KVR Audio

Dasheesh · Post by **Dasheesh** » Mon Jan 22, 2018 1:39 pm

oh ya... BUCK MOUSEHAEDX, ya heard me...

Straight2Vinyl · Post by **Straight2Vinyl** » Mon Jan 22, 2018 6:44 pm

shonky wrote:
wagtunes wrote:No, I simply pointed out, given the construction of the song, that others could consider it and other constructions like it crap.

I'm looking at this completely from a clinical standpoint. Again, if you want me to do a construction analysis of the song on a purely clinical basis, I can. I was trying to avoid that.

But the fact still remains, I have not personally said whether or not I liked or didn't like the song. You are simply making assumptions based on my clinical observation. An observation I could make about any song of any genre given the components of said song.
It's an assumption based on your tastes, as stated numerous times on this very forum. You don't really have to say anything.

I think much of this is because you come from a more conventional music ethos and many of the producers that came up through the late 80s and early 90s came in via a very different route of DJ techniques, sampling, hip hop and plunderphonics, much of which was not considered "music" at the time and was made by people that were not musically trained, much of which limited the form to an extent but also, without regard as to what was "right" musically, resulted in some fairly unique sounds and harmonic ideas that gave much of that music its distinctive sound, one example being the use of sampled chords being played melodically resulting in "incorrect" parallel harmonies which added a disorientating quality to many of the tunes. I think Public Enemy are a far better point to understanding the creative context at the time than the pop music that preceded it.

https://www.youtube.com/watch?v=lWTE1Uj9Z8c

At a clinical level, you could say that the tune is some dissonant pads, some vocal samples, some subs/808 kicks, the ubiquitous hoover sample and a cut-up breakbeat, but then you could say that the majority of James Brown's repertoire were just endless loops of drums, guitar, bass and brass playing the same riff with occasional vocal repeats - start to see the connection? It's about using every element as a rhythmic device or effect to move the crowd. Regardless of the clinical value of the tune, at a visceral level, which is ultimately what really counts with dance music, this tune and many like it got an incredible reaction when I've played them in DJ sets in the past.

Maybe a 15 year old could make this now (and to be honest, most people making it then probably weren't much older, having spoken to a friend who went to the same school as rave act SL2 who played a warehouse party on Saturday, recorded Top of the Pops on Sunday while coming down from the night before and then were back in class the next day). It was people making music that they wanted to hear without regards for what previous generations considered ok, and even the house heads and Detroit techno originators thought that the British mutation was an act of cultural vandalism.

Public Enemy were incredible. I was 9 years old when Fight The Power came on the radio and even then I thought they were amazing.(My brother was a DJ, so I listened to music other kids my age would not usually know about.)
They produced some of the most exciting sampled music in history with the sheer number of samples the Bomb Squad would use in a track.
Also, James Brown's influence on music that followed him is obviously pretty enormous. In addition to the obvious like Michael Jackson, he was probably the biggest figure in funk and along with a few others is largely responsible for the switch to 16th note rhythm patterns from almost entirely 8th note patterns in pop music before him. I'm learning to play piano and the most difficult part of playing a James Brown track is never the chord voicings or melody. It's the rhythm. Same goes for any funk and also disco that followed it.

Anyway, there's no real right or wrong with music.
What is more complex and indicative of skill may be objective, but the only thing that matters is the feeling the music ultimately creates. We all have our biases of course. Personally, the more theory I learn the more I seem to prefer music with more chord extensions and syncopation. But to each his own.
The 90s were awesome by the way. Just my opinion.

shonky · Post by **shonky** » Mon Jan 22, 2018 7:28 pm

I had a bit of a strange route into electronic music, first hearing Public Enemy at a metal club when the DJ mixed Slayer's Reign in Blood into PE's She Watch Channel Zero. Wasn't interested in house particularly as I was quite a metalhead at the time but I was DJing grunge and metal at a club with a friend who used to mix death metal into the Prodigy (well before the Prodge started adding in rock guitars I should add) and it just clicked for me as there was the same noise, chaos, atonality and attitude that I liked in metal but with more experimental sounds. I think the dread, darkness and heaviness of darkside hardcore and later techstep weren't that big a leap in terms of taste and around the same time you had NIN, Ministy, Godflesh, Fear Factory and others incorporating more electronic and sampled elements in their tunes.

Breaks also seemed to be getting more common in indie too, what with Madchester and Baggy taking hold, and the indie press started paying more attention to bands like the Chemical Brothers and Underworld (link to another fave tune).

https://www.youtube.com/watch?v=Q5GjVvlmg3o

dune_rave · Post by **dune_rave** » Mon Jan 22, 2018 7:40 pm

90's music......

https://youtu.be/s0yi8D15r7o

wagtunes · Post by **wagtunes** » Mon Jan 22, 2018 8:06 pm

shonky wrote:I had a bit of a strange route into electronic music, first hearing Public Enemy at a metal club when the DJ mixed Slayer's Reign in Blood into PE's She Watch Channel Zero. Wasn't interested in house particularly as I was quite a metalhead at the time but I was DJing grunge and metal at a club with a friend who used to mix death metal into the Prodigy (well before the Prodge started adding in rock guitars I should add) and it just clicked for me as there was the same noise, chaos, atonality and attitude that I liked in metal but with more experimental sounds. I think the dread, darkness and heaviness of darkside hardcore and later techstep weren't that big a leap in terms of taste and around the same time you had NIN, Ministy, Godflesh, Fear Factory and others incorporating more electronic and sampled elements in their tunes.

Breaks also seemed to be getting more common in indie too, what with Madchester and Baggy taking hold, and the indie press started paying more attention to bands like the Chemical Brothers and Underworld (link to another fave tune).

https://www.youtube.com/watch?v=Q5GjVvlmg3o

Ministry. I remember listening to them during my last couple of years working for a car dealership when NWO came out. This one underground station used to play it all the time. Wasn't a big fan but something about that song intrigued me. To this day I'm still not sure why.

For me, the problem with Industrial is most of it's a non stop wall of sound. After a while, my ears simply get tired. I can listen to it for short periods, couple of hours or so, but as a steady diet, after a while I get kind of burnt out.

I will say, however, when Minstry came around, they were definitely a different beast. Until that time, I'd never heard anything like them.

Dasheesh · Post by **Dasheesh** » Mon Jan 22, 2018 8:29 pm

Broke out Flanger today.

https://www.youtube.com/watch?v=eEHrlLu ... wG_e2390hZ

Dasheesh · Post by **Dasheesh** » Mon Jan 22, 2018 8:32 pm

The thing you should be taking away from this conversation is not what they do, but what they DID. What they did was grab stuff and start making music. With simple beginnings, they made classics. They didn't need Ilok because it came from within, not from without. Something to think about.

Dasheesh · Post by **Dasheesh** » Mon Jan 22, 2018 8:37 pm

https://www.youtube.com/watch?v=zPB6pdX ... wG_e2390hZ

wagtunes · Post by **wagtunes** » Mon Jan 22, 2018 8:37 pm

So since we're discussing a "post-modern interpretation" of the 90s, let's see what I was listening to in the 90s.

1990

https://www.youtube.com/watch?v=0-EF60neguk

https://www.youtube.com/watch?v=VFNRh26TPmM

https://www.youtube.com/watch?v=eFTLKWw542g

https://www.youtube.com/watch?v=otCpCn0l4Wo

https://www.youtube.com/watch?v=m0AKJMGxwpE

https://www.youtube.com/watch?v=9SOryJvTAGs

1991 up next

noiseboyuk · Post by **noiseboyuk** » Mon Jan 22, 2018 8:43 pm

It would be great if folks could post youtube links to literally every song released in the 90s in this thread. Thanks in advance.

wagtunes · Post by **wagtunes** » Mon Jan 22, 2018 8:45 pm

1991

https://www.youtube.com/watch?v=T57Dtu80_Fc

https://www.youtube.com/watch?v=R63gYHIgaB0

https://www.youtube.com/watch?v=vMXuuYnoRdI

https://www.youtube.com/watch?v=l_uh8XjgLTE

https://www.youtube.com/watch?v=lwpjsToHzAE

https://www.youtube.com/watch?v=xCorJG9mubk

https://www.youtube.com/watch?v=wv-34w8kGPM

https://www.youtube.com/watch?v=LpXMnY_t03M

1992 next

wagtunes · Post by **wagtunes** » Mon Jan 22, 2018 8:50 pm

1992

https://www.youtube.com/watch?v=85B_REWeNcM

https://www.youtube.com/watch?v=AVYYpNaSs2Y

https://www.youtube.com/watch?v=KvzlEfBYKVw

https://www.youtube.com/watch?v=zDKO6XYXioc

1993 next

aMUSEd · Post by **aMUSEd** » Mon Jan 22, 2018 8:51 pm

Please no

wagtunes · Post by **wagtunes** » Mon Jan 22, 2018 8:56 pm

1993

https://www.youtube.com/watch?v=fDWFVI8PQOI

https://www.youtube.com/watch?v=tbNlMtqrYS0

https://www.youtube.com/watch?v=_cnPZSM85j8

https://www.youtube.com/watch?v=RijB8wnJCN0

https://www.youtube.com/watch?v=KLVq0IAzh1A

https://www.youtube.com/watch?v=7km4EHgkQiw

1994 next

shonky · Post by **shonky** » Mon Jan 22, 2018 9:00 pm

Did actually hear a drunk busker doing "Nothing Compares 2 U" in the street today, not sure if that's what the original poster had in mind though.

Although he might have been singing "nothing compares to brew" as a tribute to the gold-canned nectar.

Is it time for a post-modern interpretation of nineties music?