Pinch, Underwater Dancehall (instrumental version)(Tectonic) Μ-Ziq, Duntisbourne Abbots Soulmate Devastation Technique (Planet Mu)Įpic45, May Your Heart Be The Map (Make Mine Music)Įnter Shikari, Take to The Skies (Ambush Reality) reviewed Skull Disco, Soundboy Punishments (Skulldisco) The Caretaker, Deleted Scenes/Forgotten Dreams Xylitol, Error Bursts In Transmission (Pierogi) Jamie Duggan Flavas November.2007 (Nocturnal) Kevin Ayers, The Unfairground (Lo-Max) reviewedĪrctic Monkeys, Favourite Worst Nightmare (Domino) reviewed Klaxons, Myths of the Near Future reviewed Lady Sovereign, Public Warning (UK release) Really felt: transatlantic release delays confusion category Peter Bjorn and John and Victoria, “Young Folks”Ĭaliber Ft KayLee, "Can’t Sleep At Night"ĭial Tone featuring Danielle Senior, "Take it to The Dance Floor" Sally Shapiro, "I Know" and "Hold Me So Tight" and "He Keeps Me Alive" TRC featuring Zoe, “Why Can’t I Find Love” Mr V feat Willis Rose, “What's Your Name” Neil Landstrumm, Restaurant of the Assassins (Planet Mu) reviewed Moon Wiring Club, An Audience of Art Deco Eyes (Gecophonic Audio Systems) preview reviewedThe Focus Group, We Are All Pan’s People (Ghost Box) Robert Wyatt, Comicopera (Domino) reviewed Panda Bear, Person Pitch (Paw Tracks) reviewed The Good, the Bad and the Queen, The Good the Bad and the Queen (Honest Jon’s/Parlophone) reviewed They suggest a modesty of ambition, of demand.īlack Moth Super Rainbow, Dandelion Gum (Graveface) reviewed The words 'house' and 'funky' have a lameness to them, a stale familiarity. Or before we started, even: pre-rave, pre-acieeed. The other outlook would be to see this latest return to 'dancing/4X4/girl-friendly/'adult hardcore'/dressing smart' not as a drastic swing/start-of-something-new a la 1997 and speed garridge, but as the wheel turning one complete revolution. History has proven that when they do, it gets claimed for their own and quickly mutated." While the sound is fairly generic funky house now, the sound of every wine bar as it has been for over a decade, urban London has now got its hands on the genre. Diametrically opposite to grime, funky house shows every sign of becoming UK garage part 2. ".In the capital funky house is on the march into grime's London fanbase. Kudos for the coinage "reflectist" in this nub passage: Martin lays out what the shift constitutes more starkly in his Pitchfork summation of the year in grime and dubstep. the bit on reloads in grime-a classic example of going into the Zone of Fruitless Intensification, something that was incredibly exciting-the rewind-getting overdone to the point where there's a complete disruption of any flow) but at the end of reading it I felt as confused as its participants appeared to be! Lots of interesting points made during the discussion (e.g. And as Martin notes at a couple of points, "funky" isn't yet a great leap forward, or even sideways, musically the sonic paradigm shift has yet to reveal itself. "Funky" melts into other genres at every edge without establishing much sense of itself as a demarcated terrain of sound. Here it's much less clear if there's even an "it" that's sufficiently defined/different to require a "wot". But the difference between this moment and grime's wot-u-call-it phase in 2003 was that then there was a very obviously new and highly significant entity that was simultaneously demanding to be called something and evading the nomenclative fix. Martin is surely right to argue that the most exciting phases are those periods of semantic indeterminacy before anyone can settle on a genre name, everything's still in flux, the sound has yet to arrive at itself. * Martin Clark convenes a clutch of movers and shakers in the London scene to assess the significance of funky house's ever-rising popularity in the capital whether it is indeed a major "pendulu(nuu)m swing". erm, nongenitality,yeah, totally, the amorousness of bassline is utterly fantastical and hyper-real nothing to do with real-world between-sheets carnality, more luvdup than love action.)
#Klaxons myths of the near future zip plus
Plus K-punk on bassline's freakadelic fairground aesthetic (and re. * bassline: another piece by Hattie Collins, this time for RWD and letting the scene itself-deejays, producers, promoters, even vocalists-tell their own story.
#Klaxons myths of the near future zip free
* dissensus thread started by Gabba Flamenco Crossover on dubstep's migration into the free party scene where its sloth and coldness mesh perfectly with the Ketamine-induced Katatonia that's long defined the squat-rave vibe, When the pharmasonic synergy kicks in and producers from that scene start to propel dubstep deep into the K-hole, will the genre's metabolism screw right down to.
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