The Darkstar record is an example of a self-conscious turn towards emotionality in UK dance. Most of the album features a human voice and songs, sung by a new member of the group recruited specifically for that role. But this turn to expressivity seems to me as much rhetorical as it is actually going on in the music. After all hardcore, jungle, UK garage, grime, bassline house, were all bursting with emotion in their different ways.
The idea that artists and commentators are groping towards, without fully articulating, is that dance music no longer provides the kind of emotional release that it once did, through collective catharsis. SR: In the Nineties, drugs—specifically Ecstasy—were absolutely integral to this communal release.
One thing that intrigues me about dance culture in the s is the near-complete disappearance of drugs as a topic in the discourse. People are obviously still doing them, in large amounts, and in a mixed-up polydrug way just like in the Nineties.
There have been a few public scares from the authorities and the mainstream media, like the talk about ketamine a few years ago, and more recently with mephedrone. But these failed to catalyse any kind of cultural conversation within the dance scene itself. Compare that with the Nineties, where one of the main strands of dance discourse concerned the transformative powers of drugs. But where that was a flight from E-motionality from the collective high, now considered false or to have too many negative side effects, towards more introspective, healing music , the new emotionality in the postdubstep scene is emerging in a different context.
A sort of voluntary short term memory imbalance that is hard to understand in the following decade - the 00s - in which one of the most original and popular artist has been Burial which has been one visible manifestation of a fixation with the past which has previously reached similar levels in indie-rock.
SR: I was totally caught up in the Nineties rave culture and I can testify that there was a sensation of teleology, a palpable feeling that something was unfolding through the music. On a month by month basis, you witnessed the music changing and there seemed to be a logic to its mutation and intensification. There was a linear, extensional development, along an axis of intensification.
And you are right that there was a forgetfulness, a lack of concern with the immediate past, because our ears were trained always on the future, the emerging Next Phase. But that just seemed like a canny move to avoid an approaching dead end one that drum'n'bass would bash its collective head against for… ever since really!
The rhythmic complexification that had developed through drum'n'bass carried on with speed garage and 2step, just in a less punitive way. It is hard to identify centers of energy that could be definitively pinpointed as a vanguard. There is a full-on, hardcore, take-it-to-extremes spirit to wobblestep.
Wobble is quite a masculinist sound, it reminds me of gabba. But then it is easy to forget that the Nineties was all about this kind of punishing pursuit of extremes: the beats and the bass were a test to the listener, something you endured as much as enjoyed or had to take drugs in order to withstand.
The evolution of the music was measurable in a experiential, bodily way. Beats got tougher and more convoluted, textures got more scalding to the ear, atmospheres and mood got darker and more paranoid. Then there is also the unexpected biographical fact that Zomby is perfectly capable of saying where he was in '92, becuase he was 12 and a precocious fan of hardcore rave which further suggests he must have just followed the trajectory of the music through jungle and speed garage to dubstep just like me and Mark, only quite a bit younger.
For me, what was exciting about the 90s - and popular culture between the 60s and the 90s - was that sense of forward movement. Instead, there was a sense of teeming, of proliferation. But the technical upgrades increasingly seem to be manifested in terms of the distribution and consumption of culture rather than in terms of production. Yet, for me, this sounds suspiciously like the Intelligent Dance Music that people were praising before the hardcore continuum came along.
Jameson was quick to grasp the way in which modernist time was being flattened out into the pastiche-time of postmodernity. When I read some of those texts in the 90s, I thought that they described certain tendencies in culture, but that this was far from being the only story. The question is, is this all temporary or terminal? SR: I should have also noted that one of the main reasons a sense of linear progress was physically felt during the Nineties was that between and , techno got faster: there was an exponential rise in beats-per-minute, that accompanied all the other ways in which the music got harder, more rhythmically dense, and so forth.
So as a dancer you felt like your were hurtling. Mark mentions the idea of technical upgrades as the metric for a sense of progression in the last decade. In the space of about fifteen minutes, Sacchi went from complaining that there had been no really significant formal advances in dance music since drum'n'bass he discounted dubstep, as I recall to then commenting with approval of how advanced sounding records were now compared with ten years ago.
That sounded totally plausible to me and it may well be the defining quality of electronic dance music in the s. You might say that the basic structural features of the various genres were established in the Nineties but what has improved is the level of detailing, refinement, and a general kind of production sheen to the music.
Mark also mentions Fredric Jameson. His work— the big Postmodernism book from but also, especially, A Singular Modernity—helped me see that rave in general and the UK hardcore continuum in particular had been a kind of enclave of modernism within a pop culture that was gradually succumbing to postmodernism. Coming out of street beats culture, without hardly any input from art schools and only the most vague, filtered-down notion of musical progress, it nonetheless constituted a kind of self-generated flashback to the modernist adventure of the early 20th Century.
The hardcore continuum especially propelled itself forward thanks to an internal temporal scheme of continual rupturing: it kept breaking with itself, jettisoning earlier superceded stages. That struck me as the characteristic mindset of those who came up through the Nineties as critics.
Another topic I find very interesting is the fact that the dance music referred as Hardcore Continuum, even if had an international resonance through the media has maintained a strong local connotation and a somehow insular development in other close genres as techno or house the localisation seemed to be less prominent even if, for example, the first ground breaking LP from the band Basement Jaxx resonates with a milieu of influences not too dissimilar to some other post-rave productions.
Somehow some of the music in the continuum feel like a sonic cartographies of London or other cities in the UK , responding and being connected to very specific contexts. Is the geographical aspect something you use in the reception of this genres? SR: Music from the hardcore continuum has obviously found audiences all over the world. The early breakbeat hardcore was universal rave music for a few years in the early Nineties. Jungle established scenes in cities from Toronto to New York to Sao Paolo and in its later incarnation as drum'n'bass became a truly international subculture.
The same applies to dubstep. And even the more London-centric styles like 2step and grime had really dedicated fans in countries all over the globe and small offshoot scenes in particular cities outside the U. That said it is incontrovertible that the engine of musical creativity for hardcore continuum genres has always been centered in London, with outposts in other urban areas of the U.
The next stage of the music has always hatched in London. That is related to pirate radio, the competition between DJ and MC crews both within a particular station and between stations. And the sheer number of pirate radio stations owes a lot to the urban landscape of London, the number of tower blocks to broadcast from, and the density of the population, and the existence of a sizeable minority in both the racial and aesthetic sense whose musical taste is not catered for by state-run radio or by the commercial radio stations including the commercial dance station Kiss FM.
This competition— expressed through the pirates striving to increase their audience share but also through raves and clubs competing for dancers —is partly economic and partly purely about prestige, aesthetic eminience. And it has stoked the furnace of innovation. That London-centric system focused around illegal radio stations seems to be gradually disintegrating. But dubstep, like drum'n'bass before it, is much more of U.
Martin Clark, a leading journalist on the scene and also a DJ and recording artist using the name Blackdown, told me something interesting. The appearance at Coachella, in the desert town of Indio in southern California, would involve two shows over consecutive weekends starting on April Rolling Stone magazine reported that Rose, who rarely gives interviews, would appear next week on late-night talk show Jimmy Kimmel Live to discuss the band's future.
Guns N' Roses, featuring Rose's sweeping vocal range and raw anger coupled with Slash's intricate metal guitar, became an instant sensation starting with the band's first album Appetite for Destruction in Appetite for Destruction — which featured hits including Welcome to the Jungle, Sweet Child O' Mine and Paradise City — is the top-selling debut album by a band ever in the United States, where it has been certified as selling 18 million copies. The band says it has sold more than million albums worldwide.
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