the juke/bmore/bloghouse frankenstein dance music they play at clubs

i wanna dj a party sometime but all i have is a laptop and disco traks i crib from jaxon, am i one of these dudes

disco traxx from jaxon = safe

although -- do u have a loft in downtown sf

no, but i aspire to!

or is that bad

i have an apt with a hottub in mpls

nah thats for the disco/beardo/balaeric dance music they play in lounges

just tell chicks about your acting resume and go straight to the hottub

"why yes, i am a climber-- we should go back to my place and climb into my hot tub while i tell you about it."

Anyone heard the Moves!!! release on Dress 2 Sweat?

This is like you took Vice Records and Diplo and forced them to have many inbred babies.

Grime + Electrohouse + Baltimore = Good Enough For Me

HOW DO YOU GUYS CLASSIFY THESE GUYS

Bassline house = 140 BPM+

Bloghouse = 125-135 BPM

Could be difficult to mix, but like I said the Night Slugs used to do it.

At this point even a Geir post would be welcome

i think geir would like 'day and night'

http://hypem.com/track/700106/Curses!-The+Deep+End+(ft.+Nancy+'LCD+Soundsystem'+%26+Juan+Maclean)+(Holy+Ghost!+Day+School+Dub)

And I'm out.

gbx, bassline != frankenstein

yeah i don't know what the hell is going on

bassline is northern english 140 BPM rigid beat, wobbly synthbass stuff

frankenstein seems to be an (at least mostly) american phenomenon with post-electrohouse synths and bits of baltimore/juke style syncopation in the beats

that's how I break it down to an extent

I am exclusively referring to this subgenre as "frankenstein" from now on

frankmore breaks

frank & beats

how do curses and all the trouble & bass stuff fit into this? i really like those guys

totally

this song kills

frank what did you do to my beats

Trouble & Bass - Drop the Lime / Math Head / + crew

^^^^ my conflicted "lol bloghouse but this is actually good' thread

i saw drop the lime live -- it was one of the most terrible things i ever experienced

way worse than the nights i talked about earlier in this thread - i found it v unlistenable

!!

never seen him live. I like the tracks/mixes I've heard

frank dat

saw trouble & lime (well, specifically curses) live opening for lolmoby in NY and it was super rad. he sang along to his tracks. moby was amazing too. all original rave tracks.

Moby doesn't get enuf love on ilm

Hah, lately I've been thinking about how the Bmore riddim took over American dance music... This IS all over Chi and is very boring and I do see Drop The Lime in this group (show did sorta suck, I think I liked his breakcore better!)... Deej I know you say it's equal opportunity, but it still smells like internet kids ripping off the most obvious sonic signifiers of black subcult dance music so they can play around with it... since there's no interesting "frankenstein subculture" of course this stuff is shallow and directionless. It's not trying to provide meaning to anyone, it's just basically just saying "CHUG CHUG CHUG."

PS thanks for the list of Frankenstein-less venues.

yeah...speaking as a big follower of Baltimore club who knows next to nothing about other kinds of dance music, it's totally weird and kind of bummer from the other side of things too. like, in a way that it's cool that it's influencing people, but what was amazing about the genre was how much it developed in a totally insular and localized way for so long, even up to like 2006-ish with certain production trends specific to a handful of Baltimore guys...now, the Hollertronixification of the scene has kind of affected it inside and out, where even dudes who've never left Maryland are acutely aware of how much people all over the world love the stuff, and are actually trying to cater to that audience with more synthy Euro sounds and cutesy samples...and that part can still yield interesting results, but the way 'bmore' has become this generic adjective for a very specific and somewhat representative sliver of what that genre encompasses and is very easily copied by anyone anywhere in a laptop has imo kind of diluted what was once a pretty clearly defined geographically based community.

Which is why I stay far far away from the faux club stuff.

At least with Fidget I know where its coming from: the West End of London, and as far as I can tell most of the original people came out deep house and broken beat, maybe some breaks.

I think I'll just stick with cherry picking the best out of the new mid-tempo balearic electrohouse scene and mixing it with what I can stand out of the more aggro distorted stuff.

I'm still a fan of Potty Mouth and Trouble and Bass, and Starkey occasionally.

"yeah...speaking as a big follower of Baltimore club who knows next to nothing about other kinds of dance music, it's totally weird and kind of bummer from the other side of things too. like, in a way that it's cool that it's influencing people, but what was amazing about the genre was how much it developed in a totally insular and localized way for so long, even up to like 2006-ish with certain production trends specific to a handful of Baltimore guys...now, the Hollertronixification of the scene has kind of affected it inside and out, where even dudes who've never left Maryland are acutely aware of how much people all over the world love the stuff, and are actually trying to cater to that audience with more synthy Euro sounds and cutesy samples...and that part can still yield interesting results, but the way 'bmore' has become this generic adjective for a very specific and somewhat representative sliver of what that genre encompasses and is very easily copied by anyone anywhere in a laptop has imo kind of diluted what was once a pretty clearly defined geographically based community.

― the rev (al sharpton ha ha) (some dude)"

when i say this same thing about house and techno music, people think that's not a valid viewpoint. the longer the knockoffs are around and the greater they are in numbers, the more they begin to write the popular opinion. which is of course pretty retarded.

i dont think ppl disagree with it when u say it pipecock. ive certainly never heard u say anything remotely as charitable as and that part can still yield interesting results

welcome back btw

http://i7.tinypic.com/3zv8rj8.jpg

"more people listen to [techno and house], so it has diluted what was once a pretty clearly defined geographically based community" = well duh

If baltimore club music became an international movement with thousands of DJs and artists and hundreds of thousands of listeners over the course of 20 years or so, complaining about people not remembering the insular local scene back in the day would start to lose its force as a rhetorical gesture.

I want to return to deej's point upthread: "like i would say this stuff doesnt sound gay enough except apparently its real big at queer nites around here too."

The key to this is that queer nights often define themselves as oppositional vis a vis "gay dance music". I don't much tend to like queer nights from a musical perspective (the crowd is usually younger and hotter though, albeit scruffier) whereas a lot of my friends eulogize over how open-minded the music policy is.

"i dont think ppl disagree with it when u say it pipecock. ive certainly never heard u say anything remotely as charitable as and that part can still yield interesting results

welcome back btw

― ohhhh we pop champagne (deej)"

i never deny that there isnt some good music coming from the spread of house and techno, just that the good things are few and far between, especially when compared to the people still making the good shit from the cities where it started. i bought a Lowtec record on Workshop this year, thats gotta give me some Euro cred, right?

thanks, hopefully i'll be around for a couple weeks here in between semesters. if i'm lucky, things wont be too crazy in the spring semester and i wont have to disappear ;)

oh hey pipecock's here time to unbookmark this thread now

http://intheouter.net/wp-content/uploads/2006/05/img_fewgoodmen.jpg

I was trying to think of an example of this stuff that I'm not really down with.

And no offense to Nick Catchdubs but his latest mix for XLR8R is it.

http://www.xlr8r.com/podcast/2008/09/nick-catchdubs-sound-way-out-0
1 Hostage "Rooted" (White)
02 The Prodigy "Funky Shit" (XL)
03 DJ Blaqstarr "Bang" (Mad Decent)
04 Tittsworth "Black Dynamite" (T&A)
05 Devone "Energy (Danny Daze Rework)" (White)
06 A-Trak & Laidback Luke "Shake It Down" (Fool's Gold)
07 Tim Dolla "Swing Dat" (Brick Bandits)
08 Mixix The Cat "Freeze (Drop The Lime Remix)" (Trouble & Bass)
09 Trackademicks "Enjoy What You Do (Shadow Dancer Remix)" (Fool's Gold)
10 Martin Brothers "Rocket Science" (dirtybird)
11 Sawtooth Sucka "Radio Check (Johnny Fiasco Mix)" (Dotbleep)
12 Popof "Alcolic" (C2)
13 Nacho Lovers "Acid Life (Surkin Remix)" (Fool's Gold)

A "rave valentine to the Beastie Boys" apparently.

The Dirtybird track and Drop the Lime remix being the notable exceptions.

yeah see i see that tracklisting and even though i know none of the tracks on it it basically makes me want to NOT hear it in the worst possible way ... let's see

hostage "rooted" - OK not sure if this is what's going on here but "rooted" is early 90s teenage california slang for "oh snap", might as well call a song "radical bmx bandits", tryhard and twee
the prodigy - do not want
"mad decent" - corny slang
tittsworth - stupid name, sounds like a last name of an annoying character from monty python
"danny daze rework" - what's with the porn-y producer names? makes me think of guidos from LA
a-trak & laidback luke - hello, it's the 90s calling
tim dolla "swing dat" - more corny rap slang
mixix the cat - is this a duet with paula abdul or what?
trackademicks - sounds like a particularly wack line of hoodies sold in stores that sell breakdancing how-to DVDs and skate shoes
dirtybird - hands-down most generic and boring fidget house label
sawtooth sucka - even more corny rap slang!
popof - stupid name
nacho lovers "acid life" - stupid name + played-out reference to acid house

see also "brick bandits" - these dudes rival the european chiptune / 8-bit scene for sheer studied corniness

anyway norman mailer to thread

i liked that surkin song 'white knights two' a lot, from earlier this year.

Sawtooth Sucka is Lee Mortimer's alias, I remember most of it being alright.

As an experiment listen to it and report back?

intro from "wild style" - played out
1. ok i like this in theory. except the stupid overdriven bassline. actually it's okay when they chop it up. the jimmy smith sample is also played, though.
2. if i'm going to listen to big beat, i'd rather listen to the wiseguys or midfield general or bentley rhythm ace or ... this is pretty bad.
3. don't see the appeal of this. there's gotta be much better baltimore club music than blaqstarr. why is he so popular?
4. hey, this is fantastic! i especially like the synth-y part that comes in after the breakdown ... but please lose the n-bombs, white boy
5. this is awful. devone : jesse saunders :: primal scream : rolling stones
6. like i said, i would've been cool with this in the 90s when i was listening to lots of neil landstrumm type gear.
7. sinden & herve's "don't give a damn" makes all fidget-housey sampling of lil jon irrelevant
8. this is less funky than caspa & rusko, even.
9. hate to resort to overdone slang ... but, really? "party like robin leach"? where did they get this guy? RIP disco d.
10. boring
11. BOOOOORING
12. i'm skipping around in itunes now, i'm so bored.
13. when everyone else was buying miss kittin records, i bought all four volumes of "the perfect beats"! hooray for me! BOOOOORING.