Freewave's Genre of The Day Exploration

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 12 Jun 2013 13:46

If you liked the above check out Burial Ring's singles and Holy Other's - witch house meets Burial fusion. Latecomers but they certainly devleoped past some of the limitations of the original wave.

Will get some Hauntology, Hypnagogic Pop, and Vaporwave in the next 3 days before my vacation if i can remember.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 14 Jun 2013 10:20

Hauntology

"The discourse developed around Jacques Derrida's concept of 'Hauntology' (in 1993) and its application to music in the minds of writers and bloggers like Simon Reynolds, K-Punk and Adam Harper as a philosophical and aesthetic musical idea emerged in the music world in 2006. Derrida's original use of the phrase can be linked to a sense of 'threading the present through the past', or a ghostly re-imagining of the past defining our existence both in concept and in art. But in its musical sense, Hauntology has been used to describe a gathering of disparate artists dealing in "haunted" sonics; music resonating with the emotions and feelings of past analog, and digital ghosts. Often old Library Music and samples are used (from British Tv shows of the 60's and 70's), vocal voice overs, tape warbles, old electronics; all in a modern form of vaguely eerie semi-ambient music and collages. The Ghost Box label became the key label supporting the style and concept as well as pioneers like Leyland Kirby (under a variety of guises such as the The Caretaker). In many ways it's an older and distinctly British version of Hypnagogic Pop but with it's unique composition style, different artists involved, and may be the parent to what became the Witch House genre.


Full List

Highlights


The Caretaker - "Haunting Me" from Selected Memories From the Haunted Ballroom (1999)

"The Caretaker has always been the more thoughful alter-ego of Leyland Kirby. A nice diversion from the demonic plugin-fuelled insanity of V/Vm's more well known work, Caretaker instead goes for industrial ambience. Think Skinny Puppy's more cinematic moments and you’ll be somewhere in the right area – what I love most about this album though is the kind of reverberating fairground mood. Seaside organs hiss and hum in the background and give the record a persistent menace, a thick nostalgic groan which reminds me of Jeunet and Caro’s shiver inducing ‘Cite Des Enfants Perdus’ or maybe even more fittingly David Lynch’s ‘Eraserhead’. Vinyl crackle rings out across the album as if it’s being played as an instrument and before long you’ll be certain you don’t live in the real world anymore. Utterly unique and really quite scary, in the best possible sense."~boomkat

"The conceit of The Caretaker's Memories from the Haunted Ballroom has the simplicity of genius: a whole album's worth of songs that you might have heard playing in the Gold Room in The Shining's Overlook Hotel. Memories from the Haunted Ballroom is a series of soft-focus delirial-oneiric versions of Twenties and Thirties tearoom pop tunes, the original numbers drenched in so much reverb that they have dissolved into a suggestive audio-fog, the songs all the more evocative now that they have been reduced to hints of themselves."~k-punk




The Mount Vernon Arts Lab - "Dashwoods Reverie" from The Seance at Hobs Lane (2001)

"The Séance at Hobs Lane' originally revealed itself on the Via Satellite label in 2001 before Ghost Box gave it a first resissue in '07. It features a coven of prime electronic operators at the table, including the late John Balance of Coil, plus members of Add N to (X), Teenage Fanclub and Belle and Sebastian alongside project instigator, Drew Mulholland, who has also produced music for Trunk Records and Durtro Jnana. Mulholland's interests in psychogeography, the occult and vintage British sci-fi scores heavily inform this CD, which couldn't be any more fitting for a Ghost Box release, really! Mr Mulholland has crafted a sterling slice of aural magic with this album that should appeal to fans of avant-jazz, electro-acoustic, sci-fi soundtracks and of course those intrigued by the concept of hauntology."~boomkat




Boards of Canada - "1969" from Geogaddi (2002)"

When the word ‘hauntology’ was first applied to music in January 2006, it was used to describe the Ghost Box and Mordant Music record labels (technically it was Simon Reynolds who proposed it as a name for a musical style, but credit should go to k-punk for using the term in connection with Ghost Box’s music long before this in September 2005). Boards of Canada who’d been a celebrated act in experimental electronic music since the late nineties, were added to the ‘hauntological canon’. Unlike Ghost Box, in 2006 Boards of Canada were no longer the latest thing, but their huge influence on Ghost Box and its artists can’t be denied. The Boards of Canada albums Music Has the Right to Children (1998) and Geogaddi (2002) are reminders that a simultaneously Arcadian and sinister musical hauntology based on cut-up samples, vintage synthesiser technology and a faded modernism arising from mid-twentieth-century television, science, public education, childhood and spirituality was being practiced both on disc and in self-designed label art years before Ghost Box’s equally compelling and more specific project developed the theme."~rougesfoam



Belbury Poly - "From an Ancient Star " from From an Ancient Star (2009)

"The Ghost Box label exorcizes another stunningly realised release from the mind of Jim Jupp aka Belbury Poly with his fourth full length album of hauntological tropes and queasy listening. Since Simon Reynolds borrowed Jacques Derrida's term 'Hauntology' to describe the music and aesthetic of the Ghost Box label, a scene of related sonics has calcified around the label heads Jupp and Julian House (aka The Focus Group), drawing connections between the somnambulent psychoacoustics of The Caretaker, Philip Jeck, or the Mordant Music label. Belbury Poly's sonic style differs from both aforementioned artists and label, with his work more interested in the lost electronic soundtracks to British public information films, or the the idents for early morning/late night TV for schools and cheap hammer horror style themes, with respectful nods to the work of the The BBC Radiophonic Workshop or the tweetronica of Raymond Scott and the type of unarchived gems plucked from obscurity by Jonny Trunk's reissue label. Jupp's music is entirely faithful to the sounds he and the rest of us have absorbed by unconscious osmosis over our lifetimes, perfectly encapsulating that eerie feeling of Deja Vu you may encounter when listening to something like Burial's self titled debut, sounds triggering thoughts and memories with the same power as an oddly foisty smell which can immediately transport the recipient to some vaguely familiar place or time in the past. This is a whole lot more than mere nostalgia though, and more representative of the feedback loop which much music nowadays feels trapped inside, with Jupp's sounds channelling some emotional resonance reverberating through it all."~boomkat

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Re: Freewave's Genre of The Day Exploration

Postby Nine Volt » 14 Jun 2013 20:23

Have you done electroclash? If not I certainly wouldn't mind seeing it :3
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 14 Jun 2013 23:12

Nine Volt wrote:Have you done electroclash? If not I certainly wouldn't mind seeing it :3


A man of my own taste!! First genre done on page 1! :D
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 24 Jul 2013 17:51

Man why did i give up on this thread? Ok let's keep this rolling.

Hypnagogic Pop

hyp-na-go-gic

"relating to, or occurring in the period of drowsiness immediately preceding sleep"
"

"A new set of groups, many with noise backgrounds, are melting lo-fi melodies into abstract sonic ambience. In the August 2009 issue of Wire magazine, David Keenan coined the term "hypnagogic pop" as an umbrella for these various sounds and approaches, citing the outer-space soundtracks of James Ferraro of the Skaters, the muffled tropicalia of Ducktails, and the gothic haze of Zola Jesus. This may be less a movement than a coincidence, but either way it's promising." ~pitchfork

"Hypnagogic pop is phenomenon sweeping America's DIY underground, a questing post-Noise network that worships New Age music and uses half-remembered hits as portals to subconscious. Hypnagogic pop is pop music refracted through the memory of a memory. Hypnagogic realms are the ones between waking and sleeping, liminal zones where mis-hearings and hallucinations feed into formation of dreams."
wire or pdf

Hypnagogic Pop is concept based and grounded in lo-fi and inspirations of prior decades music. While Chillwave was the lone offshoot of it (and should be considered a child genre) to gain mass popularity and a specific sound (through specifically a hazy 80's electronic pop sound) there still exists the original concept based scene that spawned a new batch of lo-fi indie artists conducting in 70's inspired drone, soundscapes, psychedelia, and krautrock revival. Hypnagogic Pop is a loose concept (not far off from the multi-faceted style of Krautrock) but it still has many similarities and a wide effect on the scenes of 2009 and beyond.


Full Set

Highlights


James Ferraro "Memory Theater" (19:13) Marble Surf (2008)

"If he's most well known for anything (and he isn't), it's probably The Skaters. As a "solo" artist, he's had more identities than it's worth listing here. He's probably the only person who's more prolific than Acid Mothers Temple. He can be pretty hit or miss, too, depending on your patience for lo-fi, scrambled tape messes of wasteland-psychedelic samples and alchemical keyboards and random noises that sound like they were rescued from a box of betamax tapes. That whole alternate 80's universe that bands like Wingdings, Sun Araw, Dolphins Into the Future, Infinity Window, Matrix Metals, et al are floating in? James invented it. I think he's kinda genius, but it's an acquired taste. Except for Marble Surf. This is simply the most endlessly beautiful thing I've ever heard."~vitoriansquid



Pocahaunted - "Ashes Is White" (7:46) from Island Diamonds (2008)

"For over two years now, we've been captivated by Los Angeles duo Pocahaunted's knack for breathing new life into the heady, elusive genre of improv psych. The prolific team of Bethany Cosentino and Amanda Brown (co-head of noise/drone/psych label Not Not Fun) have already out-released most masturbatory psych-rock lifers, with over twenty limited cassettes, CD-Rs, and records to their credit on esteemed underground labels like Brooklyn's Fuck It Tapes and Iowa City's Night People. Thanks to a wildly-fluctuating stream of musical obsessions ranging from Double Leopards to the Beach Boys to Tom Tom Club. sin am



Sun Araw - "Thoughts are Bells" (9:26) from Beach Head (2008)

"Sun Araw belongs to the Not Not Fun Records family, and plays guitar in the band Magic Lantern. "Beach Head's" Strung out jungle drones, minimal tribal drumming, and Cameron's reverb drenched vocals project jungle scenery into the listener's head, while setting a relaxing meditative atmosphere. ""Sun Araw is/was a member of Pocahaunted and Magic Lantern."~latimes




Ducktails - "On The Boardwalk" (4:20) from Landscapes (2009)

"Matthew Mondanile has been creating utopias for people's ears for about a year or so now, and he has recently released a new LP entitled Landscapes. His music can be best compared to the music of The Skaters member James Ferraro. If you don't know what either Ducktails or James Ferraro's music is like, then you're lost. Ducktails is a little more user-friendly, unlike James Ferraro who is known for making drone music. Mondanile doesn't sound like he's very fond of drone. His sound is more layback and dancey. Ducktails' sound is becoming even more mellow at the moment, minus the prog-rock quickie "Landrunner". Some of the songs have no drums and are just guitar ambiences." om

"While goofy descriptives like "chillwave" suggested the sudden trendiness of acts comprising one dude in his bedroom manipulating breezy synth noises and recording it onto cassette, Real Estate's Matt Mondanile's output as Ducktails has always seemed to materialize naturally, like an idea whose time has come. With Landscapes, he stuck to familiar territory: the Jersey shore, two-chord rave-downs, 80s education-film synths, and lots of unobtrusive, noodley layering. Everything feels gently out of sync and unapologetically stoned. The result is something strange and abstracted, but also immediately recognizable to anyone who grew up in the suburbs in the 80s or 90s. "~tinymixtapes

Ducktail's is the hand off of the baton between Hypnagogic Pop and Chillwave. Even an Indie Beach vibe in there too.


Hypnagogic Pop is not something that ever translated to a mainstream audience in the least and its wide use of lo-fi elements, limited runs, and and cassette culture helped that in part remain incredibly underground. It is still my most popular box set set on RYM perhaps because it's everything that one would expect in a modern genre. Enjoy.

I guess I'll do Vaporwave next to finish out this modern branch of retro dreams.
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 25 Jul 2013 02:34

Are you taking requests? If so, can you try Rave and Jungle? Thanks.
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Re: Freewave's Genre of The Day Exploration

Postby ghelded_kultz » 25 Jul 2013 07:06

Glad to see this coming back alive again. I missed it.

Hyponagogic Pop sounds cool.
"Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating." - John Cage

Trolls and makers of bad music, thats us!
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 25 Jul 2013 07:13

simonli2575 wrote:Are you taking requests? If so, can you try Rave and Jungle? Thanks.


Yeah I don't think done Jungle or Drum & Bass yet. Would be cool to show from a historical standpoint although most people know what it sounds like (now).

Rave is a bit hard as its not really a genre but included a lot of stuff happening at the same time. Hardcore Breakbeat and Hardcore Techno would be 2 to check out and they should be deeper in this thread already. ;)
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 25 Jul 2013 09:40

Going to skip Seapunk as I don't think it's much of a real genre even if it seemed like it was a thing for month and got plenty of press. So let's do the most current retro ripping genre since Hauntology, Chillwave, and Hypnagogic Pop.

Vaporwave

"Vaporwave brings about a sense of 80s-90s nostalgia, often with a kitschy veneer: corporate culture, computers, waiting rooms, the new aesthetic, VHS tapes, distant and muffled televisions and radios, retro video games, new age, synth funk. Vaporwave has close ties and some overlap with seapunk, Chillwave, and Plunderphonics. I recommend reading Dummy Mag: Vaporwave and the Pop-Art of the Virtual Plaza for more on the inspiration and aesthetics of vaporwave."

Main List

Highlights


Chuck Person"Eccojam B4" from Chuck Person’s Eccojams Vol. 1 (2010)

Chuck Person is actually Oneohtrix Point Never. It's the starting point for Vaporwave and its retro nod to Ecco also has a strange tie in with Sea Punk if you were truly reaching. What it actually is is slowed and repeated 80's pop snippets on loop and seems to set the creative ball rolling for the scene.



Macintosh Plus "リサフランク420 / 現代のコンピュー "from Floral Shoppe (2011)

"Floral Shoppe is the modern day 4'33''.

It is praised by those who interpret the music, and whatever meaning it has, as loosely as possible, and spit upon by more traditional, level-headed listeners. I've seen Floral Shoppe be called a minimalistic masterpiece with themes and concepts that don't directly manifest themselves, and I've seen it called a joke album made by some goon on his computer in a day.

The second track, "リサフランク420 / 現代のコンピュー" is literally Dianna Ross's "It's Your Move" slowed down and reverberated. Laughable, isn't it? But wasn't Caretaker's An Empty Bliss Beyond This World composed entirely of old, decayed 78 RPM records? If Caretaker can create a minimalistic album about memory loss and longing for the past, how do we know Macintosh Plus can't create a similar album about the lucid nostalgia of early '90s home computers? DJ Shadow's Endtroducing, an album composed entirely of samples, an audible collage, was universally praised. Did Macintosh Plus do anything different?~Babkock



情報デスクVIRTUAL - "M A X I FERRARI ~ レーススラム" from 札幌コンテンポラリー (2012)

情報デスクVIRTUAL is one of the pseudonymous of the WA artist behind VEKTROID, his main pseudonym. 札幌コンテンポラリー (Sapporo Contemporary, in English) is the only album released in this name (until now) and I can say: it's one of the best vaporwave releases and, with that said, it's one of the best releases of this decade. Ranging from ambient music, exotica, contemporary R&B, synth funk and smooth jazz, you'll have 25 tracks to go back in 1980's nostalgia, infomercials, instructional videos, office lobbies, hotel reception areas and shopping malls.

The case is: what is programmed and what is sampled? The answer: we will never know. And that's one of the beauty of the mysteries evolving the so-called "vaporwave". We are here just to listen these songs and have a enormous taste of nostalgia."~M1A1

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 25 Jul 2013 09:43

I'll do Jungle and some of the earliest variations of Drum & Bass next!
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 25 Jul 2013 10:14

Freewave wrote:
simonli2575 wrote:Are you taking requests? If so, can you try Rave and Jungle? Thanks.


Yeah I don't think done Jungle or Drum & Bass yet. Would be cool to show from a historical standpoint although most people know what it sounds like (now).

Rave is a bit hard as its not really a genre but included a lot of stuff happening at the same time. Hardcore Breakbeat and Hardcore Techno would be 2 to check out and they should be deeper in this thread already. ;)

Then Hardcore Breakbeat is what I meant.
Nice to see you're going to do Jungle and early DnB next. Will it include Darkside, Darkstep and Techstep? :D
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 25 Jul 2013 10:44

Yeah I'm gonna try to get some of the early divisions in there. I'm gonna TRY to get a track from each but its also quite hard to do so as there's quite a bit and each came out at different time periods

Atmospheric Drum and Bass
Darkstep
Drumfunk
Drumstep
Hardstep
Jazzstep
Jump-Up
Jungle
Liquid Funk
Minimal Drum and Bass
Neurofunk
Techstep
Trancestep


If you want a taster here's the Drum & Bass timeline which was adapted from an article from BBC
http://rateyourmusic.com/list/TheScient ... s_timeline

Lotta good history there and great tracks.
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 25 Jul 2013 11:12

We are Internet Explorer. \o/
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My YouTube channel
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Software: FL Studio, Z3ta+2 & Massive
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Genres: Drum 'n' Bass and occasionally Jungle
Genres I want to try out: Dubstep, Breakcore, Hardstyle and Trap
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 27 Jul 2013 09:33

Ok the many flavors of Drum & Bass. I'll go over the original Jungle era and have a few examples. Please reply if you can as i hate to have so many embeds on a single page and i'd like to stagger them

Full Lists
RYM Box Set
D&B Timeline

Commonly known as "rave", Breakbeat Hardcore emerged from the UK club scene of the late 1980s/early 90s and was popularized by artists such as The Prodigy. Many of the tracks relied around breakbeat samples (often the amen break). It wasn't until Hardcore got faster and harder that it split off to become Jungle.



Darkcore / Jungle

"Darkcore was the halfway evolutionary point between breakbeat hardcore and jungle, and this is one of the tracks leaning closer to the jungle side. In fact, this (and others like it) actually somewhat bypasses jungle’s trademarks (particularly the ragga aspect of the style) and seems unusually close to drum and bass for its time.

This sort of darkcore would prove to be an important touchstone for the later genres of darkstep and techstep. There is much less sense of fun than the contemporary breakbeat hardcore (this was an intentional effect, intended to contrast with the “cheesy” tracks which had made the charts like Sesame’s Treet and Charly) and the mood is instead one of seriousness, heightened awareness brought about by drug-induced paranoia, and tension. Years later, when it was time for the backlash against the LTJ Bukem & Goldie style of intelligent drum and bass, producers (in some cases the same people) adopted the same sonic aesthetic and atmosphere. Nasty Habits was an early alias of Doc Scott, and “Here Come the Drumz”, a great early classic of the jungle canon, is probably the most famous of his productions." ~At_SwimTwoBirds's



Jungle / Ragga Jungle

Originally used synonymously with Drum and Bass, the term Jungle is now typically used to refer to the earlier, rougher, rave-influenced side of the genre. It tends to emphasise a Reggae influence, best exhibited in the subgenre of Ragga Jungle. Jungle is a fast-paced, often chaotic-sounding form of EDM built upon heavy basslines and greatly syncopated breakbeats.

"Incredible was the first really big jungle hit. '94 was the year that the jungle massive managed to conquer the mainstream airwaves (meaning Radio 1 shows other than the John Peel show) and this was the big one. The pounding, chaotic rhythms over which General Levy spits his frenetic and Booyaka-saturated lyrics defined jungle for those still seeking a definition. Media interest led to interviews, and one interview with the "frontman" General Levy became almost as famous as he was.

When speaking with Face magazine, Levy was clearly flushed with his success and in the mood for boasting: "I came along and bigged up jungle. I took it national....now I'm running jungle, big time". Many jungle producers were already frustrated that their underground scene was being popularised by the likes of Levy & M-Beat, whose ragga jungle stylings weren't wholly representative of all jungle anyway, and this boast caused a backlash, a serious reaction from all quarters of the jungle scene that ended M-Beat and Levy's careers.

General Levy eventually publicly apologised, but it didn't matter by that point. Along with the increasing violence in the jungle scene (imported along with the MCs from Jamaican dancehall, it would seem), the state of affairs that '94 had brought about meant that jungle was increasingly ignored in favour of new ideas about drum and bass. "



more to come....
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 27 Jul 2013 11:53

pizza time
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 27 Jul 2013 12:10

...continuing

The Drum & Bass Years

As Jungle's popularity drastically waned in the mid 90's the "more intelligent" side began to gain ground and the name simply turned to Drum & Bass and it stayed that way.

Atmospheric Drum & Bass a subgenre of Drum and Bass which become prominent in the mid-nineties. It distinguishes itself from the other genres of drum and bass by speeding up the breakbeats and reducing their emphasis in the production, and instead focusing much more on the melodic aspects of the track, using slow, warm basslines, clean production and downtempo, atmospheric melodies inspired by Ambient & Ambient House productions. These elements make this strand of drum and bass into a relaxing, "chill out" type of music, as opposed to the frenetic energy of the Jungle and Happy Hardcore popular at the time.

LTJ Bukem is by far the most recognised and notable name in atmospheric DnB: not only did he pioneer the genre with early classics but he is also the owner of Good Looking Records, the most successful drum and bass label specialising in this style. Other important names in the genre include Goldie, Photek, Adam F, and Omni Trio.



Jazzstep emerged in the mid 90's. It is a result of a combination of the rhythmic drum and bass structure with contemporary electronic jazz composition and quite often including vocal deliveries as well. A close cousin to Atmospheric Drum & Bass but much more focused on Jazz as a direct influence.




Hardstep had a characteristic gritty style and less cut-up of breaks than in regular drum and bass and a direct contrast away from the atmospheric side of the time. Played by DJ Rap and Ed Rush in mid 90's era.




Jump-Up originated in the mid-90s and was characterized by loud "wobbling" basslines and drum loops which are generally simpler than those of other styles of drum and bass. Jump-Up is also noted for being more light-hearted and warmer than other subgenres such as Techstep, and for making more use of Hip Hop samples.

As of the late 2000s, however, Jump-Up has become increasingly less well-defined, but is still used to describe records with "wobble" basslines and a lighter feel than other subgenres such as Neurofunk. Notable artists of the genre in its original form include Ray Keith and Aphrodite, whereas DJ Hazard is the most renown of the newer names in Jump-Up.

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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 28 Jul 2013 05:14

I love this guide.
I'll certainly read this more thoroughly when I get the chance.

And I wanna repeat that I'm very curious about what you can dig up about Jumpstyle, Tekstyle, French Tek, etc etc
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 28 Jul 2013 07:16

Hmm... I thought Darkstep came earlier than Techstep.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 28 Jul 2013 11:06

I'll get the rest D&B up soon and finish it up soon. the important thing with Drum & Bass subgenres is a LOT of proto tracks came out early and then it may be 4 years of so after that the name and the style solidify. So it makes timelines really hard to do and not super easy to show as its all flowing out at the same times as other styles...

And again most people are just calling it drum & bass and not a particular style....
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 01 Aug 2013 11:11

Continuing Drum & Bass

Techstep

It was in 1995 that Techstep first started to emerge; the term was coined by Ed Rush and DJ Trace, who with the rest of the No U-Turn Records artists were the initial innovators of the style which started as a harder, darker and more aggressive form of Hardstep. By the late 1990s (around 1998 or so) it had become fully established as a separate genre and, surprisingly for such a dark and uncommercial sound, became (along with the similar genre of Darkstep) the dominant sound of Drum and Bass and remained so for years.

Of all the reasons for this development, two are particularly important. Firstly, the emergence of UK Garage as a highly popular and mainstream genre saw drum and bass lose a lot of its more casual fans, partially on account of the relationship between the two genres (analogous to that of Breakbeat Hardcore and Ambient House - UK garage was "chillout" music for drum and bass fans).

The second notable reason was the arrival of the next wave of innovators in 1998-99, chief among them Bad Company. Their track "The Nine" along with other contemporary releases was part of an era which was a watershed for both techstep and drum and bass as a whole - when producers began to create tracks on music-making computer programs rather than using samplers and drum machines




Neurofunk

Neurofunk or Neuro is the progression from techstep incorporating more elements from jazz and funk. It was further developed by juxtaposed elements of heavier and harder forms of funk with multiple influences ranging from techno, house and jazz, distinguished by consecutive stabs over the bassline and razor-sharp backbeats. The first sounds of neurofunk's early evolution - when diverging from techstep - can be heard on Ed Rush and Optical's "Funktion" single for V Recordings and on their first album Wormhole LP for Virus Recordings in 1998.




Trancestep

Trancestep is the combination of Trance synths, melodies, and structure with the fast breakbeats (155-180bpm) and deep rolling basslines of modern Drum and Bass. It was pioneered initially by Drum and Bass producers such as John B and Concord Dawn who jointly appeared on the Mixmag Compilation Trance 'n' Bass which has become the best indication of what that sound consisted of and the initial artists involved. Since then it has become more of a footnote of a rarely used drum & bass style and less as a widely thriving genre or scene. Trancestep has occasionally been taken up by Trance producers, most notably ATB, but remains mostly rooted in Drum & Bass of the two parents.

http://rateyourmusic.com/list/TheScient ... rancestep/



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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 01 Aug 2013 11:29

Wee, more DnB.

I wish there were spoiler tags, that way every page here could be loaded fast.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 01 Aug 2013 12:18

Yeah that would be helpful. These threads are likely a serious pain to load.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 02 Aug 2013 09:10

Part 4 and the final part of Drum & Bass

Liquid Funk

Around the year 2000, Drum and Bass DJ Fabio began, via his Radio One show, to draw attention to a new sound in drum and bass which he named Liquid Funk, releasing a compilation of that name as a showcase of it - thanks to his efforts the genre caught on and began to thrive, with the artists inspired by him developing it into a distinct subgnere. Most of the early tracks were by artists generally considered Atmospheric Drum and Bass or Jazzstep producers, and Liquid Funk is very much a development from and continuation of those genres, sharing the same emphasis on deep, relatively slow basslines, as well as the use of Funk and Soul samples, and influence from said genres.

Not as present in its predecessors is the trend for extremely polished and smooth production, a lush and warm sound which makes it very dancefloor-friendly, and much more appealing to non-DnB fans than its other subgenres. There are also significant Disco and House influences, in terms of both direct elements such as soulful vocals and use of horns, piano, and other 'real' instruments in the melody, and also in elements such as the mood and feel of the tracks - the general feel of liquid funk is an upbeat melancholy rarely found elsewhere in DnB. The name of the genre evokes the sound very well; the groove of the thick bassline and breakbeats of funk, but made smooth and effortlessly fluid.




Minimal Drum & Bass

Minimal Drum and Bass is, as the name would suggest, a subgenre of Drum and Bass which strips down the sound as far as it can go without wholly ceasing to be drum and bass (and even so, the most extreme tracks are often confused with Future Garage). Although there had been experimentation with minimal tracks by DnB producers for years, it was dBridge & Instra:mental who pioneered it as a distinct subgenre with their Autonomic podcasts in 2009, and the genre received wider attention in early 2010 when their Fabriclive mix CD was released.

Minimal DnB tracks generally remain close to DnB tempos of around 170bpm, but almost every other aspect of the music contrasts highly with contemporary trends in DnB; the closest similarities lie with Liquid Funk, with both making use of the same type of sharp and clear production. The genre takes far more from dubstep and future garage, with very sparse production and a restrained feel. The traditional drum and bass rhythms are infused with the attitude of 'less is more' as is prevalent in Minimal Techno-influenced dubstep, using quiet percussion, deep sub-bass (little to no LFO 'wobble' bass) and subdued melodies.




Drumstep

One of the two genres which developed out of the late 2000s and early 2010s cross-pollination of Dubstep and Drum and Bass, the other being Minimal Drum and Bass. However, the latter is almost completely in opposition to this genre; Drumstep is a dancefloor-friendly, loud, and heavy combination of Jump-Up and Brostep.

Drumstep can be seen as a development of earlier experiments with half-time drum and bass, where the normal 170bpm drum and bass tempo is slowed to 140bpm or the illusion of slower tempos is be given by altering the structure of the drum and bass rhythm (placing the snare on the 3rd beat instead of on the 2nd and 4th as is typical in drum and bass). Examples of drumstep producers include Dub Foundation, Heist, Callide, Dirty Deeds and Kanji Kinetic.

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 02 Aug 2013 09:11

Hmm what am i putting up next? More EDM? Something completely different?
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 02 Aug 2013 09:38

What's the demoscene? I can definitely do the latter 2
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