Wednesday, October 21, 2020

Telepathy, man!


cool interview with Sting the guy who founded legendary hardcore rave jungle club Telepathy and also Deja Vu FM - and is the voice on those Telepathy ads 

(via Luke Davis)

I've got more Telepathy ads with Sting's voice on various old tapes, digitized but not yet video-ized - soon come (also larger and potentially endless undertaking to do with pirate radio adverts)

Ah! I see somebody has had the same idea as me....

"Wonderwall" vandalism, love it

Deja Vu in the grime years

Wednesday, August 26, 2020

shoegazetronica (unexpected return) (blub is thicker than water)

release rationale: 

"Darkstar share the official video for ‘Text’, ahead of release of new record ‘Civic Jams’ out Friday 19 June. Directed by Alex Shilt | The experiences of everyday life and beauty and heartbreak it brings offer an important source of inspiration for Darkstar. In ‘Text’, this plays out in the vocal snippets that address the experience of losing a loved one and the unflinching grace that comes with it. In the accompanying video, Darkstar remind us that our memories are shaped by those we share them with. Black and white home movie footage capturing family moments is interspersed with imagery of unforgettable football moments and iconic raves, which blur together like an ephemeral photonegative. Discussing the video process, Shilt, the director explains: “Living next to Aiden and briefly in the same flat with James, I was particularly inspired by the relationship between the two of them. I aimed to create an abstracted visual dialogue that embodied their brothership and love for their families through the various personal clips they’ve sent me. We worked together in exploring various looks inspired by modern communication tools & tactile graphics to harmonize a visual language that fit with the tune.” On their most personal record to date, Darkstar counterbalance observations of their home with those of the community surrounding it. ‘Civic Jams’ is a photonegative of a dance record shaped by a dialogue between shoegaze atmospherics and UK bass music’s ‘hardcore continuum’."

Blubstep - the return!

Sunday, August 23, 2020

when the Levy breaks

(aka Back to the Old Schoolly)

YouTuber says they used to play this at 45 rpm at hardcore raves

More Barrington bizniz


Spiro in comments points out this Levy-boosted beauty

Friday, August 21, 2020

The Mad Fuckers (flowers in the dustbin)

"Where "WFL" focuses entirely on the sensation of being a drugged member of a drugged dancefloor, Flowered Up's "Weekender" documents both the hallucinatory delirium and the sociocultural framework that both explains and ultimately contains it. ("WFL" might itself have been intended as a component of such a broader vision; the Bailey Brothers had originally been approached by Happy Monday's label Factory Records to work on a movie project about Manchester provisionally entitled The Mad Fuckers). A 15 minute mini-movie that follows a hard day's night in the life of a working class London youth called Little Joe, "Weekender" is a mélange of traditional "gritty Brit" social realism (Joe eats his dinner while his mother neurotically twirls her wedding ring on her finger and silently watches TV, its screen reflected in her spectacles; Joe smokes a spliff in the grim hallway of concrete tower block of flats; the sordid sex-and-drugs squalor of a nightclub's lavatory, seen in a overhead pass that peeks down into each cubicle in a row of toilet stalls); trippy dancefloor commotion; heavily symbolic fantasy/hallucination sequences; and urban derive (Joe, still in the Ecstasy haze, wandering the deserted metropolis in the grey pre-dawn hours). Think Ken Loach filtered through the prism of MDMA....

"Like Happy Mondays, Flowered Up were a rock band inspired by and caught up in the frenzy of British rave culture in its early years; despite its remix by DJ Andy Weatherall, "Weekender" is therefore more a rock song about the joys and anguishes of the rave lifestyle than an example of where dance music was at in 1992. Still, Wiz's screenplay and script preempts the basic narrative arc of all the clubbing-and-drugging movies and fiction that followed in the Nineties: having the time of your life and then paying for it, flying high and crashing hard. The film is both a documentary snapshot of early Nineties London clubland (listening to pirate radio, going down to Quaff Records to pick up the new house imports and rave flyers) and a more timeless statement about British proletarian "weekenderism": the "workhard/play harder" life-cycle that goes back to the pill-popping mods of Sixties London, via the Northern Soul fans of the Seventies with their obscure sub-Motown singles and amphetamine wraps, and the jazz-funk and soul All-Dayers of the early Eighties. Both song and video pay homage to The Who's mod movie Quadrophrenia: there's a sample of the film's hero telling his boss to take his job and stick it where the sun don't shine, and Little Joe is picked up by a friend driving a mod-style scooter.

"More eloquently than Flowered Up's crudely expressed and sketchy lyric,Wiz's scripted dialogue lays out both the exhilaration and the impasses of the raver's lifestyle:Joe's feelings of limitless power and possibility ("when I'm out with my mates, and we're all one on, buzzing off our nuts, all together, it feels like we could... like we could do fucking ANYTHING!") versus the eternal return of Monday "like a jail on wheels" (to quote The Clash), the comedown to a reality with all its limits intact and un-altered ("I used to feel like that when I was young, but look at me, I'm still cleaning windows,"responds Joe's older, wiser, and wearier workmate).

Unlike his mother and his equally crushed, domesticated sister, jack-the-lad Joe is determined to out-run his inevitable fate (mediocrity) for as long as he can, fueled by music and drugs. The most striking sequences in the video depicts him doing just that--a fantasy set-piece in which Joe sprints full-tilt inside the grooves of a gigantic 12-inch dance single, giggling with glee despite the malevolent stylus that is hard on his heels. Redolent of the set-pieces in Julien Temple's musical Absolute Beginners (his flawed version of Colin MacInnes famous novel about the early, just-before-mod days of British youth culture/cult of youth), this sequence vividly captures the sense of dance culture as both groovy and a locked groove. Adding to this sense of a loop,a deadening dead-end, is the image that opens and closes Wiz's mini-movie:Joe--gaunt, pallid, a devitalized ghost of himself, an ember of the disco inferno--descending the side of a huge office building in his window cleaner's pallet; literally coming down after the high.

"Focusing on the story of one face in the crowd (a Face in the Sixties mod sense: a figure "on the scene"), "Weekender" represents one attempt to circumvent the problem of techno's facelessness, its lack of a performance model or star glamour..."

excerpt from my Oberhausen Film Festival talk / Stylus magazine essay Seeing The Beat: Retinal Intensities in Techno and Electronic Dance Videos (2002)

Really unconvinced / turned-off by Flowered Up's first forays into "Southern Baggy"

 ... but came around to them, somewhat, with "Weekender" 

Northern sister songs to "Weekender": 

Monday, August 17, 2020

Saturday, August 15, 2020

duck it

could almost be something on Ghost Box, by Roj or somebody like that

the whole album

another whole album by Duckett

the artist interviewed 

on the dayjob as music technology lecturer and scaling it back for sanity's sake:

"I still have that captive audience a couple of times a week and I have a story to tell, which is more important and beneficial to the students than impedance or identifying room modes. I secretly tell them things I should not, life is happening. The value of music is that of a vehicle for emotional well-being, not as a career"

an earlier EP

a mix

“Building a set for me is usually like having a hundred jigsaw pieces from a hundred different jigsaws"

should imagine this a common predicament in the age of choice-oversupply, Ableton, etc

Monday, August 10, 2020

mouse is a feeling

as deep, dark, minimal, mysterious, serious, as anything out of Detroit

the raw-ngredients riginal

E-ternal techno roller

the raw-ngredients rmx


drumtrip = "rhythmic psychedelia" (copyright moi 1995, maybe 94 actually)

(actually that track's not where I got the notion from - it was the reversed drums on Omni "Mystic Stepper (Feel Better)" and just darkcore generally)

that's all done with retriggering on a MPC right (same with "Waremouse")

astonishingly basic technology (pre Cubase etc) used to astonishing effect / astonishingly effectively

a last blast of mousely magick (and only really truly amazing thing on the Two on One series)

This is an EP I regret not picking up with the pic cover and all, although the contents go a bit too far into minimalist moodscapery. main claim to memory is on the technical level.

Hype darking it up

Mice on the auto-rmx

pretty sure I got that square shaped (pic disc also?) 10-inch remix release -- more compelling to look at than listen though as i remember

what ho?! not heard / seen this before

there's lot more great early 2 bad Mice / kaotic kems stuff of course, plus the E-pochal remixes like Blame

this is a fave - esp the woozy "don't wanna lose your love" carousel bit

ruff-hewn riginal

Sunday, August 9, 2020

fade aways

fading backwards through time

different fade away chain

Friday, August 7, 2020

hype the funk

Pearsall mix of DJ Hype that traces a year-by-year (four tunes from each annum) chronology of pre-jungle to post-jungle - from nuttE on-1 darkcore to the Enshitenment aka 1000 Year Reich of Linear Fastplod

Or so I assume (my ears have only got to "Shot in the Dark"). Looking at the tracklist, the last 12 tunes (96-97-98) don't ring any bells at all, not even as titles. Maybe they're good? I doubt it though, the power of scenius tends to push all but the most resilient auteurs into the Shitezone.

01. DJ Hype - The Chopper (Suburban Base)
02. DJ Hype - The Trooper (Scratch-A-Snare Mix) (Suburban Base)
03. Gappa G & Hyper Hype - Information Centre (DJ Hype Remix) (Ruff Kut)
04. DJ Hype - Shot In The Dark (Gunshot Mix) (Suburban Base)
05. Fallen Angels - Hello Lover (DJ Hype Remix) (iQ Records)
06. DJ Hype - Roll The Beats feat. MC GQ (Inject the Bass Mix) (Suburban Base)
07. Dopestyle - Fade Away (Ganja)
08. DJ Hype - Tiger Style (Ganja)
09. DJ Hype - Doomed To Fail (Breakdown)
10. DJ Hype - Going Out for da Loot (Ganja)
11. Marvellous Cain - The Hitman (DJ Hype Remix) (iQ Records)
12. Remarc - RIP (DJ Hype Remix) (Suburban Base)
13. DJ Hype - Freestyles of Bass (G-Line)
14. Dr. Octagon - Blue Flowers (DJ Hype Remix) (Mo'Wax)
15. Bally Sagoo - Chura Liya (DJ Hype Remix) (Higher Ground)
16. DJ Hype - True Playa'z Anthem (Parousia)
17. DJ Hype - Peace, Love & Unity Remix (True Playaz)
18. Armand van Helden - Ultrafunkula (Ganja Kru Remix) (ffRR)
19. Ganja Kru - Plague That Never Ends (Parousia)
20. Freestyles - Attack (True Playaz)
21. DJ Hype - Barking Bass (Global Thang)
22. Freestyles - Musically Dope (Ganja Kru Remix) (True Playaz)
23. DJ Hype - The Big 3Oh (True Playaz)
24. DJ Hype - Closer to God (True Playaz)

Friday, July 31, 2020

peace of mind piece of memory

one of those early 94, back in the UK (after living in NYC for 18 months) tracks that blew my mind - sounded so fragrant, so spring breezy on the pirates in January, February, March - listening in the kitchen in the Belsize Park flat

"Music Box" = my kind of jazz jungle - sparing

never thought til now to wonder where the sample is from

this one, from the same sort of time, another favorite with a similar vibe, but less chilled - more disjointed - a panicky bliss

but no one seems to know the sample sources

once, after we'd moved back to America,  so later into the Nineties, I was calling up some doctor's office or official building of some sort or other, and got put on hold - and then I heard it, as muzak - the original sample-source as used by Gappa G and Hyper Hypa!!!!  it got played over and over (they kept me waiting a long time)

but there was no way to find out then  - no Shazam

I think the Ron version was the mix that got the play and that I particularly loved but there were many others

Some rate the Bizzy B highly

Hyper Hyper getting remixed by Hype - could be confusing

Think there was some kind of double-pack, two 10-inches in a gatefold job maybe

ah i was right 

i have it but i'm not sure with the pic sleeve

now is this the original or the Ray Keith? (the labels got mixed up apparently)

This (people seem to agree) is the actual original original mix

it's great - only a notch behind the Ron version

And then this...

(there were also a bunch of later remixes i discover, from after the enshitenment of d&b, so with useless skitter beats underneath)

I don't know anything about Gappa G and Hyper Hypa

How interesting!

"DJ/Producers from Luton, UK. Played on Herts pirate radio station Perception FM." 

Luton - not far from where I grew up. Another Hertforshire/hardcorecontinuum connection (Omni in Hatfield, Moving Shadow in Stevenage, Source Direct / Photek in St Albans, others too I think)

Perception FM! Had no idea there was ever a Herts pirate -  I would have stayed up all night secretly at my parents, on visits back to Berko, to tape it, if I had known. 

They did loads of other tunes, Gappa and Hyper

This is the next best after "Information Centre"

But I came in with "Music Box"

What about its remixes?

Is that the only one? It's very subtle. I suppose how could you improve on perfection? (not that this has stopped umpteen remixers in any number of genres I suppose).

I must have got it only on CD (the last track on Drum & Bass Selection 1, that Breakdown comp)  because I have no recollection of its vinyl incarnation with this Krust tune on the flip

Wednesday, July 29, 2020

more brilliant than the sun

slightly more than seven minutes in...

never understood why they didn't title it "Long Dark Tunnel", as opposed to "Valley of the Shadows"

tee hee

Saturday, July 25, 2020

garage revival

An extensive and intricate piece on the resurgence of UK garage, by Gabriel Szatan for Resident Advisor

A lot to take in

Came away wondering just a couple of things

- how big is this scene, or scenes multiple?

- it wasn't clear to me, from reading it, if anyone was doing anything new with either the UKG 4-to-floor classic sound or the 2step template... 

if it's just a reiteration of those sounds, then it might well be highly enjoyable (sometimes I find myself in agreement with young Jess Harvell, who once declared that speed garage was his absolute favorite sound to dance to  - to which I'd add only that 2-step, while more formally radical and interesting to the ear, felt a lot tricksier on the moving-and-grooving side... basically you have to be a much better dancer than I ever was to do it justice)

but (and you know what's coming) a replay would be somewhat letting down the original push-things-forward, mutational spirit that led to UKG and 2step coming into being in the first place

from which light, the title of Szatan's piece rings ironic: Like A Battle: The Push For UK Garage's Future

still  - as recombinant repro-antique biznis goes, this choon (via Rudewhy at Dissensus) is really good

whereas this is sort of the ghost of Ghost

freezeframing that darkgarridge moment before Horsepower Productions galloped up a historical cul de sac

lived it once mate! didn't love it that much even then (gimme the rude 'n' cheesy any day... the silly novelty tracks)

yeah as a general principle sort of thing -

even the most bandwagon-jumping, mercenary-minded, shamelessly derivative track from 97/98/99/2000 has more spiritual-philosophical-ontological integrity (for want of a better word)


the most scholarly, meticulous, well-informed and well-intended reproduction-antique effort from now

because the former are participating (even if exploitatively) in a real-time wave of innovation as it unfolds, rather than going back and freezeframing that moving moment

which is why you (meaning me obviously) can get a buzz off of a shoddy third-division tune from backintheday, that you simply can't get from the most immaculate recreation

the buzz of historicity, of something happening for the first time, trapped in amber? 

i do believe so

this principle applies to everything

the other garage revival (punk)

but also digi-dub, Detroit-venerators, you name it

Still I expect I will wade my way through many of the names and labels mentioned in the Gabriel S piece, when I have a mo

CCRU fans clearly, if erratic spellers! 

Tuesday, July 21, 2020

pastoral garage

Jon Dale alerts me to a new genre of "pastoral garage"

garage meaning UKgarridge

the artist explains here:

"The new idea is ‘pastoral garage,’ because I was thinking about all of the guitar textures in UK garage, and how I want to extend that. That also comes from the fact that I grew up listening to dance music in the countryside, and trying to get my head around what that means. How can we think about what dance music would sound like if it came from the countryside? And what does that say about intersections of queerness and race — because, obviously, the countryside is overwhelmingly white. Trying to break down a little bit of my position and context, and hopefully make some good, exciting, weird, increasingly specific music."

previous album

Friday, July 17, 2020


run of the mill gloriousness
proof of power of scenius

Sunday, July 12, 2020



A bit of a theme - this is the track that immediately follows it on the album!

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Saturday, July 11, 2020

Gerald in disguise

what a great little tune that i somehow never heard it

Detroit-Hulme nexus

there's a bunch of Juice Box releases that aren't A Guy Called Gerald  - either him in alter ego mode, or other egos altogether

Wednesday, July 1, 2020

warpdrives (the crystl vision)

"Warpdrive" had such an impact on me back in the day

Photek remix I never heard before, or heard of.

This was the other Crystl monstertune - "Let it Roll"

So beautifully produced (in fact, anticipating Photek glistening 3D "The Rain" type sound design, Rupe's main selling point I think)

And then the rmx

And then the Photek remix, from 2004  - some special connection there clearly

Crystl had lots of other good tunes, but those are the two that stick with me

Now wasn't there supposed to be a DJ Crystl album in the works?.

I  vaguely remember speaking to him for the ambient jungle piece, or intending to - either nothing came of it, or he didn't have much to say. In the event, kept it focused on Omni / Foul Play / Goldie / Gerald / Neil Trix (yes that's the inclusion that seems retrospectively a puzzler, but at the time,  he seemed of great promise).

Crystl was among that very first batch of junglists to get signed to a major with a view to being an album artist, I seem to recall. But said album never materialized.

Was there talk of him veering in a hip hop direction?

Ah, it seems I am not wrong, about the album deal. At Discogs:

"Signed for London Records/Payday on a reputed 5-album deal." 

And there was this hip hop flavored EP on Payday called Perpetual Motion:

But it was a bit underwhelming

Certainly no match for e.g. this

The deal must have fizzled

Clearly one of those big-seeming deals, potentially involving large sums of money and multiple albums, that is dependent on the impact of the first single or singles, or EP in this case. Where the major has the option to decline to take up the option.

After that, came this single

This is what it says on Discogs about what came next:

"Now retired from music and working as a personal trainer."

Tuesday, June 30, 2020

shoegazetronica slight return (even slighter return)

Ah, missed this - The Drum Club remixing Lush, under their alias Never Never

Friday, June 26, 2020

shoegazetronica slight return

with Emma from Lush on guitars and voice (although I can't hear either to be honest)

also (it says on Wiki) guitar on this

and (says Discogs) on this

and indeed much of the Everything Is Now album


sounds quite Slowdive-meets-One-Dove

The Drum Club were Spiral Tribe connected and had one really great tune

But after that nothing quite came together

It was all a bit wishy washy proggy housey and well yes Guerrilla Records

This verdict at Discogs is close to the mark I think -

"These guys are very floaty, hippy-esque, and loose...  No offense, but I have come to believe that pagans are weenies from listening to these guys, PWOG, and exquisite corpse. I like more oomph in my music. There needs to be more gusto to life than this."

Went to the actual Drum Club the club, at the Soundshaft on a Thursday ...     it was no Rage let's say (not that I ever got to Rage).  Mild and floaty. Probably heard records by Fluke and such like.

Nice chaps though -  shared a car with them (or one of them? can't remember), a whole bunch of us heading down to Castlemorton and not knowing what was in store for us

On the way, one of them explained what a "Doet" was -  as referenced in this track by the Tribe - or at least, what its effects were

Ah, didn't realise the name is actually the chemical abbreviation for a Shulgin creation, rather than a mangled injunction "Do It!"

Now that's actually a good track - I remember it from the Hardkiss comp / mix. Tasty bit of guitar. Crisp 'cussion.

Tuesday, June 23, 2020

amnesia shredder

I really enjoyed Another Life and Amnesia Scanner are nice guys with an interesting line of patter

But this is a pretty devastating slag-off of their new "EDM-adjacent" effort Tearless here by Robert Barry  for the Quietus

"If I'm honest I think what I liked about them was that they basically sounded like Skrillex but were somehow less embarrassing to namedrop. I mean, fuck it, 'Scary Monsters And Nice Sprites' is kind of a tune in a rather crude, brash, dumb sort of way. That first Amnesia Scanner record, when it comes down to it, is no less dumb. But it is a lot less colourful and playful. It's a kind of po-faced Skrillex....

"...  their new album sounds uncannily like a Limp Bizkit B-sides collection.... The likes of Korn and Papa Roach always seemed to thrive on a particular kind of impotent acting-out, a carefully cultivated image of transgression pieced together in the most sterile laboratory conditions. Wacky haircuts and red-faced gurning. There was a lot of foot stomping. But at least, I guess, they could be bothered to try and look like they cared."

I dimly remember someone doing a very detailed structural-musicological analysis comparing nu-metal and .... not EDM precisely, but brostep - and concluding that they were more or less the same thing.

Here's a counter-(re)view, from Chal Ravens, for Pitchfork, that is more positive if still not exactly making the record sound like a lot of fun really.

"Where Another Life felt bright and alert, shimmying towards oblivion like lemmings in a conga line, Tearless is burned out and overwhelmed. This is ugly music, even at its most melodic. The shadow of nu-metal and hardcore hangs over tracks like “Flat,” a collaboration with metalcore act Code Orange, where busted electronic drums and shredded guitars recall Deftones and Nine Inch Nails. On “AS Tearless” a chant-along punk riff is torn to pieces by distortion.... 

"... Aside from those sharply focused highlights ["AS Acá", "AS Going"] and a brief climax of power chords and blast beats on “AS Labyrinth,” the atmosphere is claggy and subdued. Tearless ends as it began, in slow, exhausted strides. “You will be fine if we can help you lose your mind,” sings a distorted, uncredited voice on the final track, a lighters-in-the-air lament for the party at the end of the world."

I suppose it's the ultimate strategic-slumming move in the hip taste game - to not just hone in on the kinds of dance music that are most demeaned as "it's just the new heavy metal" (gabber, hardstyle, etc - lumpen-rock-like in fantasy heroics, mid-freq blare, speed, punitive splattersthetic, trashy pulp graphics, puerility) but to go all the way across and directly interface with metal and its descendants directly.

Sunday, June 21, 2020


what a tune, and what a video!

alongside Dekker's own performance - the strange stuff he's doing with his mouth, and his pelvis - also love the couple togged out as Bonnie & Clyde, which was a fashion trend that year, as well as playing off the line in the song "I don't want to end up like Bonnie and Clyde"

Friday, June 19, 2020

steaming jungle

not his finest moment by a long chalk, but tickled by the title

Wednesday, May 27, 2020

type beat

what wouldn't i give for an official instrumental of "Motorsport"?

it doesn't exist, so I must sate the craving with ersatz - the "type beats"

none of these re-productions quite capture the ethereality, the mistiness  of the original by Murda Beats & Cubeatz  -  like systems music screwed, a few bars of Michael Nyman looped in a deep tranquilizer trance

but fun to listen to all in a row - or even simultaneously

likewise what wouldn't i give for a vocal-free "Goosebumps" beatscape?

What would Adorno say about this?

Or about the phenomenon of loop-makers  -  hustling cottage-industries churning out not even beats but sub-beat components, in hopes of a way into the biz

Theodor's concepts of pseudo-individuation and part-interchangeabilty fit the way almost all contemporary pop is made, where there isn't even a singular hit factory but multiple sites of constructions. Component elements are developed in different studios round the world, by people who never actually meet;  extreme specialization rules (a guy whose only job is working on the vocals, another on beats, yet another on the mix of the final assemblage).  The loop-maker sweatshop-of-one is  the ultimate extension of these Adorno-ite principles -  somewhere between vagabondage, longshoremen crowding the dock in hopes of getting some work that day, and unpaid internships

The sample packs with kick drums etc on peddled by labels or producers with a rep are related, but from the other way around: a name selling off their trademark sounds, FX, etc to hopeful aspirants. 

I think also, on the subject of type beats, of the ceramics sculptor Ken Price and his remark: "A craftsman knows what he's going to make and an artist doesn't know what he's going to make, or what the finished product is going to look like."

Tuesday, May 26, 2020

Strong Island

one of the first tunes I heard on pirate radio - way way before ardkore - in the late '80s, when the fare on the air was soul and reggae and a bit of hip hop

i'm not sure if I heard it first there, though - might have actually bought it as an import... may even reviewed it

perhaps that's why i didn't catch the pirate bug then -  there wasn't the same sense of "you can only hear this music through these illegal channels" or "these stations are already broadcasting from the future"

the stabby sample-riff is quite hardcore .... you can hear the transition from UK b-boyism to breakbeat house as a pregnant potential already

in fact there's a H-core tune or two that always remind me of "Strong Island"

is this it?

no actually i think it's this one - the riff-blare that comes in at about 1.40

much more manic though, obviously

going back to the mid-late 80s rap  - lots of odd little one-offs in those days

ah never realised that was a Marley Marl production

Sunday, May 24, 2020


never knew this video existed!

from Droid's ongoing great Dissensus thread on 95 as jungle's peak year 

more rave rainbows

no mention of rainbow in the title but a rainbow colored video for a sky themed rave masterpiece

Friday, May 22, 2020

Burning Bells

used to love these tunes - perhaps even more than the Mantronix stuff

interviewed T La Rock - but i don't think I ever wrote it up (possibly because disappointed by his third single in that sequence)

here's one my comrade at MM, Frank Owen, did - also appearing, Arthur Russell


I suppose this tune is why he has a footnote in the Official History of Rap - as sampled later by Nas

Don't remember this one at all

the album

seem to remember he had a thing about how LL had bitten his style

Ah he went hip house, Todd Terry on production

and before that there was a track with the word "Ecstasy" suspiciously prominent

Thursday, May 21, 2020

McShane in the membrane (annihilating riddim redux)

The voice of Ian McShane, the words of I Punman

But in this case for once "annihilating rhythm" is not used

Points for cleverness there

And tuff little unit of a trakk too


Bonus "annihilating"

Appears here in one of my favorite 80s hip hop tunes, but without the "rhythm"

Apparently it's also in 808 State "In Yer Face" but I can't hear it

“song’s manacle and its demonic charge… the original breath… the whisper of unremitting demand” - IP, voiced I McS

almost certainly cued by the rending and writhing of Bataille i'd wager

Tuesday, May 19, 2020

son of donk

a bloke on Twitter jests, "don't tell Simon Reynolds about this lot"

so of course I had to check them out didn't I

Bradford's finest - Bad Boy Chiller Crew

"we get more gash than you've had warm dinners"

warm dinners? why not hot?

the return of donk, isn't it

except on t'other sound of Pennines

well, the sound is not donk - the sound is bassline, but less rococo in the bass-wibble department than peak-2007 bassline  - here serving as unflashy functional backdrop to the, ah, textual effusions of the Crew....

but everything else about the BBCC reminds me of the Blackout Crew - the fast flows, the clothes, the complexions, the ah thematics

it's not just the BBCC, there's a whole scene of this stuff in Bradford 

it's like hyperlocalism, or micro-regionalism - the lads are stars in their hometown, can't walk around the city centre without getting stopped 

apparently their management has plans to take them national and have been holding back for some kind of proper release - but i daresay the virus lockdown  put a spanner in those works

unfamiliar with the term "charva" - the internet says it's a Geordie word -   the BBCC wield it as an inverted insult, a reclaimed stereotype - "chav and proud of it"

Getting a bit rap'n'B / trapoTune

Saturday, May 16, 2020

shoe3 (dreampoptronica)

Cardrossmaniac chips in to the shoegazetronica discussion

His mention of MBV (specifically the bonus single instrumental with Isn't Anything -  breakbeat overlaid with ghostly wavering) and A.R. Kane's "A Love From Outer Space" reminded me that the precursors to shoegaze had dancey moments.

Well, there was M.A.R.R.S. obviously....

But A.R. Kane did a one-off single as A R K that was their stab at house

Possibly motivated by desire to prove that they'd contributed more to "Pump Up The Volume" than a coloursplash of guitar? Or perhaps to show that they could do full-on dance music if they wanted to....

Comrade Oldfield oversells the side project a little bit in this 1988 Singles Page.

Paul makes it sound a bit more enthralling and achieved than it actually is. But that's how we rolled in those days ("inflation of meaning" yunno). This review is an example of what one Melody Maker editor teasingly referred to as the National Geographic school of reviewing then prevalent at the paper (at least, with my crew).  Moraines, escarpments,  that kind of thing...

Rudi and Alex had already showed their dancey tendencies on the flipside of "Pump Up the Volume" with this beauty, to which Colorbox lads contributed only a bit of drum programming.

A remix I have no recollection of ever hearing.

Then, as referenced by Cardross with "A Love From Outer Space", there were several boppy tunes on i.

"Crack Up" was a favorite.

Another vaguely housey chugger

There was even a remixes mini-LP or maxi-EP in 1990 - the typographically clever Rem'i'xes

Several of the remixes - "Miles Apart", "Crack Up", and "Crack Up (Space Mix)" - were actually done by Robin Guthrie. But they don't seem to be available on YouTube.