KLF

IndustryStandard

LT42 I was unfortunate enough to watch the chrimbo TOTP and what a load of bland RnB/ShitHop . Compare that to watching the re runs of late 80s / early 90s where you’d go from from the Roses to 808 state to Cathy Dennis to Rene and Ronata. Talk about eclectic

Music just isn’t the most important yoof pastime or profit generating medium anymore. Creatives just move into other things now such as gaming or app design , so we lose a chunk of people who may have produced interesting music . Also seems like commercialism is more important . When I was at school you tried to seek out unique hidden gems. This was common place and led to indie tracks charting and knocking traditional artists off their perch . I don’t hear this happening too often nowadays .

going back to the KLF, love the whole story. One was a music exec right? Plus there is some stat that they had the most global sales of singles in one year. Amazing considering it was a glorified piss take . The fall out of them burning the $1mil and relationship bust ups and regretting in hindsight is also an interesting read .

303abuser

pop is what it is, i just do my best to ignore it all. the fact is, there’s almost too much good music now, but weeding through all the garbage to find it can be a full time job. i’m not in favour of gate-keeping, but there is something to be said for labels (talking electronic, not pop) filtering out the low quality stuff because physical media is expensive.

people like me are part of the problem. it’s not that difficult be a bedroom producer and put out music that sounds professional, but really isn’t great or innovative. there’s so much content that is just ok, i think people get fatigued looking for the hidden gems and settle for what they’re being fed. it’s like looking for something to watch on netflix for 2 hours, then getting tired and just going to bed. streaming has vastly devalued music.

IndustryStandard

303abuser Thats where the loss of record shops has been massive- they were the filters, picking out the best tracks based on years of knowing your tastes. Plus a producer putting something to vinyl vs a file is another tollgate to assess releasing the track.

Lightfoot

Homegrove I agree, lots of good dance music about, see my mixes and charts. As mentioned I was talking more about pop and the charts. I should have been more specific. I disagree that the charts have always been for kids though, I think the joy of the charts was always the variety, which sadly has now disappeared. Consider that The Orb where once on TOTP where they played chess, I’m not sure we would get that these days.

Interesting idea that a lot of the creatives are in other industries now.

They burnt the million quid because they could afford too. They are both minted through earlier music and art.

Dubman

I’ve had to endure listening to Radio 1 working in peoples houses over the summer. I just couldn’t believe how bad not just the music was but the dj’s as well. I did ask them if i could listen to my usual station which is Radio 6 but within about an hour they hated it and changed it back. I do honestly believe that most people only listen and buy music they hear on the radio.
One of my old flat mates told me that unless you hear it on the radio it’s not good music. He’s always liked pop music and still does.

303abuser

Dubman I do honestly believe that most people only listen and buy music they hear on the radio.

that’s probably true. and i don’t think i’ve listed to the radio in almost 30 years, outside of a bit of sirius here and there, which isn’t really the same thing.

-si-

Amps

Dun dun duuhhh!

Kenton

Dan thanks for the suggestion - this may well be it, speeded up. It comes in at about 5.04 of the immense ALFOS 21.2.20 show. I’d love to know whether it’s this, which Sean Johnston then slammed a load of effects over, or whether it’s some other ((back in the day?) remix. Probably the former but thanks all.

Kenton

Having adjusted my search criteria I think what I’m banging on about is actually a sound a like - Lifelike &Kris Menace. Sounds decent in the right context though ((very much so!!)

303abuser

IndustryStandard the other problem is that the filter function you mention from record shops has now been replaced by bloggers, play-listers, and influencers who don’t have a clue. i can’t tell you how much i loathe sending new tracks to these people in hopes they share them in some way. i never request feedback, but sometimes i get it anyways and it’s always non-sense; people trying to sound knowledgeable about production when they really just mean to say they don’t like it. the whole thing is ass backwards.

on a side note, i met one of my good friends 20 years ago buying records from him. i’d have to limit how many records he’d set aside for me because he knew me so well that i’d want all of them. that filter function was really helpful, but aside from that, i miss the tangible experience of going down there every tuesday for shipment day.

jonattonyeah

303abuser

Same. We had a spot here in SF that got deliveries of imports on Thursdays. Was there every Thursday. Might sound silly now, but I remember when they got Black Legend “You See The Trouble With Me” in stock (well before it became a huge hit) and they put it on the decks. Everyone was clamoring for a copy. Good times.

303abuser

jonattonyeah those were good days, the social experience was as big a part of record shopping as the records themselves.

Dubman

303abuser
I do miss that buzz of waiting outside the record shop wondering what has been delivered and also the owner playing a record to a busy shop and all the hands would go up only for him to place it on your pile. Nowadays you can do it whilst taking a dump.

jonattonyeah

303abuser

One of the reasons Sasha and Diggers built such a strong rep in the States is them always hitting up the local shops. Halo’s “Future” had been around for a bit on White Label in Tweekin’ and other stores but never made much traction. It was looked at as a rip-off of “Fathers Of Sound - Water” before it got picked up by Siesta and then Hooj. Tyrant smashing it out changed a lot of things. Point being, those two invested in local music, like the SF “West Coast Sound”, as much as they benefited from it. Back when different cities had different styles of dance music.

303abuser

Dubman haha yeah, the advantage of multitasking.

303abuser

jonattonyeah lots of great san fransisco djs from that period too. mark farina plays here every canada day still and he’s as good as ever.

Dubman

303abuser
Was it San Francisco that had a good breakbeat scene or Was it Miami. Where did sun kissed records come from.

303abuser

Dubman i want to say miami, san fran was more house/prog in the late 90s early 00s.

jonattonyeah

Dubman
@303abuser

SF had and has a very strong breaks scene. Miami was more tied to Hip Hop (think DJ Icey) where the West Coast thing was more Acid and trippy (think, “Loose Caboose” or Simon’s “Two Crates”; Uberzone if you head down LA-way). The blending with Prog around here came with the Hardkiss brothers (think, God Within “Raincry”).

Trippy House and Breaks have always ruled the roost in the Bay Area.

Mark Farina made his name as much with his House as he did with his Mushroom Jazz discs if that gives any perspective (tremendous DJ, mind). Even the more recent exports like Dirty Bird have had a left of center and humorous approach to dance music. That’s just how it’s always been around here. Weird, funny, trippy, and danceable. Same can be said for Bay Hip Hop - always weird and humorous.

This was an excellent place to be in the late-90’s.

EDIT what a monster this is…

Amps

Dubman Sunkissed was Bill Hamel’s label from Florida, and Sunburn was the Hardkiss and friends label out of SF. Both breakbeaty and housey.

-si-

Sun kissed records was florida though I think. Had a few records on that label.

Dubman

-si-
I’ll have dig around tomorrow. I’m sure I can find some Sun Kissed vinyl somewhere.

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