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I thought that being into Missy Elliot UPPED your indie cred. Y’know, it makes you look all post modern/don’t take y’self too seriously/blablabla an’ tha’.
Wicked tune anyhoo’. (See what I mean?)
Mat

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Some days I want to overdub Les Georges Leningrad as Poopa Scoopa. Then I think they would probably find that juvenile, and quite like it.

Other days I don’t.

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somedays I think the best way of relaxing would be smoking some crack, then I think twice. Don’t do what the Others do (or say)

LALALALA That’s what multivariate analysis does to your head!!! LALA

Cheers Juan E. Vil devolving into Lil’ Duke Dartmouth

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woah that missy song is fucking crazy. first “drop it like it’s hot” then this – the neptunes are getting straight-up weird. both those songs could use a little more variation tho i think.

this remix is pretty cool, i like seeing the indie-electro-pop axis loosening up enough to use actual breakbeats. “my robot friend” is my fave in that department right now.

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Its a bit odd cos in England the entire Oasis lad population that all got into big beat means the axis is very much indie-breakbeats. People still want to be The Stone Roses doing Big Beat or Mo Wax with that Happy Mondays swagger (e.g. Kasabian, The Music and that lot).

For English indie its quite difficult to use a break beats without sounding like a 1988 manchester or 1998 big beat retro thing.

Generic girl band producers are using scratching with a break beat and getting all hip hop, so it hardly sounded cutting edge. Drum and Bass was interesting, but too Jazz and up its own arse (with the exception of Asian Dub Foundation).

I think thats why indie avoided break beats and went for the simple drum machine 4/4 or electro beats of Peaches, The Fall and Ladytron. Its a bit more diy punk rock too, compared to the complexity of cutting a loop with a sampler. Three or four chords and four to the floor fitted well.

We should be able to get over this, Pixeltan manage it LCD are creative and many of the good new punk funk lot.

Jaki Liebezeit, lead the way!

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yeah i suppose it’s a little different in the uk since there’s a history of rock music experimenting with dance music, and some of it’s not so fondly remembered.

there’s less of a history in the usa for that, and i feel like the fear of breakbeats is more associated with fear of “real” dance music, as opposed to “electronic music” or “idm” or, especially, 80s kitsch. simon reynolds touches on some of this stuff in his rad electroclash piece.

sometimes i feel like the whole electroclash thing in the usa was people who hated dance music making dance music out of spite (or maybe people who hated rock music making dance music just to piss off the rock kids??), so if they used any dance conventions it was strictly to make fun, or identify otherness (woah OTHERNESS!). but some of those people really did love the music, or their ironicism bent over into realness, and now we’re getting more genuine attempts at merging and fucking with these genres, from both sides.

to sumarize: BRING ON THE BREAKS! FUCK THE BREAKS!

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Ha ha! that would be great if the electroclash thing was just out of spite, what a fantastic concept!

I’m gonna start a ballad singing boy band , who wants in?

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me…

It would be interesting to see what Scott has to say about the Nicky Click beat, he was a bit worried himself about the breakbeat reference, but he pulls it off because I reckon he doesn’t try to give the song a rock or funky feel, he simply lays a frantic backing loop on top of which Nicky’s vocals sound awesome (after repeated listens I’m liking this much more than Missy’s track!). Erm, we’ve been talking about the Sonics and the Monks a lot, guess it’s the same philosophy.

Good discussion!

JuanFunkGreats