I figured that letter might wind somebody up, ah well, it just comes down to difference's of opinion...I've always found Good Lookin' records to be alright, but completely interchangable, and basically hip restaurant music, something good to buy items to. This isn't a bad thing, but I just don't see the 'deepness' in it. All LTJ's stuff just sounds the same to me, and it's not bad, but it REALLY does seem to be just a pad and an amen break. My point was that I find him and D&B in general more guilty of rehashing tired concepts than techno ever has. Drum and bass got deathly boring a couple years ago to me, when techstep took all the programming out it, and it just became about who could make the 'scariest' sounds. I can understand in theory how people could not like Anthony Rother, and find it a throwback, but it all goes out the window when I play his stuff; it's some of the most gorgeous music from any era. He might be working an old blueprint but he does it with a different outlook and production that throws a new face on it. I guess I'm just a cyborg version of the 'classic rock' guy, because I'll never tire of my old friend electro. As for pushing forward, the freshest stuff I've heard in a long while is UK garage, most of which isn't even that great, but it just sounds like the last decade of music and London especially thrown in a blender...I assume lots of D&B producers who got sick of that scene must have jumped ship to garage, because the programming is dope.
not from detroit, -jason http://www.genmod.org > I think they have a point. I'm not sure if it applies to KOTJ, but > it's a valid one nontheless. > > If Bukem namedrops old 313 records, is he just 'trying to prove he was > down'? I think he _was_ down, played those tunes when they were released, > then > went on to create his own style. Tunes like 'Demon's Them' and 'Horizons' are > serious landmarks in deep dance music. To dismiss them in terms of gear > is like slagging Red Planet tunes for always using old Roland kit. Can you > blame the originator of a powerful cliche for their clones? > > I like jungle, but that's not my point. My point is that there is > such a thing as music getting tired, and there is such a thing as music moving > on. What got me into Detroit music was a sense of futurism, innovation, and > emotional truth, not 130 BPM+Juno pads. > > Even some tunes that I like - Maas' "Juan is the Teacher" f'rinstance, > or Ian O'Brian's "Mad Mike Disease" - leave me wondering if they're helping or > hurting the music with their fetishistic recreation of the sounds of Detroit > c.a. 1989 or 1992. Anthony Rother is fun, but do we really need another > person > rehashing a blueprint that was drawn almost 20 years ago? > > So respect to those pushing the music forward. 99% of us on this list > aren't from Detroit. Respect to the legacy of the past and the integrity of > the present. After all, Juan Atkins didn't decide to make Motown remakes. > That moment was long gone. > > J
