What do you think of the new Shackleton EP /bleep/? I can imagine the first track being used as a sunday morning set ender.
I'm just gonna dump some random britbleep until this thread wakes up.
EDM is similiar to dubstep in that it has two meanings depending on where it's used:
This side of the pond EDM has a fairly narrow definition: "electronic music and culture popular in America". It's use is almost exclusively derisory; as a way of mocking the pleb tastes of our yankee cousins.
Stateside, EDM is used broadly to refer to all electronic music. That means mainly EDM to which we refer (i.e electro house, hard house & brostep à la Guetta, Avicii and Skrillex etc) as well as, unfortunately, the more... refined genres such as house, techno and dubstep.
Yuropbros, what do you think about the whole 'deep/tech house' craze? I'm talking about stuff like Tchami, Arjuna Schicks, maybe even Oliver Heldens. They call their stuff deep house, but to be honest, it's more at home in the derogatory EDM category that >>48860167 mentioned.
Or am I just a major pleb?
I only heard about it from /bleep/, but it seems like a natural progression if you consider that US EDM genres are just delayed versions of what occurred in the blur between mainstream and underground in the UK, in a more rapid timeframe.
For example, in the UK:
Dubstep ('04 - '09) -> Electro House ('06 - '11) -> "Deep" house/ future garage ('10 - 14)
Brostep (2009 - 2013) -> Electro House (2011 - 2014) -> "Deep" house (13 - ...)
>London keeps on making it, New York keeps on taking it
Yurop keeps creating it, the US keeps on faking it
Remember that Guetta/Harris/Avicii/SHM were all big in Europe not that long ago, they just moved to US when the market opened up because the $$$ are orders of magnitude bigger
Tacky, cliché, boring, uninspired, anonymous, made make money and not for the sake of good music, made to appeal to the widest demographic so it's a bland slurry of diluted bullshit with a pop sheen on it
It's okay, the US is so big that if even 1/5 EDM fans eventually discover better quality electronic music the scene will be comparable to ours.
And I can't speak for the rest of europe, but in the UK, but EDM-tier listeners vastly outnumber /bleep/ fans. I'm at Uni and on my first day I could find maybe one other person out of my residence of 400 who could name a single /bleep/ record label, although over time that's increased a fair amount since as Bristol has a good scene.
If there's 10 clubs you'd be happy to go to in London, there's 100 more playing shitty electro.
Money ruins everything.
Since the rewards of appealing to the masses are so great, artistic integrity goes out the window and it all becomes a race to the bottom.
In the underground, even the best DJs aren't raking it in; I'm sure there's very few who've seen a million outside of the Ibiza/Festival stalwarts like Carl Cox, Sven Väth, Richie Hawtin etc and look how long they've been doing it.
all of these reasons >>48860937
it's all a big cash grab. the music appeals to the lowest common denominator (the most people it possibly can do) by being bland and catchy. it achieves this using universal tropes such as massive buildups and massive drops, and guest vocalists singing ridiculously shallow lyrics which include buzzwords like 'love' and 'tonight'.
the worst thing though is that it just all sounds the same. there's no producers who have a 'signature sound' because it's all produced in the same way and all features the same tropes which i mentioned above.
basically its bad music for people who don't actually care about the music
Anyone here a fan of Maceo Plex? Yeah, I know hes sort of popular and has half a million Facebook likes, but I've been jamming to the Conjure One EP all this month
for those who dun kno
i haven't found anyone making unadulterated garage tunes i liked as much since the days of https://www.youtube.com/watch?v=qHuhMz8boDw
i literally don't think that's true, it can be remixed
if the tune didn't have a title and i told you it was just a VIP it'd be fine
obvs it is the banger of a lifetime but elevating it to such cult status demeans it surely
it's not the /bleep/ itaots, it's just a very very solid tune
that's not what i mean, what i mean is that the vocals and beat of the original tune are associated with each other so much that having a new beat with the same vocals over the top just sounds inferior to the original. and chopping up the vocals doesn't sound right either, because you're so used to hearing them in full
>tfw i found it in a random set on mixcloud after searching 'post-dubstep'
>tfw the set also included https://www.youtube.com/watch?v=VcQ6t6cSf-0
must have listened to it 200 times, some bait bangers i cherish to this day though eg https://www.youtube.com/watch?v=kDqxAPk4B-M
i used to do sets with my mixtrack pro consisting of tunes like this ripped at 128 from youtube
oh the memories
just seems to be the naturally darker musical progression, now that majestic casual has hijacked all the more popular stuff from the general house music revival (which to me has been going on since around when Julio Bashmore suddenly became well known)
oh right my bad i get ya
youve got a point but i reckon it's fresh to hear new versions, i'd be keen as fuck to hear a really solid remix of a tune like marka just because i rinsed the original so much
I live in east london and seems like absolutely everybody is into /bleep/ sort of deal - labels like R&S/Hyperdub/Hotflush are all well known by anyone that claims to know a thing about music
I used to have like maybe 30 dance tunes of every genre on my itunes that I would just repeatedly put together in sets - used to drop shit like kode9-seven samurai next to shy fx lol
yeah noticed after i posted haha - somehow still has a dubstep feel to it though
yeah it is a faltyDL alias if I remember correctly - I have no idea whats going on with it tbh, just remembered hearing that and being impressed as hell
>is any of his other stuff like this?
nah not really sorry
>what would you rec from him
look through here to listen to his stuff
underwater dancehall is a good album
i really like pinch & roska - shoulda rolla as well as punisher and his swamp 81 releases as well
yo guys if i was sending out a demo of tracks at 100-105 BPM stuff influenced by hip hop are there any labels that you think would actually take it seriously?
>influenced by hip hop
i got bored of making stuff at conventional dance music tempos
but just to clarify, this isn't hip hop as in like beat scene/low end theory stuff, this is definitely club music
i don't think people over intellectualise his music? give examples?
the whole 'cactus is ironic' thing only became a discussion because some people thought the guy who said it first (me) was trolling or joking, when it was in fact just something i said on here after the meeting the guy, and also reading other stuff online
he does have a bigger attention to detail than pretty much any producer i can think of though, sound design-wise
You boiz got charts?
Anyway I like shit like SBTRKT Mount Kimbie, Burial, Jon Hopkins, Jamie xx and lord Aphex Twin.
I also like Hyperdub.
Also LCD Soundsystem ;^)
Looking for some jungle or drill and bass but any other stuff would be ok.
Yeah but didn't he study English or something lol
Oxford or not that's not relevant to musical ability
>tfw went to consistently higher ranked institution than Oxford but whatever m8
this thread tries to move away from charts etc as no-one actually knows anything that way. people come to /mu/ without a real interest in music and forge one by plucking a few albums off a chart and never really exploring for themselves
and i have to say i imagine you're one of those considering how hard your trip is memeing
curious as to why you want jungle though since none of the guys you mentioned make jungle
I do explore music outside of /mu/, but that only comes out of hip hop and last fm recs
I heard a few jungle tracks a while ago and it seemed interesting, was wondering if there were any songs or artists that you guys like.
i actually have two different projects i'm doing right now, the one under my main alias which falls more in line with keysound, night slugs, just modern "bass" stuff i guess
and then a side project which kinda is working at the same tempo making club music but is more influenced by like 90s shibuya-kei and plunderphonics
these songs are from the main project/alias
both of these are private right now cause i'm only using them to send around (really not looking to self promote here, just really for opinions)
this one is a bit poppier
this one is whatever
if you think it's shit don't hold back
i just really don't know what labels to send it to
if you wanted to hear the shibuya-kei stuff i could share that too
How do you guys learn to make /bleep/ music, like software's instruments stuff like this
nahh absolutely not. they'll make more than enough to live on, sure, but i doubt it's above the 40-50 thousand mark, let's say
i know that coki still has an office job, or he did a year or two ago, and that's coki
what do you mean, why? listen to his tracks and you'll see what i mean
listen closely to all the little sound effects etc. and you can just hear how much time went into making this stuff
taken from an interview he did on dubstep forum:
"almost everything is layered. in some cases, individual drums are like a collage - the first 10ms "tock" of a 707, the boom of a resampled reverbed 909, a sine sub underneath, the pre-attack of a very fast 606 hat..."
google objekt q&a dubstep forum if you wanna see the whole thing. the painstaking effort and detail he puts into his tracks deserves some respect imo
ive been making music since i was 12
i'm 22 now
so it really just came with time for me
it really just requires time, patience, and the willingness to learn
after the point where you know all the ins and outs of DAWs and maybe some theory/understanding of composition what separates producers is really just their creative ability
>still has an office job
are there any other "big" producers that still do shit like that?
at university or have a full time job or shit?
also what the f_ck
>50k a year
even if that's 1k per gig that assumes they only do 80 a year (inc tax), let alone festivals? 80 a year almost 3 every 2 weeks ????
Oxbridge isn't amazing to be fair. It's just equal parts hype, tradition / age / prestige, and the fact that they offer most subjects and do them all well but really it's the specialist institutions are where you want to be, generally. Not just for music but for most things. Go to CSM for art or LSE for PPE or whatever, I dunno. I know plenty of Oxbridgers and plenty of specialist places chaps and the only thing unique to the Oxbridgers is arrogance (to varying degrees).
Oxford is tipped as fuck but not necessarily for the heads.
employment prospects are higher for oxbridge than anywhere else though. 'career after 6 months' columns in those league tables are skewed by the fact that more people who go to oxford and cambridge go to do masters and phds after they finish their degree
they're maybe not the best in the country for actual enjoyment of the course you're studying. but unfortunately, to this day employers still look at 'oxbridge' on a CV and tick a few boxes purely on that. there's a reason why those courses are so much harder to get in than any others
they're probably shit
fun to revisit though for nostalgia though
just curious though here...any of you guys send your demos out anywhere?
i remember hearing about that one guy who sent his stuff to ron/lies and he told them it was boring or something
I think that anything good enough to stand out over the swarms of demos labels get would be good enough to get traction in a local scene first.
It might be faster to try to get local DJs to play your stuff first.
Yeah that's true, should've mentioned that. You're basically guaranteed a job at the BBC or in politics if you're Oxbridge. Some of the specialist institutions are as selective as it gets though. Good luck getting one of 4 places at the Royal College of whatever to study whatever. Also if you wet to the right school you can pretty much walk straight into Oxford, but I guess that's not applicable to most.
>Whats bleeps opinion on these guys?
>Founder of Majestic Casual
>Deadmau5 and Porter Robinson
Yeah I want that guy to post I detail about that. There's no way of contacting the fonz anyway because of the amount of demos he gets he has to be following you on twitter or whatever before you can send him a message... so man must be somewhat known already.
yeah i completely agree with you
just figured sending stuff out couldn't hurt, like a "you never know" type thing
i just wish i knew more local DJs in the philadelphia area where i'm located
Makes fucking great pop music, Need U 100% was probably the first "deep house" song to get popular
talented musicians, new stuff is good but not as good as their pre-settle shit. Probably the first examples of "deep house" superstars
Indirectly caused a new trend, was pretty much a good example of right place right time
Most likely a corporate marketing plan by Spinnin Records to captalize and cash in on the "deep house" trend
>Founder of Majestic Casual
legitimately would be happy if he died.
>Deadmau5 and Porter Robinson
Probably the most talented "EDM" producers out there, props to them for trying to move away from making samey beatport top 10 bangers
I read that Burial was sending Kode9 tapes for years before he broke through. Maybe consider trying to build some network connections to make it easier to get your music to the right ears.
shut the fuck up about this ffs.
i understand the misuse of the term deep house gets people mad, but just live with it, it's not like good house music isn't getting made.
it's not like cheesy house is a new thing, lots of tracks have the same vibe as old house hits from over 15 years ago
Swear down no one on this board knows shit about tech house
It's like dubstep/brostep all over again, people thinking that the staple tech house tune is some poorly made soundcloud 'banger', when it's actually meant to be used to refer to more progressive, laid back and more techno sounding house that builds up subtly and focuses more on percussion and cool sounding stabs than a melody.
Can you post some archetypal deep house? I've seen so many seemingly unrelated things labelled deep house that I genuinely don't know what it is. Same goes for tech house, which I gather is shot.
what kind of network connections do you mean (like DJs, promoters, ect.)? i don't mean to sound clueless but my experience is mostly in the music side and not the promotion side since i'm not the most socially active person hah
and thanks for any insight guys i just didn't know if anybody had any luck sending stuff out over the internet
i figure a lot of its just luck/"right place right time" anyway
>not listening to 3-step
>not listening to bass-core
>not listening to post windmill
>not listening to proto-minimal wankstep
>not listening to gondola
>not listening to shithouse
>not listening to acid wonk
>not listening to ambient gabber
not him but
typical, 'classic' american deep house sound
there's also stuff like the german side of deep house which you might see people talking about quite a bit in these threads, workshop records being the most popular example
generally a lot more melancholy than the US stuff
American music sounds fucking retarded next to European stuff, like it was slapped together by some idiot inbred child or something. That Workshop track (and pretty much all of them, let's be honest) is leagues ahead of anything happening in America.
How what? You're an idiot if you're bored by Workshop stuff... it's one of the most consistently high quality labels of all time tbh. You might like it more if it cut to an advert break for discount hotdogs after 2 mins though. I can sort that for you if you want.
It's kind of a blurred area imo - lots of music these days has this grey area and just gets called deep/tech/minimal - it's basically just Ibiza after party music and music made for DJs, and not tracks you would probably find yourself listening to on their own
Also, many DJs who play this sort of music don't give a shit about defining it just say House or Techno which is the way forward.
this mix is basically what you would call tech house.
>mfw the term "Deep house" is becoming the new "EDM"
>Worked 11 hours today
>Wasn't even meant to be in
This is my life now.
But moving back on topic, there are two Trim mixtapes out this year but I don't have faith in them being any good since his last decent Soulfood Vol. release was probably Vol. 4, which was years ago.
The new DLR EP on Metalheadz was really good, Spooky - Sublow Jamz Vol. 1 was really bad, despite being out for months now I have only just recently downloaded Coki - Indian Girl / Demonator and still haven't heard it (is it any good?) and reminder that pic related is Grime single of the year.
According to RA, Ben only does about 10 gigs per month, and if you say an average 1k per gig (~£2,000 for a headline festival set, £500-£1000 for a club gig), that's around 100k a year before tax, and you still have to buy records. I don't think Ben takes drugs, so that and the fact that he doesn't means things may be a little more profitable for him, but still it's not a big earner for underground artists.
>£500-£1000 for a club gig
>top tier dj, incredible knowledge of uk culture, tons and tons of dubplates
love how absent the shitposting has been today. maybe those grime shitposters got banned, who knows
kinda me but at the same time, it's just a compilation of previously released tunes isn't it?
have the b and b groups top voted albums of 2013
kinda like neither man
here i've got nothing to do so i'll give you a little list in case you're not trying to bait me. a fairly well-known track from each genre
>uk bass: https://www.youtube.com/watch?v=_MW4u_xJMBA
same as this
although you can hardly call deadmau5 efforts these past 2 years as trying to make beatport shit
he is one of those gearjunkies though that shits on people for using vsts, which i dont understand because he was just lucky enough to have some funding to live in a studio for a year, let alone 100k+ in equiptment
i just came back now and saw this
thanks for the love fam
gives me hope that if the right person saw it maybe they'd like it
don't mean to attention whore either i only posted it because those anons requested me to
going through this right now man, there's no time for feelin da vibe