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nu skool breaks debate
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<blockquote data-quote="Mike" data-source="post: 356494" data-attributes="member: 506"><p>I agree... I've been buying this sort of stuff since the late 90s and for a while it was very fresh and exciting... with the production qualities of house or electro but the energy of the old skool hardcore I first got into. </p><p></p><p>It's the ridiculous amount of bootleg remixes that put me off going record shopping for breaks stuff, it's not so bad now but at one point last year, two thirds of the racks in the breaks section of the shop I usually go to was lame remixes... Most of them priced at £7 or £8 for a single sided pressing.</p><p></p><p>I need to be careful of being hypocritical here because I've bought the odd remix in the past.. I have a great remake of the Smurf by Tyrone Brunson supposedly done by Shut Up and Dance from a couple of years ago which I love... also another remix that springs to mind is the Plump DJs mix of Stakker Humanoid - mainly because they've not really done much with it other than toughen up the beats a little and made it all sit in time so it's much easier to mix than the original with all those tape edits that keep pushing it out of sync.</p><p></p><p>I think I know what grover is getting at here because I found the 'Rock to the Boot' version of Reese quite offensive as well. Jonno is spot on with the 'scouse house' comment because the breaks remixes are all very formulaic.... sample a couple of loops from an old tune, add the bog-standard 'breaks' style beat and then apply all the usual bits of trickery you'd get in any modern house or breaks tune... filtering, breakdowns and build-ups, punctuated with big wooshy noises. The Reese remix robs the original tune of its character by taking the menacing strings from the original tune and filtering them, and removing reese's trademark beats to replace them with a programmed attempt at a breakbeat. It waters down a landmark piece of dance music and takes it nowhere.</p><p></p><p>It is a pity that the breaks scene has been flooded with these bootlegs as there has been over the past 5 or 6 years some really innovative and exciting music come out of it, and it had the potential to become a massive club scene over here as it has in countries like Australia and Spain where breaks has really taken off big time.</p></blockquote><p></p>
[QUOTE="Mike, post: 356494, member: 506"] I agree... I've been buying this sort of stuff since the late 90s and for a while it was very fresh and exciting... with the production qualities of house or electro but the energy of the old skool hardcore I first got into. It's the ridiculous amount of bootleg remixes that put me off going record shopping for breaks stuff, it's not so bad now but at one point last year, two thirds of the racks in the breaks section of the shop I usually go to was lame remixes... Most of them priced at £7 or £8 for a single sided pressing. I need to be careful of being hypocritical here because I've bought the odd remix in the past.. I have a great remake of the Smurf by Tyrone Brunson supposedly done by Shut Up and Dance from a couple of years ago which I love... also another remix that springs to mind is the Plump DJs mix of Stakker Humanoid - mainly because they've not really done much with it other than toughen up the beats a little and made it all sit in time so it's much easier to mix than the original with all those tape edits that keep pushing it out of sync. I think I know what grover is getting at here because I found the 'Rock to the Boot' version of Reese quite offensive as well. Jonno is spot on with the 'scouse house' comment because the breaks remixes are all very formulaic.... sample a couple of loops from an old tune, add the bog-standard 'breaks' style beat and then apply all the usual bits of trickery you'd get in any modern house or breaks tune... filtering, breakdowns and build-ups, punctuated with big wooshy noises. The Reese remix robs the original tune of its character by taking the menacing strings from the original tune and filtering them, and removing reese's trademark beats to replace them with a programmed attempt at a breakbeat. It waters down a landmark piece of dance music and takes it nowhere. It is a pity that the breaks scene has been flooded with these bootlegs as there has been over the past 5 or 6 years some really innovative and exciting music come out of it, and it had the potential to become a massive club scene over here as it has in countries like Australia and Spain where breaks has really taken off big time. [/QUOTE]
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