Freewave's Genre of The Day Exploration

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 24 Aug 2013 13:27

ExoBassTix wrote:Have you done Techno/Hardtechno/Schranz already?


I haven't really covered much of of any of it tbh. I can start hitting the subgenres as it's actually had a lot of various movements. http://rateyourmusic.com/list/TheScient ... t__techno/

Start at the bottom and work up?
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 26 Aug 2013 03:04

Yea sounds cool :) can't wait till the Dub Techno part xD

Also, could you top it off with Hardtechno/Schranz afterwards? As it's not on the list you linked...
(I totally expect Miss Djax and Marshall Masters and Human Resource coming up somewhere in the list :P )
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 30 Aug 2013 16:03

Alright let's start that techno invasion. Born and raised in Detroit!!

"Detroit Techno was originally thought of as a subset to Chicago's early style of house. Although producers in both cities used the same hardware and even collaborated on projects and remixes together, Detroiters traded the choir-friendly vocals of House with metallic clicks, robotic voices and repetitive hooks reminiscent of an automotive assembly line and better reflecting its own city's characteristics. With subtle differences between the genres, clubs in both cities included Detroit techno and Chicago house tracks in their playlists without objection from patrons."~wiki

This list is to document the early Detroit tracks and to show the similarities and differences from Chicago House. As noted Techno continued to go a different direction from house but the split occurred here. Detroit Techno also went through a second wave of artists that is not represented here.

Full List

Highlights


Model 500 - No UFO's (1985) [Single]

'No UFO's' single is the beginning of the solo carrer of Juan Atkins as Model 500 and one of the most important releases in techno history. It's the first single of Metroplex, his label, still from 1985. 'No UFO's' track represented the avant-garde of the electronic music of that time, and became one of the biggest influences of the early Detroit techno scene. It's dark ambiance of the obscure bassline, strange synths and the sinister use of the vocals were unique. ~Alain_Patrick(Discogs)

"The period from 1985 to 1987 proved to be his most influential period. He founded his own label, Metroplex Records, in 1985 and recorded his first single as Model 500, "No UFO's." Derrick May, who was living in Chicago at the time, invited Atkins over and told him to bring his records. The duo sold thousands of copies, and "No UFO's" soon became a hit with Chicago mix shows like the Hot Mix "~AMG

Spoiler video:
[youtube]https://www.youtube.com/watch?v=KNz01ty-kTQ[/youtube]


Rhythim Is Rhythim - Strings of Life (1987) [Single]

"His nickname “The Innovator” is an apt one, Derrick May took the template that Atkins and others were working with to its logical end, in the process creating a string of singles that still stand as some of the greatest electronic music ever produced. Derrick May didn’t make too many records—then again, he never really made a bad one either. May favors many layers of sound (including lots of percussion) and jazzy solos and riffs that overlap and play off each other perfectly, creating dancefloor compositions that work equally well in the living room."~Stylus

"The original version of “Strings of Life” with its signature piano riff (co-written with or written by Michael James, depending on who you believe) is probably one of the most played dance records in history, and hardly any instrumental dance track, techno or otherwise, is so instantly and universally recognized. “ Stylus

"Strings of Life 89" hit Britain in an especially big way during the country's 1987-88 house explosion, and May became one of the first American techno artists to tour England."~wiki

Spoiler video:
[youtube]https://www.youtube.com/watch?v=qiCEGXGm-z0[/youtube]


Inner City - Good Life (1988) [Single]

"Kevin Saunderson is the youngest of the Belleville Three and while many are quick to write him off as merely a house producer who fell in with the right crowd (that is, Atkins and May), Reese has shown himself capable of unleashing some heavy dancefloor techno all on his own. One listen to tracks like “The Groove That Won’t Stop” will tell you that anyone who refers to Saunderson as “weak” simply hasn’t heard nearly enough of his music."~Stylus

"Saunderson did spend more than a decade fronting Inner City with Chicago House diva Paris Grey, making techno-oriented pop records for Virgin, Ten, and 6x6 Records, among other labels. And while he pursued—and found—chart success in Europe with tracks like “Big Fun” (the single taken from the Ten/Virgin comp) and “Good Life” (Inner City hit the British Top 40 a surprising eight times), Saunderson stayed underground for the most part in his native country, producing a staggering amount of music under a bewildering array of names and on a menagerie of labels. While purists might say that Atkins and May were the “real Techno” artists of the trio, Saunderson certainly did more to raise the international consciousness of the genre than the other two combined."~Stylus

Spoiler video:
[youtube]https://www.youtube.com/watch?v=iUwfOOdg4eE[/youtube]


Suburban Knight - "The Art of Stalking" (1990) [Single]

"The sound of the Suburban Knight is best summed up in one word: dark. To further expand: repetitive, groovy, and menacing. Pennington’s swirling, atmospheric chords and circular riffs were a precursor to the harder, minimal sounds of latter-day Detroit producers like Underground Resistance, Jeff Mills, and Robert Hood, as well as the Berlin Techno scene. When early singles “The Groove” (1986) and “The Art of Stalking” (1990) appeared on Transmat, the sound stood in stark contrast to label founder Derrick May’s dense, orchestral productions. "~Stylus

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[youtube]https://www.youtube.com/watch?v=EJhX2yqZEuc[/youtube]
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 30 Aug 2013 16:47

"Bleep Techno, which was a genre from the north of England (Sheffield especially) that existed for a brief period in the early 90's. It was one of Britian's first attempts at a homegrown style of electronic dance music. One of the first record of the bleeps genre was “The Theme” by Bradford’s Unique 3 in 1989. "Bleep 'n 'bass" was an alternative name for the wave of North of England techno that followed Unique 3. "Bleep" referred to the electro-style pocket-calculator synth-motifs; "bass" nodded to the floor-quaking sub-low frequencies.

Sheffield-based Warp Records quickly became the crucial label. The Warp outfits retained acid's tripnotic compulsion but programmed beats looked ahead to jungle rather than backwards to house. These were followed by a string of releases on the short-lived Leeds label Bassic Records and the longer lasting Network Records Records. Soon the music scene in England changed, as piano house anthems took over northern clubs and the breakbeat hardcore scene grew in London and the West Midlands. Bassic Records folded in 1991."

Unique 3 - "The Theme (Original Chill Mix)" (1989)

"This seminal track marks the rebirth of rave as an underground sound--hard 'n' dark 'n' strictly for the headstrong. Motored by a miasmic bassline that recedes into the mix then swarms back to subsume your consciousness like malevolent fog, "The Theme" is the UK coming up with a creative response to "Acid Trax" rather than just a faint reflection. But the ultra-minimal flipside track is even more inventive: just bass, space, and a plinky percussion riff that sounds like a xylophone made out of a dinosaur's ribcage."~FACT

Spoiler video:
[youtube]https://www.youtube.com/watch?v=6lLZqwhaWJc[/youtube]


LFO - "LFO (The Leeds Warehouse Mix)" (1990)

"Kraftwerk reincarnated as a pair of teenage ex-breakdancers from Leeds, LFO's Mark Bell and Gez Varley took bleep into the Top 20 with this immortal classic. Portentous and momentous like "Trans-Europe Express", the opening synth-chords make you feel like you're being ushered you into the prescence of greatness. Then that dark probe of a bassline bores its way into the depths of your brain, via your anus. LFO would go on to record the immaculately inventive Frequencies, one of electronic dance music's top albums."~FACT

Spoiler video:
[youtube]https://www.youtube.com/watch?v=RpZVPSCv79U[/youtube]


Sweet Exorcist - "Testone" (1990)

"Sweet Exorcist were Richard H. Kirk from Cabaret Voltaire and Sheffield's DJ Parrot, and "Testone" is a classic example of bleep's sensual austerity: the barest components (growling sub-bass, a rhythmic web of Roland 909 klang and tuss, and a nagging sequence of five bleep-tones) are woven into something almost voluptuous. The title comes from the test tones built into synths and samplers, while the opening soundbite--"if everything's ready here on the dark side of the moon, play the five tones"--is sampled from Close Encounters of the Third Kind."~FACT

Spoiler video:
[youtube]https://www.youtube.com/watch?v=eOzWrJ6nPIo[/youtube]
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 04 Sep 2013 15:43

Acid Techno: When the squelch of late-'80s Acid House music was given time to sink into the minds of impressionable youths, they became quite influenced by the sound. Many who began to make music in the early '90s applied the Roland TB-303 sound to techno. Many of the acid anthems were some of the hardest of the 90's techno tracks although acid was not limited to harder techno and many artists embraced more melodic techno that verged on its same use in early classic Trance. The limits of sounds and the overall age of the 303 instrument (in comparison to what was then available) eventually led to it's decline in usage in techno and the recycling of prior acid riffs towards the end of the 90's.

Full List
Highlights

Aphex Twin - "Didgeridoo" (1992)

Aphex Twin's first "hit". "This is a fantastic release, we know that. Digeridoo seems to be everybody's favorite, we know that. But do we know that A - this could be one of the most singularly UNIQUE "techno" records ever put out? Look out, though, Luke Vibert and Jeremy Simmonds were crankin' out some pretty tripped out stuff too, among MANY other less "out there" but equally brilliant and unique techno tracks that were being put out in the early early 1990s. And B - I could be wrong, but that sounds like a Roland TB-303 Transistor Bassline to me doing that digeridoo! If it is I ask - who but Richard D James would have ever thought to make a 303 replicate NOT a Bass Guitar, but a DIGERIDOO??? Moral of this review/comment - Richard D James as Aphex Twin always was and still is in many ways a real innovator in the realm of techno music. "~Jazzlicious

Spoiler video:
Underground Resistance - The Seawolf (1992) [Single]

"One of the most distinctive Acid tracks ever made even though the main riff was written with a 202, not a 303."~V-Agent

"This track should need no introduction, originally appearing as one third of the magnificent World Power Alliance series in 1992 and when the UR lineup was made up of founder members Mad Mike, Jeff Mills and Robert Hood, this was indeed Mills' contribution. Lethal, blistering acid, guaranteed to leave carnage wherever its tones may be heard, this is, of course... The Seawolf! "~interstellarsounds

Spoiler video:


Hardfloor -"Acperience 1" from TB Resuscitation (1993)


"Essentially ‘Acperience 1’ didn’t feature anything new. Acid had been done to death in the late 1980s, notably in Chicago, Detroit, London, and Manchester. All the sounds and samples used on ‘Acperience 1’ had been heard before, and this track even bears more than just a passing resemblance to ‘Acid Thunder’ by Fast Eddie. Yet when the E.P was released in 1992, no one had ever heard anything quite like it before, and in the years to pass this has proved to be possibly one of the most influential dance record released in the 1990s.

‘Acperience 1’ builds with ominous pounding kick drums, becoming meatier as the distinctive groove builds. The bass line drops in, and echoed clicking samples are expertly woven in as the acid drawl starts to make an appearance. The track builds and builds, adding layers, and becoming growlier and the 303s ever more tweaked. The caries on for several minutes, captivating the listener into a groovy hypnotic trance. The track then breaks for the most famous of breakdowns. It is here that the track truly reveals itself. A high pitched tonal atmospheric synth line which up until then had been running unheard in the background now comes to the fore. This builds the tension, which eventually erupts in a hail of huge snare rolls that even Wagner couldn’t have imagined. The track comes back with a vengeance and let’s rips with 303s tweaked to frequencies that could split a diamond in half. Finally it all comes crashing down for the cliff-hanger finale and winds itself down with superbly echoed acid bubbles and bleeps aplenty, until all that is heard is that tonal atmospheric synth line again. Perfect listening for the home and the dancefloor. It would take a very brave or foolish DJ to mix this one out."~ Universe

Spoiler video:
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Re: Freewave's Genre of The Day Exploration

Postby S.P.P » 05 Sep 2013 14:40

Can you see what you can dig up about eurobeat please? :3
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 05 Sep 2013 16:43

PYR3LIGHT wrote:Can you see what you can dig up about eurobeat please? :3


Sure! Here we go:

Eurobeat remains an anomaly even in the vast, weird world of dance music. produced pretty much exclusively in one country (Italy) and released pretty much exclusively in another (Japan), it's the only genre i can think of whose entire livelihood and circulation depends almost entirely on one compilation - the "Super Eurobeat" series, released every few months by Avex Records, which collects the new releases by a bunch of the most important eurobeat labels (okay, there are a few other compilations that feature the stuff - Dancemania, Eurobeat Flash, Euromach, etc, but SEB basically dominates.) actual albums are very rarely released, and in fact the huge majority of its artists and singers remain completely shrouded in mystery, their identities unknown and buried under pseudonym after pseudonym. basically, the genre lives in a world of its own, and its insanely devoted fans often remain completely unaware of the existence of other music.

what does it sound like? the main thing is that it's fast. like really, really fast. well, earlier eurobeat tended to be of fairly normal speed, but it kept going up rapidly and now it's basically 160BPM at lowest. other than that, wikipedia pretty much explains it:
"Eurobeat's sound is its main link to its Italo disco origins, where it was just one of many different experiments in pure electronic dance. There are certain synth instruments that recur across the entire genre: a sequenced octave bass, characteristic are the energetic (sometimes wild) and heavy use of synths, distinctive brass and harp sounds, and tight, predictable percussion in the background. These sounds are layered with vocals and natural instruments (guitar and piano are common) into complex, ever-shifting melodies that, at their best, burst with energy."

Full List

Highlights


Priscilla - Love is in Danger from Super Eurobeat 84

if you only hear one eurobeat song in your life, make it this one!!
Spoiler video:



Virginelle - Lucky Tango from Super Eurobeat 124
Spoiler video:


Baby Bazooka - "One Night With Bazooka Belly Dancers" from Baby Bazooka (2005)

The best eurobeat "album", though it's difficult to refer to it as such since it's really just four songs and a bunch of mostly superfluous remixes and alt versions. all four songs are golden, though! an absolute masterpiece and one of my all-time favourite records - the only reason it's not #1 on this list is because it's, well, not a great introduction to the genre. her sound is quite distinct.
Spoiler video:


Groove Twins - Viva the Night from Super Eurobeat 163
Spoiler video:


and there's some guy who makes eurobeat about ponies who some people like but the thought of that just seems utterly ridiculous.
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 08 Sep 2013 14:39

Can you do Ambient, Dark Ambient and Drone Ambient?
If yes, I'm very curious what you'll come up with.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 12 Sep 2013 16:33

Well let's do Ambient then

"Brian Eno is generally credited with coining the term "ambient music" in the mid-1970s to refer to music that, as he stated, can be either "actively listened to with attention or as easily ignored, depending on the choice of the listener", and that exists on the "cusp between melody and texture." Eno, who describes himself as a "non-musician", termed his experiments in sound as "treatments" rather than as traditional performances. Early albums by Krautrock artists have greatly influenced the genre. "


Full List

Highlights


Brian Eno "1/1" Ambient 1: Music for Airports (1978)

"An ‘important’ record (the first to directly use the term ambient), a line in the sand, and what a concept; it seems to speak to, soundtrack (and perhaps critique) the modern world. " ~Factmagazine

"Four subtle, slowly evolving pieces grace Eno's first conscious effort at creating ambient music. These evolving soundscapes don't require constant involvement on the part of the listener. They can hang in the background and add to the atmosphere of the room, yet the music also rewards close attention with a sonic richness absent in standard types of background or easy-listening music. "~AMG

**Some see this as the birth of Ambient as a genre, others as just an important work **

[spoiler=video][/spoiler]

Steve Roach - "Reflections in Suspension" from Structures From Silence (1984)
"Heralded by many as one of the finest ambient works of all time, Steve Roach's Structures From Silence is right up there with Brian Eno's "Music for Airports," and deservedly so. Originally released in 1984, Structures From Silence was deemed a classic almost immediately, but the contrast grew greater as Roach's output did, and the sheer beauty and clarity of this recording became more clear with time."

Spoiler video:


Harold Budd - "Flowered Knife Shadows (For Simon Raymonde)" from Lovely Thunder (1986)

"Drones do figure prominently as a musical base for many of the album's other songs, yet the music is generally more akin to the reverberated keyboard treatments Budd utilized to stunning effect on his two collaborations with Brian Eno. Those looking to explore beyond The Plateux of Mirror and The Pearl would do well to give this album a listen, as they will most likely be both challenged and satisfied."~AMG

Spoiler video:


Aphex Twin - "Rhubarb" from Selected Ambient Works Volume II (1994)"

The first Ambient Works is sweeter but this second LP, which is longer - a two CD set – is darker, stranger and harder to negotiate. Tracks often seem to dissolve as you listen to them – they are not easy to fix in the mind - they are spooky, unravelling textures."~factmagazine

Spoiler video:


Stars of the Lid - "Mullholand" - The Tired Sounds of Stars of the Lid (2001)

"You can't really talk about modern ambient without mentioning Stars Of The Lid. They are critical darlings and according to last.fm one of the most popular ambient acts."

"In the history of ambient manifestos, the '70s had Music for Airports, the '80s had Structures from Silence, the '90s had the Selected Ambient Works series and now the the '00s have The Tired Sounds of Stars of the Lid. What it has to say about ambient music is a little more understated than its predecessors, though; the album moves in hazy, continuous waves of dreamy sound that leave little resolved and even less clearly stated (the wordy titles are the most we get as far as tangible concepts go). But the music is undoubtedly ambitious and sprawling, delivering snapshots in time and space within suites as well as standalone tracks. Naming highlights is a fruitless process, and it's difficult to nail down essentials to anything less than the full tracklist. By the end of it I always find that it earns its collective impact as a development, it's astral tones echoing back and forth until they have formed a flawless whole.
"~red atm

Spoiler video:


some more varients of a theme tomorrow
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 13 Sep 2013 13:07

so Dark Ambient should be next. I'll add a little space.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 13 Sep 2013 13:39

Dark Ambient is a subgenre of Ambient music that emphasizes an ominous, gloomy, and dissonant atmosphere through the use of synthesizers and samples. While it is difficult to name any collection of original bands, it is known that Dark Ambient emerged in the early to mid 1980s with the development of more sophisticated sampling and synthesizer technology. Certain Dark Ambient releases make use of Field Recordings to simulate a bleaker mood. Because of its appropriate formula the genre is often blended with Industrial, Martial Industrial, Black Metal, Noise, and Neofolk. "

Full List

Highlights


Robert Rich & B. Lustmord - "Undulating Terrain" from Stalker (1995)

"Stalker is probably one of the five best ambient albums ever recorded. Its greatest strength is the way it successfully fuses the styles of Brian Lustmord (disturbing noise) and Robert Rich (ethereal ambient) while also cancelling out the worst of aspects of both artists' music (Lustmord's repetitiveness and Rich's new-age tendencies). In other words, you get all of the best parts of these artists with none of the bad parts.

Having seen the film Stalker is by no means required to appreciate this record. In many ways, the album is much darker than Tarkovsky's movie, and perhaps more effective at translating the omnipresent terror of "The Zone" rather than the dreamlike moods evoked by the story and Edward Artemiev's score. The atmosphere alternates between deep cerebral meditation and a terrifying sense of dread. Some of Rich's earlier experiments are reworked and repolished here, as in the sixth track "Undulating Terrain" which sounds like a mini version of the intro to Somnium."~Sepulchrave

Spoiler video:


raison d'être - "Mourning" from Collective Archives (1999) [Compilation]

"Raison d'Être is a one-man project that produces music of huge, cinematic proportions. Peter Andersson, the organizing principle behind Raison d'Être, collages together synthesizer, sampled voices, and chants for an impressionistic mural of remote, medieval, and forsaken landscapes. This vivid metaphor is even more plainly evident by the inclusion in the CD booklet of eight plates of paintings by Alexander Nemkovsky. There is a strong affinity between Nemkovsky's painting and Andersson's sounds. Both suggest the bleak and fantastic qualified by Latin titles. The final piece of this collection is "Frigus Membra." One of the Nemkovsky paintings is Voces Praetereaque Nihil. The painting is of twisted and barren trees overlooking a crumbling building rising above wisps of chilling fog. This is an apt setting for Andersson's disembodied voices, speaking as ghosts from the past, behind a veil of flutes, animals, and a heavy collapse all baring the distortion of traveled far through a dense winter atmosphere. Andersson's creations are evocative, gloomy, and convincingly otherworldly."~allmusic

Spoiler video:


Deathprod - "Dead People's Things" from Moral and Dogma

"Deathprod's Morals and Dogma is actually a discouraging listen, it really drags you down to the lowest of lows, and when you're down there, it beats you senseless with gloomy vibes and a depressing atmosphere. So, if you want about 45 minutes of darkness and discomfort, I recommend you give this album a go.

From the first tone that is uttered, you know what you're in for. It's the soundtrack to your own psychological thriller, it's scary, without the overused concept of surprise. There aren't really any highs or lows, it's all lows, all through the album, consistent as hell. It paints a very disturbing picture, it's so bleak I can't remember why I wanted to listen to it. However, after a while, I think to myself "Man, I wanna listen to that shit again", I wanna experience that darkness, just so that I can escape it."~eraserbrain

Spoiler video:
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 14 Sep 2013 02:29

Do something about how Hardcore Breakbeat evolved into Gabber and other Hardcore genres.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 14 Sep 2013 07:47

Well i've covered Hardcore Breakbeat which was mainly a UK thing. I also covered Hardcore Techno which was from Belgium and came out of the New Beat genre. Gabber initially came from the Netherlands so let's cover that now. Happy Hardcore mostly became a fusion of faster happy UK Breakbeat that chheesier and faster and the cheeesy side of gabber. I can cover that too in a bit.

Gabber is a fast-paced, energetic form of Techno, often in the 160+ BPM range. Its hallmark is a distorted kick sound, which is overdriven to the point of creating a square wave that forms a recognizable melodic tone, as well as synthesised melodies and pitch-shifted vocals. Emerging in Holland, it soon found popularity in the early 1990s, and continues to have a strong underground following in the rave and club scenes across many European countries

Full List

Highlights


Euromasters - Amsterdam waar lech dat dan?(Maastunnel Mix) (1992) [Single]

"Man this is GABBA! One of the first track and one of the greatest! with his soccer-related lyrics (Rotterdam and Amsterdam are kind of soccer-enemies) and one of the most tuff bass surrounded by a fuckin damaged screeching sounds. Alles Nar der Klote (first euromasters record) is good too. (Euromasters with Paul Elstak know as father of hardcore...)"

Spoiler video:



Fuckin Hostile - Fuckin Hostile (1993) [Single]

"Fuckin Hostile is Lenny Dee, who run in the United State (New York) the first Hardcore Label: Industrial Strength. The label sounds is one of the hardest and roughest in the hardcore scene and as the name suggest to you, the records are mainly techno-industrial or hardcore-industrial. This track, with hardfast-bass distorted vocals and obviously industrial noises, is one of the greatest!"

Spoiler video:



The Original Gabber - Pump That Pussy from Headbanger! (1993) [Single]

Mokum Records is always a warranty for cool track. This one's got a cool vocal sample! The breaks in the intro and the rollings hit-hat in the middle make this track as a crossover between gabber and art-core.

Spoiler video:
Note^ has a bad word in it. Don't click if that would offend you.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 19 Sep 2013 10:42

I guess happy hardcore next.
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 20 Sep 2013 02:18

What about Rotterdam?

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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 20 Sep 2013 06:57

simonli2575 wrote:What about Rotterdam?




It's a nice place to visit but i wouldn't want to live there. :grin:

Watcha mean?
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 21 Sep 2013 13:53

There's a genre with "Rotterdam" in it.


I'd love to see you do Tekno and/or Speedbass xD
Please do, though.
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 21 Sep 2013 15:00

Rotterdam was a hotbed for Gabber but not sure I've heard of a genre with Rotterdam in it. Google didn't find one either.

There's Free Tekno if that's what you're talking about. I've got a list for that (not speedbass).

Free Tekno (also known as Tribal Tekno, Spiral Tekno, or Teknival) is the name given to the music predominantly played at free parties in Europe in the early 90's and since. The music became faster than traditional techno and characterized by a pounding hypnotic repetitive kick drum. It was led by Spiral Tribe and the related artists on the band's Network 23 label. Spiral Tribe was a loose traveling group without any stars, purposely uncommercial, and with a communal but confrontational spirit that eventually spawned the 94 anti-rave Criminal Justice Act 1994. They then avoided authorities as they left the UK and traveled through Europe to mostly reside in France where they still to this day perform their free raves. Other artists have been associated with Free Tekno but most have not been able to achieve the same notoriety.

Full List

Highlights


Spiral Tribe - "Forward the Revolution" (1992) [EP]

"This is also my favourite Spiral Tribe tune. It's got a real rebellious shamanic vibe to it that gets me going everytime i hear it...To me it's as much a old skool hardcore record as it is techno, but there's so much more to it: The track starts with the humming, moody mystical synths at the beginning, with accompanying native american chants, heartbeat bump-bump style bass...another sample something about men who's hands are stained with blood through their own greed, and then the sinister 'Wake Up! distorted vocal before the track kicks in, with a sinister bassline and ruff breakbeats with a clanky,metallic sounding bit of percussion thrown in. Atmospheric strings samples are added as the track builds. A lovely roots reggae sample is used declaring 'forward the revolution', whilst mc scallywag and the absolutely wicked female mc get busy (don't know who she is, but to my mind she rips it up more than scallywag with her tekno-tribal, conscious chat, riding the rhythm with ease). I like the way the MCs give the track room to breath too and don't dominate it. The track builds up to a real crescendo, if you don't feel all defiant and lifted by the part of the track where both Mc's repeat "You might stop the party but you can't stop the future"...then you'd better check your pulse grandad! A brilliant track with so much going on. This is true-school timeless free party vibes; what it was all about back in the day, and what it should be about now. Spiral Tribe, I salute you."~the_cosmic_funkonaut

Spoiler video:


SP 23 - "Underworld" from Network 23 (1993) [EP]

On The Top 100 - Discogs Most Wanted (by release) (€17 to € 65)

"From its inception, the group was obsessed by the number 23. Images for musical releases, posters, backdrops and flyers featured the number 23. Parties were often organised on the twenty-third day of the month. Members sometimes recorded under the moniker of SP23, and the record label itself was called Network 23."~wiki

"The number 23 was used as the antithesis of "belief", a paradoxical symbol of "disbelief". Its edgeless ambiguity subverts mainstream and authoritarian icons of power, control and territory - all of which have rigid boundaries, meaning and syntax. Flying this black flag – with the capricious 23 face, complete with Jolly Roger grin (all mystery and mischief) - reclaims space with no strings attached. The spiral images and number 23s don't dictate a meaning, they invite interpretation, they proclaim, "make of this, what you will!"-forum

Spoiler video:


Sahara Tekniq "Untitled B2" (1995) [EP]

"In March 1993, after being acquitted of all charges relating to Castlemorton, the group moved to Europe, doing parties in cities such as Rotterdam, Paris and Berlin. Over the next few years, the collective organised parties and teknivals throughout Europe, then it slowly dispersed with some members taking up residence in Germany and Holland and releasing work on Labworks and many other techno labels. Individual members of the collective joined other sound systems, did squat art events or pursued other interests." blog

Like most original Spiral Tribe releases they go for big money, € 50 to € 120 for this one.

R-Zac (who is also R-Zac 23) is ... & Simon Carter (ie Crystal Distortion )

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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 22 Sep 2013 08:05

Thank you <3 I am so going through this tomorrow xD I find Free Tekno hilarious (as in, bad but bad enough to make me laugh).
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 09 Nov 2013 20:19

Do you still do these things?
If yes, could you do Speedbass or Subground?
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 10 Nov 2013 12:12

ExoBassTix wrote:Do you still do these things?
If yes, could you do Speedbass or Subground?


TBH i dont know a thing or have anything on those genres. I kind of stopped doing these again as my workplace cracked down on internet time and this became more a liability and futility in preparing them. Anyone can always go to rateyourmusic and catch all the existing sets i have in their full length. :)
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Re: Freewave's Genre of The Day Exploration

Postby ExoBassTix » 11 Nov 2013 07:16

Haha, the genres I named were kinda to troll you, nobody knows what Speedbass is and Subground is a very small genre that was born in 2011. Still, Subground is amazing.
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Re: Freewave's Genre of The Day Exploration

Postby simonli2575 » 06 Dec 2013 14:08

Could you do a bit of sub-genres of Trap if there's any?
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Re: Freewave's Genre of The Day Exploration

Postby Freewave » 06 Dec 2013 14:22

The original Trap is now sort of known as Trap Rap, becuase it was just that. It was a subgenre of rap music before any EDM producers got involved. http://rateyourmusic.com/list/ason_jone ... _trap_rap/
Really in-depth list.

Before that was published I was working on a set for Trap (which is now what most people call just Trap (minus the rap usually) and with a serious EDM audience. Here's what i had for that set that was unpublished. Some people call Trap, Drubstep, any similar stuff Bass Music but i find that horribly generic.

so here's info:

"Trap Rap is a music genre which originated in the early 2000's from Southern hip-hop, hardcore hip hop, mobb and crunk music. While its sound and influences have undergone a number of developments since its inception, it can often be characterized by its sweeping sub-bass, breaks, crisp snares, scratching, heavy use of 808s, layered synths, repeated samples, and sped up hi-hats. Initially an underground genre, trap music first experienced mainstream exposure in 2003 after the success of a number of landmark albums, including T.I.'s Trap Muzik and Young Jeezy's Let's Get It: Thug Motivation 101 . In 2010, trap music experienced a renewed success with releases by artists including Waka Flocka Flame, Rick Ross and Gucci Mane.

In 2012 (and earlier), a new movement of electronic music producers and DJs emerged who began incorporating elements of trap music into their works (now known simply as Trap (or Trapstep to some). Many producers, especially dubstep and moombahton producers, began incorporating trap elements into their sound. This helped expand its popularity among electronic music fans. A number of stylistic offshoots of trap developed, which in the latter half of 2012 gained a rise in viral popularity and made a noticeable impact on dance music."

Rustie - Essential Mix (07/04/12) (2012) [DJ Mix]

"Over the course of 2012, the evolution of this sort of trap-meets-internet, polymorphic genre has seen quite a lot of hype. We saw glimpses of a new trend emerging with the massive popularity of a BBC Radio 1 Essential Mix from Scottish producer Rustie (signed to the long-standing advocate for forward-thinking music, Warp Records), along with a huge internet following of Flosstradamus‘ free Total Recall EP (which, ironically enough, got recalled after a feud occurred between hardstyle DJs and the Floss boys).

With easily incorporated vocal clips (like Trap-A-Holics’ infamous “Damn, son, where’d ya find this?”), recognizable synth and drum patterns, and a shared taste for bass-rattling drops, trap became a style that everyone wanted a piece of. "~djz


Baauer - Harlem Shake

""I don't think you can credibly have a discussion about this whole 'trap' thing without talking about 'Harlem Shake,'" says Owchar. He's right. It became one of the year's most ubiquitous tracks shortly after appearing on Rustie's Essential Mix in April. Its appeal is simple: a cartoonish horn riff honks over pooling quakes of low-end, seizing on the hypnotically repetitive basslines that make Lex Luger's tracks so floor-friendly."~Resident Advisor and that's before it went viral on youtube.


Girl Unit - "Wut" (2010) [EP]

"Woah I really can't tell which song I like the most on here, even though they all have a pretty similar sound, they all have something which sounds so good about them. This EP is crazy the way the bass, beats and synths work together so damn well."~Bigfootisreal

"Girl Unit - Wut was a shotgun blast to the knee of Dubstep and ''bass music'' in general. It opened the door for the identikit 'bass music' tracks.. 808 loops, sub bass, plinky plonky winky wonky wanky synths lines and stuttery/weird vocal samples."~Wub

Flosstradamus - B∆NNED (2012) [DJ Mix]
Major Lazer - "Original Don (Flosstradamus Pop That Mix)"


"One of the top names in trap music, Flosstradamus presents a mix called Banned. Now I'm only working my way out into the genre, but from what I can tell after listening to this and some other random songs/EP's this can be my kind of thing. For me it's like hyperbolic illbient music with a shitload of hi-hats and snares, ADHD disco music still made out for hip-hop fans. I really like this mix, I like the way it's divided into a clear intro and then it just transforms into this beast that can't control itself. Very recommended, this is just good music!"~aappiinna

araabMUZIK - "Streetz Tonight" - Electronic Dream (2011)

"AraabMuzik's formula here is simple. Take classic EDM tracks, replace the house beats with hard-hitting hip hop beats, and top it all off with a hazy, abrasive production. However, electronic music is one musical sphere where it's not merely OK to be formulaic, but often preferable. Electronic Dream is expertly blended, and the sample selection is varied enough to keep the formula from getting old. The artfully messy production is enough to give the tracks a certain badass feeling that is in sync with AraabMuzik's hip hop career, but it leaves just enough of the original trancey gloss that the underlying euphoria always seeps out through the thin shell of machismo.

On Electronic Dream, AraabMuzik is not attempting a backhanded deconstruction of electronic dance music. Rather, he is expressing a sincere love for it by employing his formidable MPC skills to give poppy tracks a darker, more testosterone-fueled vibe. In his mind he's already moved beyond hip hop. "~Meatwad

TNGHT - "Higher Ground" from TNGHT (2012) [EP]

"As popular rap has become more synth-focused and club-driven than anything but it's earliest incarnations and the underground mixtape scene has been overrun with producers whipping up variations of the trap music Shawty Redd, Drumma Boy, Zaytoven and Lex Luger have been pioneering over the past half-decade, it's felt inevitable that someone in the EDM scene would try to capitalize.

TNGHT, an overseas collaboration between 22-year old Canadian Luncie and 26-year old Scot Hudson Mohawke, is the project that attempts to calcify this crossroads moment between two formerly distinct movements. Mad Decent producers like Flosstradamus and Dillon Francis have poked at trap music from that label's usual brand of detached goofiness, and ARAAB Muzik's Electronic Dream album is certainly the scene's direct catalyst, but until this TNGHT EP it's been a little difficult to surmise how much of the toe-dipping of guys like Tom Richman and RL Grime is inspired by absurdity and spectacle of trap's initial lure rather than the auspicious beginnings of EDM's most recent future."~Nodima
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Re: Freewave's Genre of The Day Exploration

Postby Injustrial » 06 Dec 2013 22:40

This thread is amazing !
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