funky house sceptics, let me draw your attention to this

joining all the dots between her dreamy, abstract productions and full-on diva house - i never fully bought into the binary of GRIMY FUNKY at one end and HOUSEY FUNKY at the other, but this mix would make a nonsense of it, anyway

i like 'Dis Boy Pt 4' - probably just for the ravey overtones

assuming that is the one with the "he says he wants to run away" hook

Fact Mix: This file is temporarily unavailable because there are no resources available under the owner's account. : /

she is playing here soon

link is working again now btw

not for me :(

Invalid File. This error has been forwarded to MediaFire's development team.

Wish they'd use rapidshare!

yousendit is actually good again these days

co-sign on YSI. i also pay for my account, but damn, it works well.

i am DLing the Cooly G right now, as the link works for me. i am kind of excited-- the description and tracklist look aight, and she seems cool as shit. so.

"joining all the dots between her dreamy, abstract productions and full-on diva house - i never fully bought into the binary of GRIMY FUNKY at one end and HOUSEY FUNKY at the other, but this mix would make a nonsense of it, anyway"

Yes but Cooly G sets sound rather different to other funky sets* so I'm not sure if that says something about funky or just about her.

*to the extent that we can talk about "other funky sets" - obv there's no set pattern and a lot of nominally "UK funky" DJs still play 90% US or Euro material. Really what's most different about Cooly G sets are her own productions, which provide the bulk of the "dreamy, abstract" quotient here.

But yes describing any scene in terms of a "binary" is always gonna be wrongheaded, esp. because funky is drawing from soca, dancehall and broken beat as well as from house and grime.

Cooly G is coming from a different place yet again insofar as she adds minimal and dubstep overtones. Of all the big UK producers only she and occasionally Roska are going for a dreamy/abstract sound. In a lot of ways this runs counter to what I usually like about funky. I think a big part of my enjoyment of funky has been grounded in how it redeploys certain things that i really liked in minimal, being disruptive and intricate rhythms, but does so with a populist/ravey sensibility quite foreign to minimal as it currently stands.

I've noticed that I now have less patience for a lot of the more reduced minimal I used to enjoy because funky has distorted my listening habits somewhat.

Whereas Cooly G's music is very accomodating to a minimal sensibility (and a dubstep sensibility too, but the Hessle Audio end rather than the Caspa/Rusko end obv). I enjoy stuff like "Love Dub" and "Dis Boy" more in the way that I enjoy, say, Pangaea, than in the way I enjoy other funky.

what does the track at 22 minutes sample? def recognize it, but can;t place it

also what is the track at 49 mins with the big "You got to believe in something! Why not believe in me?" diva vocals?

n/m, must be 16 Hard Soul - Self Religion (Believe In Me)

Yeah "Self Religion" is my favourite thing on there I reckon! On one of his sets Roska blends it with "Feeline" with a surprising level of success.

The 22 min track is Mista P's "Funky Interlude".

Prob not funky but I'm excited to hear Fact's new Terra Danjah podcast!

^^yes - need to find a spare hour to slam it on. he's playing night slugs on thu too, v excited about that

Okay, I dig this Cooly G mix but only after about the first ten minutes. The first ten minutes made me want to harm her.

The middle 30 minutes rate really high for me-- it is nice to hear a mix where I don't know much of what is going on with the artists etc.

one thing: stop the shout-outs, people. it's fucking annoying.

!!! You're beyond saving: the first ten minutes includes those great Martin Kemp, Sami Sanchez and Fingaprint tracks! Those three tracks are like the best single stretch of the mix.

there are too many shoutouts on that bit tho, reminds me of trying to listen to some hip-hop mixtapes and being killed by the compiler's constant shoutouts.

probably justifiable paranoia about people cutting out the individual tracks and spreading them on the net, but still.

No actually I agree that this section is best:

12 T. Williams & Smokey - Dub
13 NB Funky - Riddim Box (Sami Sanchez Remix)
14 Unknown - Unknown
15 Halo & Kemal - African Dream
16 Hard Soul - Self Religion (Believe In Me)

Still, I'd say this is nice rather than magnificent. It's nowhere near the obsessive take-over-my-life levels of goodness of Mak 10/shantie. Speaking of which the Mak 10/Marcus Nasty set from 6 April gets really great from about 45 minutes in, the limited skills of the ring-in bassline MCs notwithstanding. Loving that genuinely funky track in between Sami Sanchez's "Dirty Trumpet" and "A Little Bit Funky" at about an hour in. And that epic grime-funky track at 1:05:00. Also that final massive track from Bloodfire - didn't he used to be in Bugz in the Attic?

one thing: stop the shout-outs, people. it's fucking annoying.

― the table is the table, Tuesday, May 12, 2009 8:16 AM (2 hours ago) Bookmark Suggest Ban Permalink

u are

whenever i post anything, deej, you say that i'm retarded or annoying.

in other news, fuck you.

would like to hear someone reading john updike over funky house tracks

so is 'mirror dance' a big track in funky ?? its a huge 'just-house' song over here

still!

sounds like an obvious inspiration for 'inflation' to me

yr fave & mine sharky p killing it RIGHT NOW LIVE dudes

http://www.icecoldfm.co.uk/

ctrl + f "mirror dance" btw deej

Delirious ft Sweetness – Truthful
Puppert Master – Inflation Remix
Oveous Maximus – Mirror Dance (Yoruba)
Dewa Entertainment – Too Sweet

^ also check this outstanding extended riff about an hour and half into footloose this week.

haha, sharky currently turning portentous old 'samurai' (ma1 mix of jazztronik via marco del horno) into a bubbling s/t to the usual randy night out

HAHAHAHA and after all that filth he's now doing b2b with his infant kid he's had in the studio the whole time!!!!!!! love this guy

aww now the station's cut out :(

the shoutouts ARE - like deej in fact - quite annoying. tho tbh that whole mix (like cooly herself, good as she is) is a bit overrated (most fact mixes seem a bit lazily put together imho - like that roska one a while back).

heard a new donaeo track on kiss tonight. his most commersh song so far, nowhere near as good as the last few. goes a bit nuts with the orchestral stabs too.

I like Sharkey P too. It's difficult for me to hate on MCs who focus their chat on important topics like picking up girls on the dancefloor.

The 22 min track is Mista P's "Funky Interlude".

― Tim F, Tuesday, May 12, 2009 4:15 AM Bookmark

right, asked what the sample was iirc

gosh, however will deej cope with the combined beeves of titchy and idiot is the idiot.

I like Sharkey P too. It's difficult for me to hate on MCs who focus their chat on important topics like picking up girls on the dancefloor.

― Tim F, Wednesday, 13 May 2009 00:13 (52 minutes ago)

http://www.zshare.net/audio/599337044ba3bcaf/

in that case download (what i nabbed of) it like the animals do on tellyyyyyy. i was gonna llow it actually what with the dubs being old but in light of recent... travails perhaps a point needs to be reiterated. also if anyone should have the misapprehension that shark's a lairy joker and little else then i'd ask them to point out when their fave mc ever nailed anything so well as him breathlessly winding down his capers with "dj... play my..song... please!" at 23mins.

...beeves?

OH beefs but like...chaucerian or something?

yeah, thought i'd give it a go innit

Looking forward to the Sharkey P!

Is it wrong of me that I even joy his "I'll holla/I don't mind if she spit or swalla!" rhyme? Not for the content, he just sound so fantastically worked-up yet gregarious.

i just like the brazenness of rhyming "swalla" mostly.

so now, i'm as fond of shantie as anyone, but i've never really gotten that upthread thing of just a good bloke having a good time, showing much love, making you laugh. shantie does of course represent all those regular everyman qualities but to me works in an different sort of way to sharkey, who really is the ne plus ultra of all of the above listening to this. shantie's everymanness seems almost... profound? during his sets i even tend to find myself zoning out a little; he's weirdly unobtrusive - with that odd muffled quack of a voice - and thoughtful, and observant (stuff like suddenly deciding to getting round to doing some bars for the olympics, or that strange moment of seriousness justifying (to whom??) some stop the war lyrics with "well, it is a bit much innit"), and basically kinda just wanders in and out of the mix absentmindedly sometimes. yet he still intensifies the dance, not in spite of but because of all that somehow. in a greater sense i rather like to think of him as this kind of gentle shepherd of funky, safely prodding along marcus' and mac's furious herds of confused housey livestock, and your thoughts that go with it all the meanwhile.

mmmm. what else have i to catch up on?

i think i am in agreement with the thoughts here & elsewhere of reynolds' gimp regarding cooly g. (cept about the middle bit of her mix, i hated that.)
generally it seems to me a bit like in terminator 3 when arnie went all SQUEEEE and pussied out of his job just cos skynet thought they'd send a lady terminator over this time - did i remember that right? oh.

oh also me then being crestfallen at the cooly-ish stutter techsoul whatever section immediately following (indeed including, in that context) the 'love lockdown' cover early doors on the last marcus set.

i was trying to work out if i liked, or rather had any use for, this a while ago; think this would get play now or is bilal still too human?

http://www.soulbounce.com/soul/2009/01/rogiers_hollywood_story_gets_remixed_for_the_house_heads.php

question: is this new on the scene or actually have people been caning it for ages? - finding it really placeless just now. fabulous either way though.

Yes, I think this is right - if nothing else Shantie's conscious rhymes (e.g. "it's bare war on the streets nowadays/but I got two sons and I want shit to change/gun, coffin, wreath, wreath/every day more mums in grief/do we need more love on the road? in the rave? in the streets?") contradict that notion of him as an uncomplicated everyman. It's the interplay between that side of him and the "skanks in the bank"/"jump up and down on the spot!"/"all the skankers in the bank move to the front" stuff that makes him enjoyable.

The shepherd image is a good one: I think perhaps what inspires the "everyman" comparisons is that Shantie treats all the different styles fairly equally. Whereas the grimier MCs tend to wax and wane in enthusiasm/aggression levels based on what's playing.

One other thing I like about Shantie (and Rankin' too, but Shantie does it better) is that he's a good critic as well. Like when Mak 10 drops his Hard House Banton/D Double E blend and Shantie shouts "Lucky!!" repeatedly, as if to say "treasure this moment because you may never experience it again!"

(though Mak does tend to spoil this by rewinding the tune multiple times, I'm guessing so that no-one steals it from him. The intro on that one takes a bit long to build so the constant rewinds do hamper the vibe somewhat; that said when D.E.E. raps "I'm gonna put my hand through the letterbox" as the new counter-beat comes in... well, it's like the most exciting four seconds I've heard this year)

Ha, speaking of being reynolds gimp, his recent and dense discussion of the hardcore continuum being "centripetal" is actually very worthwhile and interesting, and accords with my own feelings substantially.

BTW whatever you posted asking "is this new" won't load for me. What is it?

melissa bradshaw's recent takedowns of reynolds are infinitely more interesting and worthwhile than that endless centrifugal vs centripetal post, and her theory of soca aerobics is definitely smarter

the last video is something called 'turn me on' by black coffee - name doesn't ring a bell but the tune does