Wednesday, January 16, 2019
Tuesday, January 15, 2019
Shitecore, more like!
"Most nightcore artists traffic in distorted edits of tracks—mostly Top 40, J-pop, and K-pop—sped up to 160+ BPM, with vocals so cartoonishly high-pitched they could easily come from a starry-eyed anime idol"
"a healthy dose of parodic absurdity", zzzzzzzzzzzzzzzzzzzzzzzzzzz
this one is at least overloaded and diabetic-coma-y -
"a frenetic cacophony of jittering vocals and accelerating rhythms that spiral into shimmering, fragmented chaos"
but really, isn't it just Rustie x PC Music = hearditbefore?
with some glitchcore, and The Speedfreak, thrown in?
quite enjoyable in its way, but leaves you with a sinking feeling: will we never leave - get past, go further than - the Nineties?
adding to that sense of terminal entropy, ever decreasing (re)cycles.... c.f. 'wave' a couple years ago
Friday, January 11, 2019
i don't get what they're trying to put across with the video though
in a way reminded me of this quote from Marc Acardipane about his Eighties attempts to make hip hop, inspired by Public Enemy and NWA (from my Voice profile)
“But there came a time when I had to look in the mirror and realise, ‘You don’t come from Compton!’ We had to look for the street sound of Europe.”
Thursday, December 20, 2018
Monday, December 3, 2018
Remixes of "Hardcore You Know the Score" by Oliver Chesler & John Selway (as Disintegrator) and others to arrive soon.
I always forget about Rising High
It's one of the great label names
And they always had a way with a title - "Night of the Livin' E Heads", "God of the Universe" (you can see why Man like Horrorist liked 'em), "A Modern Prometheus", "Death In Frankfurt", "Death by Dub"
Caspar Pound is also a really good name for a hardcore label CEO.
Mr Pound gave good quote too: "Hard as fuck! It's the rock of the future". "The best thing about hardcore is all the soul's been taken out. We've had 200 years of human element in music and it's about time for a change".
Still, the tracks - bangin, slammin, kickin, and shovellin though they indubitably were - have never quite lodged in my heart and memory like others from that era.
Very much like Kickin Records in that respect - although they did put out a few true faves of mine.
Indeed those two labels go together in my mind, in terms of their sonic and historical location in the UK Rave Story.
Their reign came at that moment just before the breakbeat thing really takes off... when Britcore is still in thrall to the Belgian Sound
This one is very Cubic 22 frinstance
Although there are breaks in quite a few the Rising High and The Hypnotist tracks, the overall feel is still bludgeoning and pummelling and pell-mell.
Then at the critical fork in the road, Rising High veered in the trance / nu-acid direction
Now this is a good tune
I have a lot of their stuff, as 12 inches, and on CD comps and such like... but I'm struggling to dredge specific highpoints from memory.
Well, okay, there was these two
And not forgetting this triffic Top Buzz rmx
Oh and then there was the Project One stuff - proper jungle techno
But this one - despite the promising title - is a bit clumpy and lumpen
Audio Assault, Earth Linkage Trip, Interface, Friends Lovers & Family, Knight Phantom... it all becomes a bit of a crude and chugging blur - the aim is anthem-hood but it rarely gets there.
Although I do remember liking something by C of E (short of Church of Extacy - our pals Lee Newman and Michael Wells again)
Not sure if it was this, or a different mix of same.
Later on, Rising High get much kudos for releasing Wagon Christ and the Plug EPs (well, significantly less kudos for those, although they were great fun at the time - but Throbbing Pouch is the eternal classic). Not forgetting Bedouin Ascent. Or indeed the Irresistible Force aka Mixmaster Morris.
Caspar Pound died tragically young, but the labels appear to be carrying on in some form - perhaps mainly archival - in the hands of his daughter Sapho (who had a sub-label or side-division imprint named after her - dedicated to more experimental releases).
Friday, November 30, 2018
i should imagine it's for graphic reasons, not being able to get another word on the front cover, that they have left out the 'hardcore'
of course i could be completely getting the wrong end of the stick here and it's some other continuum that he's "throwing new shapes into" - or perhaps it's a reference to the scientific / philosophical concept of continua (which was unaware of, I confess, until someone started giving me stick for misusing the word, and I was like, 'I just thought it was a word that referred to something continuous!' No, but apparently there's some specific meaning it has in, I dunno, physics or geometry or something like that, that means it's highly unsuitable to use when discussing 2 Bad Mice and Dem 2!).
i have liked some of Mumdance's stuff actually
i do kinda wish he wasn't called Mumdance though
nothing against mums (love my mum) and nothing against dancing (love dancing, although it doesn't occur round these parts very often, except round the living room, when a new House seat falls to a Democrat)
but the conjunction is somehow off-putting
Thursday, November 29, 2018
i thought that wicked wicked B-line was invented by 33 1/3 Queen, but he done nicked it off Gerald!
not so much Nu Groove as Old Groove then (albeit only 2 years earlier)
i'm sure there's a Horrorist or SuperPower tune that uses the same supremely nifty B-line
or was it Green Velvet?
A Guy Called Gerald - the greatest two-act career in UKdance?