I guess I'd just like to see some interviews with people in the know talking about how Kanye is a shell of his former producer-self. Some smoke from the fire. (By all means, show me up!)
We may have to wait for an unguarded interview with one of the contributors as there's no reason Kanye would talk.
I guess I'd just like to see some interviews with people in the know talking about how Kanye is a shell of his former producer-self. Some smoke from the fire. (By all means, show me up!)
We may have to wait for an unguarded interview with one of the contributors as there's no reason Kanye would talk.
If you look at the credits for ULTRALIGHT BEAM:
PRODUCTION KANYE WEST, MIKE DEAN #MWA FOR DEAN'S LIST PRODUCTIONS, CHANCE THE RAPPER & SWIZZ BEATZ
CO-PRODUCTION RICK RUBIN & DEREK WATKINS
ADDITIONAL PRODUCTION PLAIN PAT, DJDS & NOAH GOLDSTEIN FOR ARK PRODUCTIONS, INC
There are four people with the main credit for production, let alone co-production and additional production credits. I'm guessing people in those other categories truly just punched songs up (to use a comedy metaphor) or did something else minor. So then, out of the four with a main credit, if Kanye didn't provide some sort of vision (if not material contributions to the music), then who did? The song - as a whole - came out tight as hell. So I guess my point is that the songs on the new album are frequently these large team jobs, and I'm impressed that the album doesn't come out as a jumbled mess. And i'm assuming that's to Kanye's credit.
Remember when Kanye had that monologue where he talks about taking the drums from a Dr Dre song when he is making a beat for Jazy-Z early in his career?
I was just going to post in here and ask if anyone was feeling the new Solange. Its a great album. Saadiq is executive producer on lots of tracks. Might be the first new release for me since D'Angelo that is worthy of a vinyl pick up.
That Bioroot track is such a lovely slice of retrohouse, makes me feel all warm inside.
Duder, you're into the footwork? I've dabbled a little but with a lot of it I find it hard to escape the feeling that it's just a very late to the party version of less exploratory 90s DnB.
The vinyl only release thing is even more painful today than it used to be when everything was vinyl only: hear a great track, look it up, discover it's vinyl only, ignore this and spend the next half hour visiting every single online store to see if they have the digital version, give up, go to local record stores, find that it was a limited release, cry.
Speaking of limited vinyl only releases, I still have an entirely illogical hope that this will be released in a format that, cost of import aside, isn't sold out before it's even available....
Oh, I also finally got around to sitting down for an extended time with Blonde and it's fantastic. I thought repeated listens may cause the album to lose it's appeal but it's definitely a grower.
Duder, you're into the footwork? I've dabbled a little but with a lot of it I find it hard to escape the feeling that it's just a very late to the party version of less exploratory 90s DnB.
The vinyl only release thing is even more painful today than it used to be when everything was vinyl only: hear a great track, look it up, discover it's vinyl only, ignore this and spend the next half hour visiting every single online store to see if they have the digital version, give up, go to local record stores, find that it was a limited release, cry.
RE: Footwork, yeah, first time I heard it I thought "Hang on, this is just really shit Jungle", but I can get with some of the stuff that incorporates a few samples and different drum sounds (if only to have alternative tracks to mix with Jungle), and I think UK artists who have a go at footwork usually make something more imaginative than a guy leaning on a drum pad and "pussy-pussy-pussy-pussy-bitch-bitch-bitch"
RE: vinyl only, yeah, I've followed that pattern and take it further - I find the artist or label on soundcloud and harass the fuckers into releasing digitally*. It's worked only a couple of times out of dozens of attempts, but the simplest argument I can give them is that I want to pay for something that costs them nothing to produce. Bandcamp is always worth checking when juno/boomkat/beatport/bleep are coming up empty.
Duder, you're into the footwork? I've dabbled a little but with a lot of it I find it hard to escape the feeling that it's just a very late to the party version of less exploratory 90s DnB.
The vinyl only release thing is even more painful today than it used to be when everything was vinyl only: hear a great track, look it up, discover it's vinyl only, ignore this and spend the next half hour visiting every single online store to see if they have the digital version, give up, go to local record stores, find that it was a limited release, cry.
RE: Footwork, yeah, first time I heard it I thought "Hang on, this is just really shit Jungle", but I can get with some of the stuff that incorporates a few samples and different drum sounds (if only to have alternative tracks to mix with Jungle), and I think UK artists who have a go at footwork usually make something more imaginative than a guy leaning on a drum pad and "pussy-pussy-pussy-pussy-bitch-bitch-bitch"
RE: vinyl only, yeah, I've followed that pattern and take it further - I find the artist or label on soundcloud and harass the fuckers into releasing digitally. It's worked only a couple of times out of dozens of attempts, but the simplest argument I can give them is that I want to pay for something that costs them nothing to produce. Bandcamp is always worth checking when juno/boomkat/beatport/bleep are coming up empty.
Ha ha, yeah that's pretty much my exact experience with footwork to date, I've just found it too repetitive, lacking in textures and missing the rough edges. I liked Rashad's Let It Go but mainly as it sounded similar to early Jonny L.....Please to recommend some UK stuff to work the foot to.
I hadn't even thought of begging/harassing them to release it. Like you say, keeping the digital locked away really doesn't make sense to me as, if it's decent, the vinyl will sell out regardless of whether it's available digitally or not. Plus they don't get the money off the discogs resales anyway (or do they......).
This is new, full track has more of the dreamy synths:
Cheers L*o, I'm really liking the synths on that snippet - will hunt down the full track. I will also hit the drive when I get home this evening. I wish everything was for sale on Bandcamp;I always feel more fulfilled when I purchase through that system.
In other electronic news, been enjoying a lot of the stuff that Ital Tek has been releasing recently, reminds me of older Kuedo stuff. Which is fine by me.
In other non electronic news, off to see Circuit Des Yeux touring the Jackie Lynn EP/Persona next week in a tiny little venue. Very interested to see how it translates (more than anything am excited about seeing that voice in the flesh).
Kuedo has a new lp. It's a good headphone listen, he's obviously gotten really into sound design and stereo placement.
The Euro Footwork stuff is interesting, i heard some good Polish stuff the other day. but it really belongs here most of this new stuff is reheated dnb, not that theres anything worng with that. I really liked Lil Jabba's first lp back when it was released, probably my favourite footwork longplayer. Had high hopes for the newish Dj Earl with it's OPN collaborations but it didn't do much for me.
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this is one of the few new things i've got in rotation lately
most of this new stuff is reheated dnb, not that theres anything worng with that.
Hah - I can hear a Luke Vibert (Plug) tune in there with footwork beats over it and it just sounds so poop in comparison. I wonder if those kids have even heard Jungle? So much better for dancing to imo.
Comments
CO-PRODUCTION RICK RUBIN & DEREK WATKINS
ADDITIONAL PRODUCTION PLAIN PAT, DJDS & NOAH GOLDSTEIN FOR ARK PRODUCTIONS, INC
There are four people with the main credit for production, let alone co-production and additional production credits. I'm guessing people in those other categories truly just punched songs up (to use a comedy metaphor) or did something else minor. So then, out of the four with a main credit, if Kanye didn't provide some sort of vision (if not material contributions to the music), then who did? The song - as a whole - came out tight as hell. So I guess my point is that the songs on the new album are frequently these large team jobs, and I'm impressed that the album doesn't come out as a jumbled mess. And i'm assuming that's to Kanye's credit.
The video is just
That skating man is beautiful as hell. (Coming from a straight man.) [pun intended] <i'llstopnow>
This is excellent.
Its a great album.
Saadiq is executive producer on lots of tracks.
Might be the first new release for me since D'Angelo that is worthy of a vinyl pick up.
I used to love vinyl only releases
Duder, you're into the footwork? I've dabbled a little but with a lot of it I find it hard to escape the feeling that it's just a very late to the party version of less exploratory 90s DnB.
The vinyl only release thing is even more painful today than it used to be when everything was vinyl only: hear a great track, look it up, discover it's vinyl only, ignore this and spend the next half hour visiting every single online store to see if they have the digital version, give up, go to local record stores, find that it was a limited release, cry.
Speaking of limited vinyl only releases, I still have an entirely illogical hope that this will be released in a format that, cost of import aside, isn't sold out before it's even available....
(It takes about 4 1/2 minutes to get going)
RE: vinyl only, yeah, I've followed that pattern and take it further - I find the artist or label on soundcloud and harass the fuckers into releasing digitally*. It's worked only a couple of times out of dozens of attempts, but the simplest argument I can give them is that I want to pay for something that costs them nothing to produce. Bandcamp is always worth checking when juno/boomkat/beatport/bleep are coming up empty.
*This cock-smoker is having none of it:
...what a fucking smeggy bellend.
Ha ha, yeah that's pretty much my exact experience with footwork to date, I've just found it too repetitive, lacking in textures and missing the rough edges. I liked Rashad's Let It Go but mainly as it sounded similar to early Jonny L.....Please to recommend some UK stuff to work the foot to.
I hadn't even thought of begging/harassing them to release it. Like you say, keeping the digital locked away really doesn't make sense to me as, if it's decent, the vinyl will sell out regardless of whether it's available digitally or not. Plus they don't get the money off the discogs resales anyway (or do they......).
https://drive.google.com/file/d/0B3JfL3_OeYghcjZyeUhVRnIyQVU/view?usp=sharing
Mega-thanks to Ketan for sharing those.
This is new, full track has more of the dreamy synths:
In other electronic news, been enjoying a lot of the stuff that Ital Tek has been releasing recently, reminds me of older Kuedo stuff. Which is fine by me.
In other non electronic news, off to see Circuit Des Yeux touring the Jackie Lynn EP/Persona next week in a tiny little venue. Very interested to see how it translates (more than anything am excited about seeing that voice in the flesh).
Weyes Blood
This is soooooo dreamy.
The Euro Footwork stuff is interesting, i heard some good Polish stuff the other day. but it really belongs here
most of this new stuff is reheated dnb, not that theres anything worng with that. I really liked Lil Jabba's first lp back when it was released, probably my favourite footwork longplayer. Had high hopes for the newish Dj Earl with it's OPN collaborations but it didn't do much for me.
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this is one of the few new things i've got in rotation lately
I wonder if those kids have even heard Jungle? So much better for dancing to imo.