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

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.

13. when everyone else was buying miss kittin records, i bought all four volumes of "the perfect beats"! hooray for me! BOOOOORING.

ok i was with u but this actually sounds dope & was also true of me

http://partyends.com/blog/?p=882
http://partyends.com/blog/wp-content/uploads/2008/11/135_-project-pat-keep-it-hood.mp3
btw this is an exact example of what im talking about it except it seems pretty well mastered, like no shitty qual engineering
but the song is shitty, loses everything good about the original, doesnt seem to get when you're supposed to 'release' after the 'build'
the farty bass doesnt actually seem to relate to the melody of the sample, like its totally emotionless, just bland non-mood. and who the fuck dances to "hustling section eight" that would also know who bird peterson is

theres a section at the end where it just lets the chorus play over that bassline and it actually sounds all right -- but he only lets it play once & its after the song has been pulling u around the entire time

martin brothers just sounds like someone slapped parts of a villalobos track on top of a sami koivikko track without regard to flow or vibe

sawtooth sucka i guess has a beat that would've acceptable a few years ago at the height of the classic / music for freak boompty boomp peak. what have they done to improve on the formula? some intentionally nasty grating synths to appeal to the boyz noize crowd? sorry, not *that* impressed. i've heard soooooo much stuff in this style that's better.

the popof track is just bad. same deal with the boompty beats, now with annoying 8-bit noises and wobble bass out of dubstep.

i don't know, it just sounds like people are throwing together shit that doesn't even make sense together for the hell of it. i'm trying to imagine actually dancing to this music - somehow it seems like all of the "swing" in the music is terribly foreshortened. like instead of actually making a beat that swings, it all sounds so ... rushed. like, not sloppily made, but the beats and bleeps and whatnot are all just crammed in there without any space or anything. it doesn't have that half-time swing feeling of hardcore or millsian techno.

the farty bass doesnt actually seem to relate to the melody of the sample

YES

13. when everyone else was buying miss kittin records, i bought all four volumes of "the perfect beats"! hooray for me! BOOOOORING.

ok i was with u but this actually sounds dope & was also true of me

― ohhhh we pop champagne (deej)

game recognize game

[/hypocrite]

trying to imagine dancing to this type of music in a club, and all i can imagine is standing around doing nothing for long stretches of time, and then in the really hectic wobble bass parts just spastically waving one around while holding a drink in the other. and i'd be wearing a big hoody, fluorescent plastic sunglasses and a rainbow printed fitted way up on my head. which is basically what i was surrounded by in the "hip" clubs in san diego looked like when i stopped going out three years ago.

i think that gets at what i dont like about it -- i feel like, when im dancing to this stuff, theres an awful lot of dicking around with the beat with no functional purpose, like they're doing it because its what you're supposed to do w/ a remix, and as a dancer you're just sort of like "ok i get the point, move on plz" ------ a lot of dance music uses this sort of thing to build tension and it seems like when its dance music i like that tension, and your patience, is rewarded bcuz eventually there's this big release, but that never seems to come on this stuff. Instead the 'release' is solely the point at which u go "oh i know this song!! but it doesnt sound like the version i know!!" instead of, you know, an actual musical release. Instead the song just dicks you around for a long time, chopping up vocals and repeating sections but never really congealing into a solid idea

sorry if im overwriting this but im genuinely having trouble understanding it at a, like, primal level, not the cerebral/removed/lol old one.

this track you linked is still better than 90% of the stuff on orko's podcast IMO

should read

"and it seems like when its dance music i like, that tension and your patience is rewarded"

ha its kinda growing on me to be honest u_u -- but it still seems sort of randomly structured, like i want to open it in audacity and do a bunch of C+Ping

like i want to open it in audacity and do a bunch of C+Ping

i hate to validate disco nihilist / tombot style grousing about production technology but i am sort of coming around to their take on software vs hardware

why bother concentrating on programming rhythm when you can just take an mp3s and chop them to bits on your laptop? then it just becomes a matter of showing off your taste in your "productions" rather than, i dunno, musicality or something. no surprise then, that this music is like the domain of blogger dudes who check turntablelab every day?

looking forward to when pipecock rejoins us lol

looking forward to getting a killfile working

millsian techno dudes : "i can tweak a kick drum better than the next guy"

blog house dudes: "i have more regional rap / third world dance music mp3s than the next guy"

moonship whats some populist dance music you dig this year
interpret populist however you want. but by dance music i mean, like, dance music

"watch my feet"

"cha cha slide"

fuck, those are from last year

"township funk"

http://www.amazon.com/Township-Funk/dp/B001EIKLCO/ref=sr_1_1?ie=UTF8&s=dmusic&qid=1229054661&sr=8-1

this?^^^^

yeah, that's probably my track of the year (it's my ringtone, anyway)

seriously, though, it's been a pretty bad year for dance music. if you look at say, the BBC's essential mix, a lot of the mixes are repeats of "classic" mixes from the 90s or early 00s. and then if you take out the 1/3 of them that are same-old same-old trance or progressive house the remaining mixes are something like 50% old tracks. you look at someone like, i dunno, simian mobile disco or crookers or riton or whatever other hot new producer and it's sort of stunning how they lean on old classic house, acid or techno.

i guess that explains why i've spent the year either listening non-populist stuff like space disco or balearic revival or edits, and blatantly non-dance music like dub techno and the dubby end of dubstep. and tons of old, old, old music.

2008 = Even that crazy new experimental shit was too conservative.

My theory is that 2008 breaks down like this:

1) Too much of what is good and popular is not populist (nu-deep-minimal; space disco/balearic for the most part; upmarket dubstep)
2) Too much of what is good and populist is not popular (UK funky house)
3) Too much of what is popular and populist is not good (blog-house/frankendance; downmarket dubstep)

i'd probably be more into funky and bassline if i could actually HEAR any of it. i'm just too old and busy (and married) to spend all night downloading mp3s.

tim you need to send me some CDs again!

Tracks that give me some hope for some interesting things in the future.

Hrdvsion - Playing For Keeps (Daddy's Angel)

Proof that obnoxious noise sometimes can bring the funk.

Boys Noize - Shine Shine (Apparat Remix)

Proof that all this indie electro isn't universally underproduced.

And even though its just electrohouse ZZT's The Worm (Erol Alkan edit) just fucking rules.

do people still make electrohouse?

Tiga and Zombie Nation do apparently, it definitely splits the difference between 2004 and 2008 though.

3. don't see the appeal of this. there's gotta be much better baltimore club music than blaqstarr. why is he so popular?

dude is a genius and changed the game in so many ways, but yeah he's not very representative or the best per se, and "Bang" is not really a club song and also one of his worst songs.

what are the good songs