--- Aaron Shinn <ashinn@artic.edu> wrote:
> I should preface this by saying that I love DnB,
> please no offence
> here folks, but I've got to vent on the subject:
I really love the old dnb that was coming out around
1995! The breaks & editing were really interesting and
some of the music was really timeless. All the old
Photek stuff still sounds great. I love old Dj Crystl
stuff!
It's kind of sad to see how UN-innovative dnb has
become!
> I have mulled over the same question and I have to
> credit the high
> turnover rate in the DnB scene as part of the reason
> why the crowd
> stays so intolerant and bullheaded musically.
You are probably right. The dnb scene that I liked
started falling apart around the end of '99, and
that's when a whole new crowd of punters started
getting into it. Almost everyone that I have met that
currently likes dnb know nothing before 99. You would
think if they liked the music that they would research
some of the older music but they don't. It's a
dubplate driven culture. It doesn't even really
matter if it is a good tune, just that it's new.
> Most of the producers
> in DnB have been in the game forever and don't have
> much incentive to develop stylistically.
I wonder if it is partially a technology issue? I
mean technology has made it easy to whip out a tune in
a few hours. Is it that these guys have all gotten
lazy? I remember in an old Photek interview he said it
would take him 6 months to finish two tunes. That's
some pretty serious dedication! Or is it that no one
really has an interest in experimenting, they just
want a paycheck?
> It seems to take about two years for a new
> initiate to get fed up with the "same old shit"
> phenomenon of DnB
> before leaving the scene entirely.
I wonder what the shelflife is for trance? That shit
is the worst!!! Oddly some people don't seem to ever
seem to realize that.
> As far as the Chicago scene goes, most of the people
> who go to listen
> to DnB in clubs don't listen to it at home. They're
> in it to be
> assaulted once weekly and generally not to be played
> something they
> don't recognize as DnB. Going to hear DnB in a club
> isn't a listening
> experience, it's a matter of lifestyle.
That's what I think about ravers. How many of them
really go out and buy records? Not many of them.
> If you consider how many of the bygone great DnB
> producers have gone
> broken beat, it's hard to ignore the history, but
> nonetheless, the
> crowd doesn't remember DnB before '96-'97.
True
> Dego + Marc of 4Hero, Dom(u) of Sonar Circle, Colin
> of Alpha Omega,
> Hidden Agenda, Paul Seiji (Opaque), Mark G-Force,
> London Elektricty
> posse, Total Science even! Hell, Gilb'r of Chateau
> Flight used to
> mess around with DnB.
> I know I'm forgetting several peeps :)
Even Alex Attias made some dnb under the name Bel Air
Project.
> Anyhow, most of the people who still remember the
> good ole days of
> DnB are gone, and those who are still around either
> regard the past
> with suspicion or are doing something else
> musically. Broken Beat
> *definitely* has the old spirit, but no followers :)
I think that some of the older dnb heads will probably
eventually catch on. With such great releases from
Domu, Seiji, 4 Hero, and others, it's bound to catch
on sooner or later.
Cheers,
- Will
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This archive was generated by hypermail 2b30 : Fri Sep 28 2001 - 11:02:46 CEST