Dubstepforum.com

mr general

the synth bits are actually painfully annoying there - beep boop meh

nah - that's a beautiful song…

It's all that other stuff too…


Sometimes it's harder to do something simple.

The original is horrible.

I was playing an old mix of mine and in for the kill came on...I enjoy it now just as much as I did then.

lovelydivot wrote:nah - that's a beautiful song… where`?

It's all that other stuff too…which?


Sometimes it's harder to do something simple.

What?

fackin Jakes played it a fwe years back, got 4 minutes through, decided he need to take a piss, came back, wheeled it up and played it again... alll the way through.

never seen a crowd die so quickly.

hubb wrote:What?

I don't think it's a particularly complex song…

Having attended design school - It is a commonly held theory…
One of which I agree with - That it is more difficult to - "Do something simple, well."

because 1 - Your not working with a lot of elements that bring...
their own, intrinsic values to the thing…

The vocals and songwriting are strong enough to carry it for the most part…
and Skream was sensitive enough - to not over-bear…
He let the vocal carry it and added just a bit of atmosphere…
The bassie/wubbie part - rolls - simply - with the chorus.


I do think it busted the genre open to mass exploration/exploitation…

I don't think it's dance floor-centric…

I don't think it's the most genre defining…

I don't think it's the most ground breaking…

But it was a hot little tune.

It's a trifle - It's a trifling tune.


If you can't enjoy a tasty little trifle than get out of the trifle bowl.

But which one do you mean?

What you're saying goes for both songs (but it's much funnier if you are talking about the mess of a smith remix).

Ok so this one…The original - Isn't horrible…
But I'm put off by the excessive calliope…especially in the chorus
- I like 8bit - but it just sounds clownstep here…

I don't think it does the subject matter justice.

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And I'm not being hoity - I own some records that sound clown i.e.…
and I get mad at those also…

I also have a record that does a cow mooing sound…and
- if I ever come across it in my collection again…
it's getting thrown out the window...

I filed that bitch to the back of the back…


I'm not against that Fischerspooner brand of techno/electroclash…I actually do like it...
But I just think Skreams version of this is way sexier.

ah ok

….I like the sustain though…in the chorus…in that version…

…it's not the worst.

Ok so I don't hate it.

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trace it back you said…

ok I got that from Dave Clarke World Service - the electro disc…

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and I got there from his X-Mix Electro Boogie cd…@41.01 I mean…40.57 -38 -64 -2

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I can go one more…let me find it…

It's Loleatta - Crash Goes Love

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Which came first - In for the Kill or Hyph Mngo?

Because I'm not sure.


I wanna say Hyph Mngo…

Which make zero sense...
because I know I was late on The Skream track…

So - if I was listening to Hyph Mngo when the Skream Kill track was out in the clubs…
How could it come first?

Was it on second?

Chraysus Jistifano.

...see how that works!!!??? Incredible right!!??!!

lovelydivot wrote:Which came first - In for the Kill or Hyph Mngo?

Because I'm not sure.


I wanna say Hyph Mngo…

Which make zero sense...
because I know I was late on The Skream track…

So - if I was listening to Hyph Mngo when the Skream Kill track was out in the clubs…
How could it come first?

Was it on second?

Chraysus Jistifano.

In For The Kill was well before Hyph Mngo - 6 months ish probably. In For The Kill was the point where the mainstream cottoned on to Dubstep in a big way, the beginning of the end for the hipsters and heddzzzzz. Hyph Mngo was the start of the next stage... when the hipsters started calling bass music anything but Dubstep so they could still say they were into something cool.

thanks for remembering that
I would've had to research.
I like your summary.

btw, I'm in no way criticizing Skram for it
in a way, he was pushing boundaries
and there were YEARS where his stuff stood-out (along with D1 and Caspa) in any mix.
If someone had to fuck over the vibe, I'm glad it was him (and Caspa)

Yeah, looking back that little period where the sound had just started crossing over was great tbh. Producers with enough confidence to make pop-leaning records, but crowds still feeling ever so slightly exclusive and loved up. Hearing Skream drop Blinded By The Lights and In For The Kill for the first few times, Caspa, Rusko and 16-Bit making people go nuts for an hour a night, Joker, Gemmy and Ginz painting everything Purple. I think 2006-2009 inclusive was probably my most enjoyable era for club music and Dubstep had a huge part to play.

To think people at the time thought Cockney Thug was as "low" as the genre could sink.

i remember first hearing this in a club ~08/09 and going mental to it



think for me nero - innocence was probably the breaking point. last commercially leaning dubstep tune i could actually listen to in a club and still think it had that cool vibe to it.



guess it pre dated brostep. brototype if you will.

after that it all went kinda downhill as that sound which was fine as a one off to a certain extent started to take over more and more. then the young kids tried to outfilth each other and before you know it we've got wasteman with kick snare fanbook pages and massive patch creation taking precedence over ideas.

it's weird because the flip side of how the scene went was the whole minimal dungeon vibe and that was largely the same path. innovative ideas kind of filtered out and instead were replaced with people trying to use fancy sound design and processing the copy or emulate something that had already existed.

nero innocence is to brostep what kryptic minds are to dungeon. they started things off at such a level of innovation vs what else was going on with their sounds at the time that they almost set the bar too high. new people attracted to the sound as a result of hearing their productions just tried to recreated what has alreaddy come to pass.

and it was forever watered down and shit.

and now we're here.

navel gazing at what once was. ripping on people who are too into the bro sound or too into the original vibe sound. producers get lambasted for trying something new that doesn't quite fit in with a suggested ethos to a sound and equally lambasted for sticking too close to the original sound and not deviating from this implied template.

dubstep has basically turned into breakbeat.

I saw Nero live once and literally ran out of the room. Not even kidding about that, I really did the ol' 180 and sprint in a crowded venue. Worst music I ever heard. Only 16 year olds hopped up on energy drinks could enjoy that.

I can't be arsed to find new interesting dubstep records anymore. Honestly, if you look at everything that is labeled as dubstep, 95% is shit and I think I said the same thing 2 years ago.
I'll just stick to what I know I like from a few years back.