You're obviously everso entitled to your opinions :) But in what way other than the dubplate exclusives has Dubstep followed D'n'B?
Yes, for being an innovative musical path (which D'n'B killed off for good around 96 and Detroit Techno is hardly any better there!!! although I'll love it to my deathbed for the amazing music that was created) Is it possibly due to an inborn dislike to something that actually evolves and why the hell should sampling be a problem in the process of being creative? :) As a whole I'd say that DUBSTEP (stupid name, but I like it to be typed as big as possible ;) ) can be as much enjoyed at home as in a smoky, dark club. Don't fear the future, embrace it. The Future Is Ours - Musto & Bones On 10/10/07, /0 <[EMAIL PROTECTED]> wrote: > dubstep is the stupidest genre name yet. and thats saying a lot, when > speaking within the context of electronic music. > > > ----- Original Message ----- > From: "klaus boss" <[EMAIL PROTECTED]> > To: "Guilherme Menegon Arantes" <[EMAIL PROTECTED]> > Cc: "robin" <[EMAIL PROTECTED]>; "313 Org" <313@hyperreal.org> > Sent: Tuesday, October 09, 2007 8:06 PM > Subject: Re: (313) Re: Interesting piece on house/techno > > > He's mentioning dubstep but his reference to sinister, late 90's D'n'B > is way, way off!. > That genre has as the only really new style succeded in blending all > kinds of genres to devastating effect. > > Thanks to dubstep for sparkling new life into electronic music...:) > > On 10/10/07, Guilherme Menegon Arantes <[EMAIL PROTECTED]> wrote: > > On Mon, Oct 08, 2007 at 07:19:17PM +0100, robin wrote: > > > > > > As the subject says. > > > > > > http://www.de-bug.de/texte/5129.html > > > > > > Thanks for the tip Robin. > > > > The writer touches many points but does not go deep in any of them, so > > I am kind of unsure of what he was trying to say (other than that CC is > > the best). > > > > But, certainly there isn't much futurism in electronic music nowadays, > > maybe because it doesn't sell anymore. Ppl look a bit sick and tired of > > this technological rush, IMHO. My impression from the local gang of > > DJs/clubbers is that ppl is not really interested to know details about > > music as they used to be 10 years ago. They just want to have fun. (And > > I believe this has changed somewhat because music is so easy to > > get/ID/download nowadays). > > > > Perhaps, the free exchange of music that seems (hopefully) to be the way > > of the future will trigger some creative fusions. I am not sure how > > this mechanism will work for electronic music, since the live element is > > not really there (not yet, so maybe this is a clue for the future). So, > > when an acoustic/band musician benefits from releasing free music by > > getting more publicity/gigs, I am wondering if this will also work for > > the electronic act/DJ. > > > > The writer talks about South America a few times. I mostly agree with > > him, besides saying that Funk carioca is global. It is not a phenomenon > > here anymore (and was never in Sao Paulo, as the writer says), so faded > > away (thankfully) rather fast (as most over-hyped crap music does). > > He is also right when saying that getting vinyl is very hard/expensive > > here. It certainly has stopped local DJs of getting more recognition, > > but even nowadays with easily accessible downloads, there aren't many > > big players from SA (most of the guys who get well-know globally have > > left their home countries long before, e.g. Villalobos). So, I am > > inclined to say there is something extra (more cultural/social than > > technical) to this. > > > > Ok. Just my R$0,02. It was a nice reading, anyway. > > > > Greetings, > > > > G > > > > -- > > > > > > Guilherme Menegon Arantes, PhD São Paulo, Brasil > > ______________________________________________________ > > > > > > > -- > Regards, > > Klaus Boss > +4550413432 > www.hifly.dk > > -- Regards, Klaus Boss +4550413432 www.hifly.dk
