Duke Dumont and A*M*E - Need U (100%) - Rolling UK dance pop interzone thread

TS7 - Heartlight feat. Taylor Fowlis?

https://www.youtube.com/watch?v=hqFRq1xlOOg

xp Wow, 2007. Maybe I should have voted for that in the best year of the 00s poll.

Vice have an article for if you'd like to start irrationally hating this music

So is it gonna be like this?

Apr 7: Duke Dumont ft. A*M*E "Need U (100%)"
Apr 14: Duke Dumont ft. A*M*E "Need U (100%)"
Apr 21: Rudimental ft. Ella Eyre "Waiting All Night"
Apr. 28: Daft Punk ft. Pharrell Williams "Get Lucky" (seems pretty much certain)
May 5: Disclosure ft. Eliza Doolittle "You & Me" (release date 28/4, should be a big contender)
May 12: Chris Malinchak "So Good To Me'' (if we're to believe Vice)

Burial seems to be the elephant in the room here, at least the Disclosure and Black butter soulful end of things. Never thought Burial would end up being a positive influence after the first few rounds of imitators being so lame so i'm quite surprised to be delighted by the stuff in this thread. Those pitched down echoey vocals sound great in a tightened up pop framework.

liking a lot of the tunes on the youtube channel this is on

https://www.youtube.com/watch?v=RnW6Yra2FBQ

damn son, where'd you find this?

burial. you what.

exploding_head.gif

don't see why thats so strange, weren't burial like the reason disclosure got into dance music? I'm not a fan of burial myself but you can hear his influence. If I was gonna be really disgusting I would have mentioned Joy Orbison.

I see how Burial might lead to Disclosure (but more in the very limited sense that Burial may have originally inspired Disclosure to investigate some of the prior music which Burial was ghost-quoting, and now they're going directly to the source for inspiration) but not anything else in this thread.

yeah well, I really only meant in the even more limited sense of vocal treatments on some of this stuff. Much more likely Disclosure got the ideas for these techniques from burial than Groove Chronicles or someone, and as I said they are employed in a different way, but its definitely about and just thought it was funny people don't mention it is all. Certainly doesn't warrant an exploding head gif anyway

Joy Orbison and etc. circa-'10 post-dubstep seem like a much more direct influence on Disclosure than Burial does

The dance scene – or at least the best bits of it – just so happened to be being played out on the brothers’ doorstep. So, while Howard was entering his obligatory, teenage emo phase, Guy was discovering grime and later Benga and Skream, having gone to school with the former’s brother. “But then it merged,” says Guy “and we both started listening to people who were coming out like Joy Orbison and Floating Points.”

Now, they agree on more things than two teenage brothers should. They agree that Burial was the real entry point for them getting into the ambient, electronic music they make today; that dubstep is “far less expressive than 2-step” and thus far more boring; that once Howard begins getting involved with the recording and production process “there will be more fights”.

When we started out we were listening to Burial and people like that. We were listening to what was going on at that time and learning how to produce. Now at the end of 2012 we’ve gone back and tried to understand the roots of dance music. That’s taken us back to Detroit and Chicago and techno and old-skool garage and house. For most people it would be the other way round but we weren’t around when that stuff was going on. It’s been a different learning curve. We’re now influenced by Todd Edwards and Zed Bias and old-skool garage people like that.

This is the thing. When we started making the stuff we make, we were only aware of what's going on right now—like James Blake, Mount Kimbie, Joy Orbison, things like that. That was what we were listening to, and that's what we were pretty much trying to copy, just to learn how to make music. We liked it; we thought we would just try and copy it. It was only when we looked into those acts a bit more and realized where they took their influence from that we became aware that we were kind of making something similar to U.K. garage and 2-step and stuff like that. Obviously, those guys took their influence from that, and we took our influence from them; now, though, we've completely done the reversal, we take our influence from much older things like, say, MJ Cole. It's weird, getting into it, because obviously, when MJ Cole and all that was happening, we were only like eight and six years old. We weren't really aware of any of it. We were getting told we were making things that sounded like that, and we were like, "What is it?"

yeah well, was just a passing thought, didn't mean to derail the thread with it.

lol at everybody getting screwed up over mention of the b-word. heaven forbid that a pet act of ILM were actually influenced by ~burial~

I don't think anyone ITT would be surprised that Disclosure are/were influenced by Burial, but this thread isn't really about, say, "Control" or "What's In Your Head".

Pretty clear that stuff like "Need You (100%)" comes from a pretty distinct lineage. And even the Disclosure tracks that fall within this thread's remit feature straightforward vocals.

That interview passage Number None quoted is exactly what I would have expected! It feels like a really obvious learning curve, in much the same way that electro-house inspired a lot of younger listeners to get into first wave Chicago house.

that interview bears the hallmarks of the journalist bringing burial (and all those other names) up first, and disclosure going yeah i guess

really don't wanna harp on about it cos I don't even like Burial and I realise its getting away from the other disco-y stuff in this thread, but Disclosure's first single is pretty much exactly midway between Burial and Joy O and with the none-more-burial title of 'Street light chronicle'so it goes deeper than 'yeah i guess...'. I think that DNA lives on in their current stuff in the treated vocals, even in something like Latch which is surely within the remit of this thread right? (that reverby pitched 'never' backing vocal and the crackly breakdowns).

There's no reason why loads of the producers here wouldn't have listened to Burial and yeah some of Disclosure bears some similarity but surely not White Noise (which is the important one here) and definitely not Duke Dumont or Rudimental or most of what's being discussed here. I don't think Burial is any more significant here than loads of other mid-00s Brit producers.

yeah fair enough, its really just the odd production trick that I hear cropping up in some of this stuff occasionally, more of a flavour than any primary influence or whatever.

As for what this thread is really about,I think rtc pretty much nailed it earlier when he said 'sort of a 86-93 chart spirit with modern tools'.

https://www.youtube.com/watch?v=bPAefVz-mXg

idk yeah i guess there's a possible case for burial reviving the vox treatment for bass diaspora people somewhere along the line but it's just a new one on me to totally divorce it from the insular mood and dusty rhythm and all that cobblers, i mean you might as well say he's the elephant in jackin's room as well by that extended logic. and yeah i wouldnt be as averse to joy o

if disclosure's next single features robbie craig & gerideau singing about haunted binbags though then all credit 2 u ben

https://www.youtube.com/watch?v=eQz1x6ptjFo

this shift k3y you posted in the q thread def belongs itt imo, 'frozen' too

https://www.youtube.com/watch?v=wVosypP91Yk

probably muddying the waters again but i love it so w/e

shantie on marcus made me like it ever more still when it moved him to brilliantly and inexplicably exclaim "run for hills! run for the hills! go now!!"

kinda feel like the absence of the signature big fat monster drop on redlight's 'switch it off' is another sign of the times, a year ago it wouldnt have seemed enough

Which Marcus show is that.

wednesday 17th, i only happened to catch a bit of it live and iirc it wasnt particularly recommendable (turned it on later and GREYMAN had been thawed out from wherever to do a set, apparently unaware that four years had passed) but it was the first sunny day in an age and shants and ranks were reunited and feeling the vibe so it was still very pleasant all the same

giving this clean bandit show on rinse a go

basically they are nice and polite mumblekids playing a lot of xxyo, deadboy, ikonika, submerse et al. i'm sure there'll be some joy o shortly

the point it hits home though is how this new black butter wave uses the apolitical deracinated junkspace weaknesses of bass as dance music to its advantage in the chart pop sphere - "songful tunes touch on various amorphous dance flavours [...] without ever placing them too strongly in discouragingly specific context" - entropia becomes utopia (hence mdc's invocation of post-acid house era)

I saw Clean Bandit supporting Disclosure. They were sweet and endearing, slightly ungainly but well-meaning, like a community arts project Basement Jaxx, but with chamber music breakdowns. I like them a lot.

yeah "community arts project" otm

when i interviewed disclosure i asked them about their first experience in clubs and the older dude said that "hyph mngo" was the titanic track for him that really pushed him into producing

i think there's a sense of space in disclosure's productions that codes very dubstep to me

yeah i can go for that definitely

disclosure run a little bit diagonally across the rest of this stuff itt i think, they use what they've learned in a more specific and singular way, not to create a suggestive soup but to use that space and remove to make singers and songs (just tracks even - cf 'control') fantastically photogenic and attractive

always think in visual terms with their stuff - clean lines, great silhouettes, sharp cheekbones, nice teeth, i guess you could even link their cover art motif into it

i heard an interview with them recently and i was shocked by how deep their voices were! all grown up i guess

this song in that noisey piece tho, jesus

http://www.youtube.com/watch?feature=player_embedded&v=KrMl32cuC2A#!

i think there's a sense of space in disclosure's productions that codes very dubstep to me

yeah the first 30 secs of the new track w/eliza doolittle keep making me think my itunes has skipped to some random forgotten post-dubstep ep from 2007 - as rtc says disclosure are slightly different though, they started off as "garage revival tailored to fact magazine et al" so their positioning has always been slanted to that end of things (as opposed to duke dumont who's been a jobbing house dj/producer for ages, and hot creations who didn't really catch on first among that crowd)

relistening to the new disclosure and i am just not 100% on board with them yet apart from "white noise", there's just something something lacking here

this shift k3y you posted in the q thread def belongs itt imo, 'frozen' too

haha "frozen" reminds me of rihanna's "jump" in its shamelessness

relistening to the new disclosure and i am just not 100% on board with them yet apart from "white noise", there's just something something lacking here

― flamenco drop (lex pretend), Wednesday, April 24, 2013 12:04 PM (8 minutes ago) Bookmark

"latch" and "white noise" are worth all the hype imo... other stuff is a bit hit or miss. "you & me" is not on that level, tho it's pretty enjoyable.

i'm really excited for that album tho, tons of potential for it to do a bunch of things and be really, really good

they're also great live

tons of potential for it to do a bunch of things and be really, really good

i doubt it'll be bad but at this point i'd say the rudimental album will probably be more of a rush

tend to think of the malinchak as being part of a different stream to this stuff, could be convinced otherwise though

http://www.mixmag.net/music/mp3-blog/stream-chris-malinchak-zinc-remix

i also much prefer the zinc mix and its weirdly witty engrossing flip into ominous non-drop

(and the mk mix but that goes as standard for 2013)

can fcl 'its you' be #1 too though please

xp Yes, Disclosure are fantastic live, with excellent visuals (custom-made kit) and live instrumentation - saw them supporting SBTRKT in early 2011, then headlining a couple of months ago, to a young, mainstreamy-type crowd (the girls dancing next to me kept giving me odd looks, then one asked if I "was on a night out"). And they certainly come across as older than their years. "Latch" is the only track I can't get behind, probably because it's less of a glide and more of a march.

can fcl 'its you' be #1 too though please

PLEASEEEEEE

(or maybe fcl's "used to be" from last year, which i was very late getting on to)

http://youtu.be/XDlaVoXxU6Y
http://youtu.be/0i8GAaTv2gU

remixes also very necessary

chris malinchak feels a lot more in the line of mano le tough or wolf & clap or something? idk wtf it's doing going to the top of the charts

(like it, though)

i doubt it'll be bad but at this point i'd say the rudimental album will probably be more of a rush

― flamenco drop (lex pretend), Wednesday, April 24, 2013 12:16 PM (12 minutes ago) Bookmark

rudimental is maybe a bit too far on the "could do a lot of things" side for me

i guess i'm struggling to see why disclosure particularly stand out, apart from what they do visually and live

i think they have pretty strong pop instincts and a devotion to verse-chorus songwriting

which is not a virtue in of itself necessarily (tho it plays to my personal biases)

is this the original version of "it's you": San Soda's Panorama Bar Acca Version