teengirl fantasy, miracles club, mi ami, 100% silk and the rise of HIPSTER HOUSE: S/D

Were there years of those jokes? I only know the one. I think that was the biggest crowd I've ever played to, but there were no monitors and everyone just wanted to hear The Rapture anyway.

yeah i was going to say i would've been out to help out the minority count except i probably wouldn't go near the black cat for a rapture show

But that was the night all the DC indie-rock kids learned how to dance!

(sorry Ian Svenonius)

i don't think an apology is necessary i've been to spilt milk

^ niche joke but lols achieved

I had to look it up, found an article from 2003 talking about Gibby Miller inviting Ian and Calvin Johnston to Boston to DJ Start.

"...I was there" :)

and where were all these noise trance hipster house kids at Oberlin when I was there?

San Francisco iirc

they were actually in middle school at the time iirc

someone needs to teach the london kids to dance, the laurel halo/teengirl fantasy/maria minerva gigs were dry beyond belief. During teengirl fantasy i got tapped on the shoulder by the wettest spoilt dweeb ive ever seen and informed I was 'interrupting their circle' as me and my mate were the only people out of about 300 who were willing to have a bit of a jig

Great to hear from Dan Selzer on this, some of the only solid info in a thread filled with confused uninformed conjecture

Glad to hear London can be as dead as New York. I think a lot of Americans think of Europ + UK as one big never-ending dance party.

my conjecture is just as confused and uninformed, it's just a combination of stating it plainly and presenting a calm age- and experience-earned authority that makes it sound good at times.

Thats the one thing that really bugs me about this whole scene, I still prefer to go to traditional (abeit slightly more underground) house/techno parties as people do drugs and have fun even if they are slightly high st. Dalston Kids just stand around looking mopey outside The Alibi.

someone needs to teach the london kids to dance, the laurel halo/teengirl fantasy/maria minerva gigs were dry beyond belief. During teengirl fantasy i got tapped on the shoulder by the wettest spoilt dweeb ive ever seen and informed I was 'interrupting their circle' as me and my mate were the only people out of about 300 who were willing to have a bit of a jig

Oh noes. This would be the thing that would really put me off as well. They should book clubs for the 'hipster house' live performances alongside DJs outside that circuit, avoid the indie ghettos.

saying that some mates of mine are doing a 100% silk showcase up north soon, they always throw a good party

http://www.residentadvisor.net/event.aspx?296807

a thread filled with confused uninformed conjecture

this is sorta silly, a lot of us have been saying more or less what dan said but with less nyc-scene specific knowledge. the majority of posters here have had irl interactions with the artists being discussed and we're exploring how they fit into a larger context of dance/noise music as opposed to 'stating it plainly'

dan's contributions are hugely welcome tho don't get me wrong

"SORRY BOUCHA CIRCLE UNBRO"

I can drop west coast knowledge and names too. Alison Childs and Kat from Donuts hooked me up with Ryan Paulsen for a gig in SF where I met Robot Hustle and re-met Safety Scissors, whom I had DJ'd with in NY years before opening up for Martin from A Certain Ratio at the height of electro-clash. ILX's very own Jaxon was there as well. That's the night I told him he should start DJ'ing, and he hasn't looked back since.

I went to Portland last year or so for a wedding and met up with Matthew Quiet and Genevieve D. at the Holocene for a Soft Metals/Joey Casio show. I met Ian from Soft Metals but he probably doesn't remember/know who I am. I think I missed Optimo in Portland by a week.

innergaze more like innercircle

funny. apart from kat and robot hustle i know all those west coast folks too. i'm pretty sure ian does know who you are.

http://blissout.blogspot.com/2011/10/house-arrested-odd-upshot-of-emergence.html

I saw Laurel Halo in Brooklyn (at The Bunker) a few months back and it was the same story... Nobody moving, nobody dancing. Granted, I didn't think her set was very good or inspiring at all, but I also think the crowd wasn't looking for an excuse to get down. It did make me wonder: what exactly did these people hope to get out of this sort of performance? And what was Laurel Halo hoping to achieve or communicate? She didn't seem like she was trying to really pump up the crowd (she never sang or even spoke into the mic), and had that indie detachedness that we're all so familiar with. Why engage with this sort of music, either as performer or observer, if you're content to just sit back awkwardly and observe and pontificate as if it were just another set of drifty synth whizzjizz?

ha i don't doubt your ability to drop west coast knowledge either, but i do doubt the need to do so in the first place lol (linger and quiet are prob my fave djs in portland btw! and all those sf people put on great nights as well)

i met frankie knuckles once

My guess about something like Laurel Halo at the Bunker...(and I don't know her music that well and have to admit I haven't been to Bunker since I was the guest DJ with Porkchop and it was Subtonic and nobody was there, however I did go to a dinner party at Bryan's house with Rick Brown and Sue Garner from Run On and Malcolm Mooney*. How's that for name-dropping?!) but you have the kind of music that certain people really like to dance to...some serious techno, but it's the kind of thing that people go to late late at night...what time was she on? I image they put on a live performance and its on the earlier side and maybe the music isn't exactly bunker style techno and maybe people don't know what to do. One of the worst things about any live performance of dance music is the initial basic age old question, am I supposed to dance to this or am I supposed to watch it? I think a live performance has to have a certain kind of energy where it's like holy shit you're gonna dance to this! Or they should be hidden away like a DJ and half the people won't even know it's live.

That's my last name-drop of the thread. But it's a good one.

one time i posted on a thread with one of the dudes from optimo

actually i didnt meet frankie knuckles, but i saw him

one time i posted on a thread with one of the dudes from optimo and dan selzer

fixed that for you.

who tf is dan seltzer

That's the night I told him he should start DJ'ing, and he hasn't looked back since.

actually, i have since 'quit' djing. except that time i came out of retirement to dj w/you last time i was in ny

i have nothing to add to this thread except to say that damon/daniel magic touch/ital are both, like the lcds song says, actually really nice dudes. and kat as well, and honey soundsystem, and really the whole of SF dance folks that I know are pretty danged inclusive as far as I can tell

shame about the music lol

It's a shame that, amongst all this discussion, this hasn't been posted for those who may not have heard it:

https://www.youtube.com/watch?v=pT2_G6Dov0U

So, yes, shame about the music.

yes, our whole little scene is very inclusive.

and on the name-dropping, i could have dropped just as many names, but refrained from doing it in an effort to appear too innercircle about it.

jaxon is the brett favre of the SF nerd dance scene.

i too saw frankie knuckles with max, before he lost his foot too!

i think we might have shaken frankie knuckles hand even

take THAT selzer

my point on that being that the stuff me and psych were posting was just as informed as dan's, just maybe a little less articulate and tactful about not pissing off certain posters

he was wearing a hat, and a sweatshirt tied around his waste, and he was getting DOWNNNN

Talk to me off line if you want to know how I really feel.

https://www.youtube.com/watch?v=Y7yQwQtSN7M

never inviting you to contribute to a hipster thread again dan

Dan, it took me a while to pull myself out of the pit of awe I almost drowned in after your Malcolm Mooney name-drop, but yeah... Laurel Halo went on around midnight or so, pretty early by Bunker standards for sure, and it was part of a "festival" with other more noise/drift-oriented stuff, so I guess it's not that surprising that the crowd wasn't there to move. Based on the music from her two EPs, much of which I'm very fond of, I was expecting more of her awesomely ethereal vocals and melodic stuff to be on display. But the whole set was basically her playing four to the floor on her minimal setup and tweaking sounds here and there without much of a sense of the ol' Narrative Flow.

this link is insane. i always thought you guys were joking w/the yoga/house scene

http://bodyactualized.blogspot.com/search/label/Parties

now this thread is just about disgusting clique culture.

jan w00 used to live in a shed in the backyard of my house #namedrop

worst clique culture namedrop - i once had dinner with that dan selzer and i don't think the subject of "post punk" even came up. he has impeccable table manners fwiw.

i too saw frankie knuckles with max, before he lost his foot too!

― ashra williams (san frandisco), Friday, October 14, 2011 3:43 PM (3 hours ago) Bookmark Suggest Ban Permalink

max lost his foot?!

that ethos was always particularly strong in Britain, and indeed one the things that turned me off house for much of the 90s... the fidelity, the purism .... and above all the epigonic narrative of decline that everyone who gets into this music, at whatever point in the timeline, seems to buy into... the location of "Better Days" in the rear-view mirror, rather than just around the corner

i know that this is just simon's thesis about retro etc but in fact one of the predominant ideas in house is that better days are in the FUTURE -- that this retro referencing is not about tradition but about the continuity of community (specifically a black, gospel, religious one) that is about self determination and the use of unity & community to "i have seen the mountaintop" etc. optimism, that rather than being about looking-to-the-past it's about asserting a tradition of shared oppression etc

at least, that's the framing i've always associated w/ it. I get that there's a retro-ness to it but that feels like a smaller part of a bigger overarching idea -- and one that where these particular power struggles still exist (partic. w gender, sexuality, race) they CANT be retro by definition (even if the music might be, or might not be)

i dont know that i'm disagreeing w/ him but maybe looking for more nuance or something