This thread is for 2009 dance records that transcend their genre

I have decided that henceforth this is the only shit I'm interested in. Recommendations go here.

use of words like transcend is some ljag shit

as much as I had probs with 2008 this sounds awful

Why?

do you just mean tracks which will cause various bloggers and critics to argue about what to label it as?

maybe lcd soundsystem will put out a new song in 2009?

http://www.coxandforkum.com/archives/MullahJustice-X.gif

Second page of GIS for "justice"

You cropped the little bald guy with the pencil behind his ear and the crying Statue of Liberty.

do you just mean tracks which will cause various bloggers and critics to argue about what to label it as?

Good god no. That would "blur their genre". I mean like the way that "Cable dazed" sits high above the re-edit mush or the relationship between Mala tunes and the rest of dubstep.

oh i was hoping this was some hilarious ironic shit where we just took dance records that 'indie kids' like and made fun of them

No, that would be every other thread.

or the relationship between Mala tunes and the rest of dubstep.

FO.

I love Mala but why is he the touchstone for every snarky-dilettante?

Please tell me more about your dubstep e peen.

please don't tell me more about "dance records that transcend their genre".

where is the humor or irony in that comic? what am i missing?

plur

What is the relationship between "Cable Dazed" and re-edit mush, jacob?

Sigh, I'd given up on this exercise, having botched its introduction horribly, but since you ask Tim I'll try to put my thoughts in order on this one.

Most dance subgenres seem to come about through a preoccupation with certain stylistic elements - a certain drum pattern, heavy bass or multilayered melodies, a retro sound or a harsh aggressive one. This inevitably leads to there being lots of stuff in every genre which is popular because it has those elements, rather than through its possessing any more generalisable "quality". As scenes age this type of stuff tends to become more prevalent (although this isn't always the case).

However, you do get stuff like "Cable Dazed" sometimes. "Cable Dazed" is on a nu disco label, one run by a collector of old disco, and is a record that is quite often played in sets that also contain a lot of re-edits. So I'd broadly say it's a nu-disco/re-edits record. But actually, sonically, it doesn't actually sound much like any of that stuff. So its success in that scene (and outside of it) is less to do with the stylistic elements of the song and more to do with its overall "quality".

I personally look at mala in a similar way because his tunes lack a lot of the usual dubstep signifiers (although last year dubstep signifiers became a lot looser, it has to be noted) despite obviously coming out of that scene.

And that in a nutshell is what I'm after. Stuff whose in-scene popularity is driven not by how typical it is of that scene, but by something else.

the lindstrom thread kind of touched on this too, except with that it seemed more people predicting that its 'bigness' might qualify it for some general indie acceptance

mala seems like a weird pick to me, stuff like 'miracles' is a pretty good example of this i guess? joker's 'digi-design' or 'do it!' especially seems like a pretty good example to me, and it's so removed from ukg that it probably just sounds like daft punk to yr average dude, or is that not what you mean?

I sort of get what you mean jacob but if there's an issue with the thread concept it's that it flattens out lines of association to the choice of genre-bound vs transcendent. Like, the fact that "Cable Dazed" has found an audience has a lot to do with the fact that of all the "nu disco" labels Italians Do It Better is the most indie friendly and "Cable Dazed" is (to all intents and purposes) an indie track. It's less clear that the track (which, to be clear, I think is amazing) would have had the same reaction if it had been released on, say, Rong Music (compare contrast, perhaps, with Smith & Mudd's "Plot of Land", a similar outside-of-genre track whose success was strictly inside-of-genre).

Similar complexities at work with Mala - and he no longer sounds like he transcends genre because there's so many other producers now breaking with dubstep "halfstep with snare on the third beat" orthodoxy.