A tale of two DLs
This week's favourite track came to me in the usual contradictory circumstances. The Family Sonic were off to see Suffolk relatives, and I had won the music battle in the people carrier, mainly because Alexander Nut was playing some lovely downtempo techno and house on his Saturday lunchtime Rinse show. Yeah, yeah, silly Dad trying to hang on to the nodes, modes and mores of days. Hadnt Mum banned music with all the other nasty physical stuff that goes with being exulted by it? Not yet, littluns. Knowing the kids could erupt at any minute out of sheer frustration at their enforced and prolonged seating, this was helping to chill them out as we faced an hour and a half jammed in the south circular in bright sunshine that we couldnt enjoy, just from catford to Lee in that time.
Anyway, one tune I liked whose name i managed to catch was All in the Place by Falty DL. An American who’s come through post-dubstep circles in the usual non-critical manner of mass online praise, he’s done a more techno ep for Dutch gnostics Rush Hour, and their Direct Current online imprint. All bubbling incidentals, variable rhythm (on initial hearings, until the groove is locked in my head), lovely synthetic bass and spaceistheplace toplines. Then it has one of those minor key middle sections that is pure late 80s techno but which keeps unravelling as other elements return to the mix. The kind of tune I lose myself in por certo, and it’s good that those type of tunes are still being made so that the listening pleasure of the genre is not just Derrick May/Voodoo nostalgic flashback. Backroom slowbuild material, or for back home on the comedown (which doesn’t seem an entirely appropriate term now).
With guys like Nut playing such Detroit classicisms to ostensibly a club-oriented audience, I guess this is all part of that whatever culture where electronic dance music producers are perhaps suffering from a glut of influences so that the output struggles for novelty. But one positive element of this continued resurgence and diversification is that mediated distinctions between bedroom and dancefloor electronic music are becoming irrelevant, in such ways that would have been unthinkable in the 90s on both sides of the (often overplayed) ‘divide’ – for me ‘bedroom’ in the Ai haze of the student years, then ‘dancefloor’ at housier movements in the millennial years. With the tempos often down but infinitely requantised, basically anything interesting gets coverage in both contexts these days and music from a host of milieus is contributing to the mix. Basically, unless you're a young pill monkey living for the cliched weekend you're not going to hanker after a specific generic throb - d&b, trance, bouncy house in the provinces - and clubbers are maybe there more for the music (and the social networking) than at other times.
All in the Place will definitely appear in the next mix, which I’m now racing to complete by a self imposed deadline of easter when my actual mate ‘DL’ is back from Oz. Not that DL will like it, who i joke ceased incitement by electro music since 1986 (save a little revival for the g-funk). But there’ll be other takers as we meet up and discuss what self-absorbed twats we all were at various points in our life. Laugh when it’s not directed at you then try to laugh with them when it is. The rest of yers reach for the offline business, etc.
Anyway, one tune I liked whose name i managed to catch was All in the Place by Falty DL. An American who’s come through post-dubstep circles in the usual non-critical manner of mass online praise, he’s done a more techno ep for Dutch gnostics Rush Hour, and their Direct Current online imprint. All bubbling incidentals, variable rhythm (on initial hearings, until the groove is locked in my head), lovely synthetic bass and spaceistheplace toplines. Then it has one of those minor key middle sections that is pure late 80s techno but which keeps unravelling as other elements return to the mix. The kind of tune I lose myself in por certo, and it’s good that those type of tunes are still being made so that the listening pleasure of the genre is not just Derrick May/Voodoo nostalgic flashback. Backroom slowbuild material, or for back home on the comedown (which doesn’t seem an entirely appropriate term now).
With guys like Nut playing such Detroit classicisms to ostensibly a club-oriented audience, I guess this is all part of that whatever culture where electronic dance music producers are perhaps suffering from a glut of influences so that the output struggles for novelty. But one positive element of this continued resurgence and diversification is that mediated distinctions between bedroom and dancefloor electronic music are becoming irrelevant, in such ways that would have been unthinkable in the 90s on both sides of the (often overplayed) ‘divide’ – for me ‘bedroom’ in the Ai haze of the student years, then ‘dancefloor’ at housier movements in the millennial years. With the tempos often down but infinitely requantised, basically anything interesting gets coverage in both contexts these days and music from a host of milieus is contributing to the mix. Basically, unless you're a young pill monkey living for the cliched weekend you're not going to hanker after a specific generic throb - d&b, trance, bouncy house in the provinces - and clubbers are maybe there more for the music (and the social networking) than at other times.
All in the Place will definitely appear in the next mix, which I’m now racing to complete by a self imposed deadline of easter when my actual mate ‘DL’ is back from Oz. Not that DL will like it, who i joke ceased incitement by electro music since 1986 (save a little revival for the g-funk). But there’ll be other takers as we meet up and discuss what self-absorbed twats we all were at various points in our life. Laugh when it’s not directed at you then try to laugh with them when it is. The rest of yers reach for the offline business, etc.
posted by Culla at 1:43 pm
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