rolling 2012 UKG interzone bubblers thread

stfu and actually listen to whats being discussed for a change

i listened to monty luke but i really have better things to be doing than being LOCKED ON to BBC1

also stuf and actually discuss what's being discussed

like you're never going to be mark s jr dance edition if you don't have the patience for anything other than cryptic references for "the bubbling crew"

but hey if this is NO GURLS ALLOWED DANCE THREAD i'll just *flounce off*

i'm sorry if i'm being rude but if there's a worse look than my "idgi" it's your "fuck off then if you don't get it"

you are talking. about music. you havent. listened to. it is literally as simple as that. what the fuck attention do you think you're owed exactly?

an explanation?

anyway i'm talking about monty luke, how about that?

like i listened to the youtube you posted and it sounded more like orbitalife than bobby konders. so you owe me nothing but you're "music you haven't listened to" line is NOT as literally simple as that.

anyway what the fuck do you think i owe you? there's a suggest ban button you can use OH NO THERE AIN'T!

try a killfile maybe?

like congrats rob, you're the realest ukg dude alive, we should start calling you BRITCOCK

to bring things back to civility though, what exactly IS the difference between monty luke and orbitalife i'm not getting, or is monty luke illustrating a side point that's not really your point?

The Monty Luke tune is probably the one that sounds least like Nu Groove, though I was really thinking more of the Burrells than Konders when I made that comment, it was just listening to Konders that sparked the connection.

Though really I'm not sure how much turns on this dispute given 2007 post-minimal deepness was basically a Konders jack off sesh in any event.

The basic difference between 2007/2008 Euro and 2012 UKG in their reappropriations of house is precisely the deepness vs bubbliness divide I was discussing upthread. You've already said you're on the deepness side of that divide so it's hardly surprising you'd be underwhelmed.

Like "Orbitalife" would never get play by DJ Q and while I don't blame people for not getting that I think if you don't get it then you don't get it, i.e. the logic behind the music he plays. It's a distinction that is both subtle* and important.

* not in the sense of being minor or pedantic, but in terms of operating along an axis or line of division that doesn't accord with how most dance stans conceive of such things.

See also jimi on Disclosure.

eh

i guess i'm not tall enough for this fairground ride

no it's more like you're going up to the fairground ride getting butthurt it won't sell you a leg of lamb

i mentioned like twenty tunes before that monty luke (tangentially remarked on in context and really only jokily cos of the subject) that "you had better things to do than listen to" before turning up to demand some attention - you can't have been any more disrespectful here so don't make me laugh bleating about civility

vahid TBC i'm not having a go at you, more saying that possibly there are legitimate differences in aesthetic approach at work.

Anyone approaching this stuff from a pro-deepness angle is going to be disappointed.

no i know, this is issue is clearly more subtle than what you could figure out from a Monty Luke YouTube

rtc's most recent youtubes even considered all together probably overstate the role of bouncy house in this interzone I think (I assume for the purpose of teasing out that strand)?

I mean Q is typically housier than you'd expect from (say) his FACT mix, but this stuff is all intermingled with 2-step and grime and etc.

And the housey tunes sound different in that context than they do in another context - say, a Hot Creations DJ mix.

This goes back as well to what I was saying about the difference between normal eclecticism and the very specific kind of "golden thread" eclecticism which Q has (he's not unique in this regard - perhaps more the inverse of say a Moodymann).

You know what's really good? The Moda Black comp that features Celsius' "Must Be You" - more on a straight Hot Creations tip by and large but OMG at Hot SInce 82's "Knee Deep In Louise" and Lukas' "Best in Show".

https://www.youtube.com/watch?v=EM4-X7apPus

Oooh, "Jagged Edge" is pretty good. Vocal thing like on Tropical 2. I wish I could eat pizza though. I don't understand all the sub-classifications, but this thread usually has some stuff I like. (Meanwhile, the overwhelming bulk of electronic dance music does nothing for me. Started going through the 00s poll winners, the Spotify-available ones anyway, and as usual I find myself skipping a lot.)

all these ukg-friendly house tunes are fab! few more i'd like to add while we're at it:

https://www.youtube.com/watch?v=YXh2g96QR-U

https://www.youtube.com/watch?v=xPj0ulwJJqA

https://www.youtube.com/watch?v=pWGnt69GtSE

love the monty luke and eats everything tracks! can't really hear a deepness/bubbliness divide per se though.

the "bassline soldiers" track is amazing but i'm not sure about the vox at all, they seem...at odds

There's not necessarily a divide in the music. It's more the way different tunes take on different qualities in different contexts. If you're looking for deepness the the above house tunes sound underwhelming, adequate to the task rather than particularly well executed.

no it's more that i don't really know what you mean by "deepness" and "bubbliness" in this context

I think the real demarcation these days is less between abstract vs songful and more along production values lines.

This is where a distinction between say 1999 garage and 2001 garage really makes sense, the earlier stuff still retaining a kind of vinyl warmth and almost-"deepness" and the later stuff sounding like the contrast has been turned up - heavier but more plasticky beats, exaggerated bass but also exaggerated treble... a generalised air of hyperreality.

This (rather than pop vs abstraction or lightness vs heaviness) is probably the key point of distinction between "future garage" and the stuff that Q plays, only it's even more extreme now, future garage being "deep" to the point where it has to shun anything that might interfere with that, and the Q interzone retaining (albeit as a kind of reigning principle rather than a clearly defined sonic property) the sickly harshness of bassline.

― Tim F, Thursday, July 5, 2012 11:18 PM (1 month ago) Bookmark Flag Post Permalink

In this case sub in Vahid saying the house tunes rtc posted were also-ran copies of "Orbitalife" for jim saying Disclosure are also-ran copies of post-dubstep/future garage.

i didn't even know there was supposed to be a demarcation between '99 and '01 garage and i don't really understand that paragraph. this is why i don't write about instrumental dance music any more. (or read about it much either.) it just seems like splitting hairs ever finer.

Lex I had every faith and confidence that you would rise above the debate.

i consider it personal growth tbh

Bubbles.

SR Mix #144: Hot City [Moshi Moshi]

1. Unknown – Unknown
2. Walter Ego – Fruit Punch
3. DJ Shadow – I’m Excited Addison Groove Vegas Remix
4. Elmo – Extasey, LSD, Marijuana
5. Paul Sirrell – Overground
6. Joe Goddard: Gabriel Feat Valentina – Compound One Remix
7. Benz & Raukus Noise – Cut N Shut
8. Detriot B2B DJ Haus – Slip N Slide
9. Benz – Feel Dis Ting
10. Wafa – Booty
11. Hot City – 4 U
12. Hot City – Another Girl
13. Hot City – Sound Of The Club
14. DJ Q – Woo Riddim
15. Burga Boy – Rude Boy Booty

http://www.sonicrouter.com/2012/08/sr-mix-144-hot-city-moshi-moshi/

https://www.youtube.com/watch?v=ueX-_az4kBw

In which Disclosure, in a pincer move, annex both Schaffel and the territory previously occupied by Jamie Woon:

http://soundcloud.com/disclosuremusic/latch-ft-sam-smith

Sweet, love this.

Heads up: the Royal-T album is excellent.

I downloaded that this morning and am expecting a reliably bubbly commute home as a result.

very tempted to ask what your commute is so i can come watch your bubbly-anticipating face in person

It's basically like, say, his FACT mix from last year, only in album form.

i would have said it's much more of a serious piece than that mix was

calling it the music for the jilted generation to the mix's experience might be overstating it a touch but either way i havent been able to stop think of royal-t in terms of liam howlett this week

http://www.elasticartists.net/wp-content/uploads/2012/07/royalt_fingers-345x326.jpg

Hmmm yes okay - TBH I'd have to listen to the FACT mix to compare - I basically meant that, pleasingly, it's wall to wall straight bangers.

Music For The Jilted Generation is a nice point of comparison definitely! Though it makes me wish Royal-T had done a "suite" at the end.

ah right ok

is it not taken as given by now though that r-t only trades in bangers as such? within that however you can differentiate between the factmix's grime/butterz cheeky delinquency, the adult dance melangey/rinse of the album, maybe in addition even the crowdpleasing hardcore finesse-less punishing bosh of the newer mixes and radio shows (fat of the land?)

even still, 'music box', 'missing aurora'... probably his tenderest work

Yes but the history of dance music is littered with the bones of producers who only trade in bangers until their debut album.

Although that hasn't been the case for the album releases on Rinse (which deviation from the norm seems actually to have hurt the artists critically/commercially? Roska at least).

maybe in addition even the crowdpleasing hardcore finesse-less punishing bosh of the newer mixes and radio shows (fat of the land?)

haha, I think at this point the analogy gets a bit strained.

Yes but the history of dance music is littered with the bones of producers who only trade in bangers until their debut album.

Even if you could afford to I suspect that making a Rinse-branded album full of orchestras, whale noises and Hope Sandoval would be somewhat frowned upon by the people actually releasing yr record.

very tempted to ask what your commute is so i can come watch your bubbly-anticipating face in person

Had to push in front of a pregnant woman at one point because I really needed a sit down after the first three tracks. It can't quite keep that level up throughout, although the Ruby Lee Ryder track is excellent. Certainly darker than I'd expected although there's still a certain beat-em-up glee to the middle section that makes 'austere' not really the right word.

haha you honour this album with your none-more-grime actions

Actually, I was already sitting down at the start.

Back of the bus though.