-halfway
https://soundcloud.com/thisiscuff/cuff009-ennio-go-insane
https://soundcloud.com/gcattin/kant-ey-yo
https://soundcloud.com/marlonhoffstadt/dansson-marlon-hoffstadt-shake
https://soundcloud.com/whartone/sonny-wharton-dazed-confused

this kinda stuff i suppose. some of it is very fun. i wish i had kept a list

the sound and its relationship with deep tech are more actually more interrelated than i'm letting on (ldn to paris connection as mentioned above, carnao and amine edge making friends and influencing ppl) but i) who cares it's called g-house and it's french and ii) it's imo worth making the hardline distinction as it continues to encroach on the original london stuff

oh i like that stuff

Yo Ilxers, let me share with you my latest mix, basically a showcase of my deep tech favourites, including some of the thread favourite vocals (Circles, Gladiator, Take Control..), fresh releases, couple of exclusives and some older bits. Took me a while to choose from more than 100 tracks..still ended up with around 40 lol
https://soundcloud.com/danielnoir/ldn-house-utopia-vol-1

MimoMcha you should follow DJ Simon Titus, he's running a few nights in Amsterdam and plays deep/tech (arguably with a more commercial overlap, you couldn't get away with playing Eastside Records and House Ent material all night at a random Amsterdam venue)...hes booked Oliver Rees, Adam Cotier or Riaz Dhanani in the last few months.

That's great, thanks for the tip! I'll definitely look into it.

Mix looks cool too.

https://www.youtube.com/watch?v=87OLa1r_xTs

uk national breakfast radio 4 u

https://soundcloud.com/donaeo/free-download-tazer-wet-dollars-donaeo-remix

donaeo's given his rmx away for free btw

https://www.youtube.com/watch?v=njTZh0laN28

shoulda mentioned this one too for the faithless kru

i finally figured out the track i asked about way upthread

https://www.youtube.com/watch?v=EsTVIxBTlks

is it g-house?

hard to accurately pinpoint the timeline now but from the looks of things i would imagine s.e.f might be somewhat pissed if 'wet dollars' gets chart money

"wet dollars" is g-house, shuffle tech or jacking?

it's pretty great, i prefer the vocal samples in "m-o-e" but i like the beat of "wet dollars" better

it's skipper + handclaps