new scuba on hotflush...

[esb]

that dirty riff in "twista" reminds me of the jesus lizard
i like this direction very very much. dirty dirty chords

@ 33 it sounds like big black even

[Ashes]

that dirty riff in "twista" reminds me of the jesus lizard
i like this direction very very much. dirty dirty chords

linkage pour vous?

[esb]

that dirty riff in "twista" reminds me of the jesus lizard
i like this direction very very much. dirty dirty chords

linkage pour vous?

http://www.chemical-records.co.uk/sc...sm?C=HF013&S=A

[Ashes]

linkage pour vous?

http://www.chemical-records.co.uk/sc...sm?C=HF013&S=A

this had better be good, takin' me outta pavement time

[Logos]

I like the toppling vibe in the b-side.

[esb]

this had better be good, takin' me outta pavement time

3.5 minutes of your life!

the end is albini muted chords too

i think someone in scuba likes touch & go

[Ashes]

nothing on nu-zno

[Tate]

that dirty riff in "twista" reminds me of the jesus lizard
i like this direction very very much. dirty dirty chords

@ 33 it sounds like big black even

The Big Black reference is spot on, imho, or at least that's what I was also reminded of (in part) when I first heard the track.

Pretty much immediately I pictured p rose plugging a distorted bass into the board . . . but the thing is, esp with respect to the big black reference, with tracks like this you don't actually get the drums of (Jesus Lizard's) Mac McNeilly after the intro, instead you get a fairly standard dubstep beat (hope I'm not antagonizing anyone by saying that), which in the end leaves me wanting more, to be honest.

Tracks like this really bring to the fore one of the reasons why I still have reservations about dubstep, at least at the level of personal taste: though I've never really seen it discussed before, I wonder if there isn't some sort of aesthetic predilection that one ultimately has between a music that champions the bass on the one hand, and ultra well-designed breaks on the other (tempo/bpm is also an issue here, obv, and yes, am well aware that i am oversimplifying: both junglists and dubsteppers will probably reply that their genre privileges both bass and beats simultaneously).

Since I realize that I am getting into controversial territory, let me be more specific, with an example: as much as I support the dubstep sound and have enjoyed hearing its developments and many mutations, at the end of the day the construction of the break, or the beat, is somehow more dear to me than "bass pressure."

Another way of putting this is that I'll probably always take more satisfaction from hearing a drum part constructed by Macc or Naphta than a wicked half-step tune built by Loefah. If that makes any sense.

And yes, I understand that many folks (including some on this board) would argue that dubstep beat construction can be every bit as satisfying as jungle. It's just that as a listener confined to playing dubstep on headphones, stereos, and lame club systems (since I'm stateside, and have only witnessed two 'dub wars' in nyc, neither of which delivered the amount of bass that i heard when seba & paradox played in toronto!), I always return to 'leftfield' or edits-style (massive reservations about both terms duly noted) beat construction as ultimately more physically, emotionally, and intellectually fulfilling than the majority of what i've heard in dubstep.

At least at this point in time - though I'm fundamentally open to all of it.

[safetyboy]

plate is my favorite.. foopin love it i do!

[pez]

Noice!

[evergreen]

Since I realize that I am getting into controversial territory, let me be more specific, with an example: as much as I support the dubstep sound and have enjoyed hearing its developments and many mutations, at the end of the day the construction of the break, or the beat, is somehow more dear to me than "bass pressure."

...

And yes, I understand that many folks (including some on this board) would argue that dubstep beat construction can be every bit as satisfying as jungle. It's just that as a listener confined to playing dubstep on headphones, stereos, and lame club systems (since I'm stateside, and have only witnessed two 'dub wars' in nyc, neither of which delivered the amount of bass that i heard when seba & paradox played in toronto!), I always return to 'leftfield' or edits-style (massive reservations about both terms duly noted) beat construction as ultimately more physically, emotionally, and intellectually fulfilling than the majority of what i've heard in dubstep.

i've thought about this too ... i've been to 2 Dub War parties and also found the bass a little wanting (but still fulfilling), and i care about the low-end 5x more than i care about the drums. but i still had more fun at both than at most of the 'leftfield' dnb things i've attended. i feel like dubstep is still in that super fertile stage where it's mining a pretty golden formula, and so the music reaches a better overall synthesis of bass and drums IMO. maybe this also has to do with the 'space' you get at the slower bpm. but for me the dubstep tunes have that much extra impact because i don't have to separate the bass and drum elements in my mind.

on the other hand, i feel like the qualities that make 'leftfield' dnb great tend to be the kinds of things that only connoisseurs or fetishists or heavily drum-oriented music listeners can really get into. or maybe i've just never been that fanatical about drums? ragga jungle (old and new) is still my favorite form of drum & bass, and even though a lot of its producers use a ton of edits, the drums are never the sole focus of a track.

still, i feel the same way as you about this Scuba track ... maybe it's because i haven't heard it out, but it just feels kinda plodding to me