look at the pic in this piece -- you can't get much more whey-faced than that!
musically though, as Alex P's profile indicates, Flux P's the roid-stacked child of Rusko & Caspa
bastardised child of a bastardised child
Monday, April 30, 2012
Friday, April 27, 2012
"End of the Road"--probing and super-in-depth piece by Martin Clark for FACT on road rap and its implications for the (uncertain-looking) future of the hardcore continuum
"Pirate radio is being replaced with a primary medium that is indistinguishable from media used by all other musical continuums, road rap is absorbing grime’s road energy into hip-hop’s traditions, house continues to satisfy ravers’ need to dance without a strong sense of local identity, breakbeat/bass science rudeness or flava. Grime and UK funky continue to iterate in interesting ways, ways that show real promise but can’t claim the seismic bursts of intense energy they once saw. Dubstep fans who reject brostep have dispersed into either purist halfstep traditionalist stasis (“the dungeon sound”), floating islands of the post-dubstep archipelago, trad European house and techno, homogenizing crate-digging revivalism and eclecticism, US trap rap and juke. So what’s next?"
"Pirate radio is being replaced with a primary medium that is indistinguishable from media used by all other musical continuums, road rap is absorbing grime’s road energy into hip-hop’s traditions, house continues to satisfy ravers’ need to dance without a strong sense of local identity, breakbeat/bass science rudeness or flava. Grime and UK funky continue to iterate in interesting ways, ways that show real promise but can’t claim the seismic bursts of intense energy they once saw. Dubstep fans who reject brostep have dispersed into either purist halfstep traditionalist stasis (“the dungeon sound”), floating islands of the post-dubstep archipelago, trad European house and techno, homogenizing crate-digging revivalism and eclecticism, US trap rap and juke. So what’s next?"
Thursday, April 26, 2012
and that's why they call it a continuum folks! (part 3974)
[FACT interview with Loefah on his attachment to vinyl and buying old hardcore and jungle 12s]
Q: So hardcore was the real beginning for you.
A: Hardcore was what got me started buying music on vinyl, yeah. And it was literally ‘cos you couldn’t get it anywhere else. I didn’t have decks at the time, I couldn’t mix; I was like 11 or 12 years old. But I used to save my pound lunch money every day, ‘cos the records were a fiver, and on Fridays I’d go down to Wax City Records in Croydon..... At the same time I was picking up flyers and it was like the same thing with that, I started collecting flyers and just….being part of it. Being part of that hardcore thing... It was all about, if you’ve got it, then you were hardcore [laughs]. What I try to do at the moment [with Swamp81] – it’s a similar kind of ethos. The music’s there on vinyl. If you want to go and get it, you can; I’m not gonna shout about it, I’m not gonna try to get it into HMV or whatever the fuck the high street record store is now [laughs], I’m not gonna go digital, I’m not gonna do all that shit… so it’s like, it’s over here. If you want to be part of it, you can be, but you’ve got to make a bit of effort. And that’s kind of what hardcore was about.
If you made the effort to find your local independent record shop, if you made the effort to get the flyer to go to the rave – ‘cos without the flyer you literally wouldn’t know about it, there was no internet, there weren’t many adverts, at least not for the smaller raves – then you were hardcore. If you did make that effort, then you were accepted, you were in a kind of gang, a club. It was a special thing, and it was linked into the record shops, the vinyl, the pirates, the flyers – it was all this one thing together. That was hardcore for me.
chaaaaaaap!
just possibly connected to the whys and wherefores of this being still probably my favorite dubstep tune
along with this one maybe
[FACT interview with Loefah on his attachment to vinyl and buying old hardcore and jungle 12s]
Q: So hardcore was the real beginning for you.
A: Hardcore was what got me started buying music on vinyl, yeah. And it was literally ‘cos you couldn’t get it anywhere else. I didn’t have decks at the time, I couldn’t mix; I was like 11 or 12 years old. But I used to save my pound lunch money every day, ‘cos the records were a fiver, and on Fridays I’d go down to Wax City Records in Croydon..... At the same time I was picking up flyers and it was like the same thing with that, I started collecting flyers and just….being part of it. Being part of that hardcore thing... It was all about, if you’ve got it, then you were hardcore [laughs]. What I try to do at the moment [with Swamp81] – it’s a similar kind of ethos. The music’s there on vinyl. If you want to go and get it, you can; I’m not gonna shout about it, I’m not gonna try to get it into HMV or whatever the fuck the high street record store is now [laughs], I’m not gonna go digital, I’m not gonna do all that shit… so it’s like, it’s over here. If you want to be part of it, you can be, but you’ve got to make a bit of effort. And that’s kind of what hardcore was about.
If you made the effort to find your local independent record shop, if you made the effort to get the flyer to go to the rave – ‘cos without the flyer you literally wouldn’t know about it, there was no internet, there weren’t many adverts, at least not for the smaller raves – then you were hardcore. If you did make that effort, then you were accepted, you were in a kind of gang, a club. It was a special thing, and it was linked into the record shops, the vinyl, the pirates, the flyers – it was all this one thing together. That was hardcore for me.
chaaaaaaap!
just possibly connected to the whys and wherefores of this being still probably my favorite dubstep tune
along with this one maybe
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