Even with all the tools that have made every nerd and hipster try their hand at the shit.

Who in the game has been more genius in their chopping ability?

Who has had better drums selection on their beats since Dilla?

Who has been able to transform their style / have an unpredictable range?

The answer is nobody...it's amazing how you can listen to 15 year old Dilla beats that are still light years ahead of what cats tryna do now

pretty much for this generation.

One of the things I can't stand most about Hip Hop is the "dead homie" narrative.
God Bless The Dead...OF COURSE.

But the living?
Tupac & Biggie became THE GOSPEL to a legion of LATE SCRUBS because they died.
If they lived they more than likely would've come & gone just like the greats before them and after....

The more popular Hip Hop became and the more accepted in Popular Culture, the more it created new wide-eyed enthusiastic LATE ASS SCRUBS!!!

You still got people catching up to WHO JAY DILLA WAS! but NOT what Jay was doing because these m.f.'s don't know how to dig/chop/program/rhyme...they just know "JAY DILLA IS THE G.O.A.T." & Hip Hop is "cool".

Same folks that'll tell you/wanna argue "MF DOOM IS THE GREATEST" but ain't never heard Peachfuzz, don't know KMD from a can of paint, etc.

They like the HYPE and could care less about the context of the art or the artist.

It's basically scrubs tryna style on scrubs. (Hi Hipsterdouchebots)

I know hella record collectors...these m.f.'s don't fuck with Dilla's music, but they are aware of some of the most obscure pricey records he touched...and they do good business brokering things he used as tools of his trade.

So to understand the whole spectrum of folks at the Dilla fountain is to understand that it's more about folks playing "catch up" and other folks trying to get paid riding the brand.

It's gonna take a minute for the focus to REALLY get back to the SCIENCE that dude was working with.

I see a cat like Aarabmusik (or whatever his name is) and THAT TRULY fits the criteria of "innovative beatmaking" TO THIS GENERATION...64th note hi-hats & 808's (*SNORE*). God keep Aarabmusik healthy because I'd have to rip my ears off my head if he died and his nuthugger zombie army ran his "myth" up the Peanut Butter Wolf flagpole.

At least Dilla left schitt tons of music for the folks that love him because of his approach to music.

s.blak
Turn It Up...A Little Louder © James Yancey

I see lol

-------------------------
“Floyd Mayweather should be taking fights up to 157 or 160 pounds...His frame can hold the weight..it's not even a lot of weight....Go to the gym and lift weights man..lol.”-- Warren Coolidge

as it does things changing for the worse all the way around
nobody wants to practice and try to get better when they can click a box on a computer program and do a hi hat part
also I won't say production hasn't advanced, that's being a little to harsh, but yeah Dilla and his peers were the last ones to really embrace that aesthetic of production
also I think Dilla's old stuff really isn't a proper comparison to what these guys get credit for; I see your point but that sort of comparison doesn't really speak to any point about his ability, per the state of things now

It's just the mere fact that I was thinking about...who musically in hip hop is making beats that had me as excited or close to it when Dilla was changing the game

Instagram: ascensionmusic

Kev Brown, El-P, Oddisee, etc. all make me really feel good about Hip Hop and where it's going, and they each have their own innovations
Kev in particular has been more prolific and varied than people really know, and his process is really interesting to me

right?

like an entire board dedicated to these posts?

http://board.okayplayer.com/okp.php?az=show_topics&forum=27

Instagram: ascensionmusic

that's a forum for creators mostly, even though all you get is 'check my shit' posts, but you don't necessarily have to be a creator to have this discussion

http://tinyurl.com/mp7rzs5

-------------------------
“Floyd Mayweather should be taking fights up to 157 or 160 pounds...His frame can hold the weight..it's not even a lot of weight....Go to the gym and lift weights man..lol.”-- Warren Coolidge

there was some new progress made in beat-making in the late 00's LA beat scene.

they did some new things that had never been done by dilla or madlib, despite being heavily influenced by both.

but nobody heard any of the material outside of a handful of people, so it will have no influence on anyone at large.

i mean madlib is still releasing beats from beat tapes he made in 2003, that karriem riggins album, by rights, sounds 10 years out of date to what he was doing back then.

if nobody hears your music, it technically never existed.

try having a conversation about madlib production techniques with the average rap fan, hell the average rap producer.
they're not going to know square 1 about anything he innovated.

and i don't think it's really a testament to how "creative" dilla or madlib were just that they were confident in their own abilities and willing to risk trying new things on whim to mix things up and do something new, even just to keep themselves interested.

the reason there is no new genres + very little musical progress in any genre these days is because the driving reason most people make music these days isn't to express anything - it's as a quick route to making money.
even the unsigned, indie guys...
i mean if you aren't trying to become the best and/or pushing any boundaries on what's possible in your supposedly beloved, chosen medium then why are you even doing this?
oh, that's right because you want to be famous and rich.

they just follow the trends/dollars.

and if nobody sets new trends, then new trends seldom happen.

look at slowly things evolved in the sound scape of 00's rap compared to the 90's or 80's.

hence, my "talented black acts that were suppressed from their rightful exposure in the 00's thread" a few years ago.

what changed in the 00's? oh i dunno, the massive influx of white attention and purchasing power from 1996-2001 that made so many people rich perhaps?
which lead to corporations dictating the trends to control the "risk" and snuffing out organic "movements" that had heaps of potential to shake up the genre but at the risk of making everything else out sound "passe".

i mean why does music sound the same in 2013 as it did in 2012, 2011, 2010, 2009 or whenever year lex luger blew up?
why do the people that blow up set the trends and any form of counter-culture is not even acknowledged as existing today?
because capitalism has usurped music as an art form and the vast vast majority of people only make music that they think is going to make money and attract fame.
(and amusingly enough, don't make any real money making it that way...)

I like a few things...but overall not for me

That doesn't negate him as the answer to the question you posed in the original post.

.

I mean, the LA scene, 40, Mike Will, Kanye, Hudson Mohawke, and a fuckin army of soundcloud hip-hop/r&b cats would disagree.

Look, I like a lot of Dilla's shit. Dude was great. But this whole hip-hop fatalism/fetishizing dead cats? Goofy as hell. And it keeps people from seeing the art in the living.

A lot of people have been making new strides in the game....artists picking those beats is a different story.

The Instro/Electro game has been bonkers the last 3 years....the rappers just aren't all the way hip yet.

.

I mean, unless you refuse to listen to anything but Mello Music Group and Rhymesayers.


~~~~~~~~~
"This is the streets, and I am the trap." © Jay Bilas
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

he "just" was really good at what he did and added his unique twist to it.

it takes time to make art that "evolves" the genre. you could argue that kanye tries to be avant-garde. i don't like his current music and i think that it's more image than substance as far as pushing the boundaries but you can't say he's not trying.

not what he's posted in here, but his general premise that the beatmakers that were trying to continue the line stopped associating with mc's. it's what plagued dilla while he was alive too, not enough major placements. There are a lot of cats doing more these days, but without an associated rapper, most hip-hop fans will deny their existence.


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

it's not that people "deny", it's just that there is no reason why they should know who these beatmakers/programmers are.

most people listen to music when it is validated by where they here it or who they see cosigning it.

most people don't go out of their way to find obscure, up-and-coming acts, gauging their talents using their own critical thinking and understanding of music and talent.

hence, most people don't just listen to "beats".

there's a reason scratch magazine went out of business.

but i think what i posted in here is very much a continuation of the of thinking used when i levied the criticism of the LA beat scene shunning rappers and making "rap songs" as being their downfall some 4-5 years ago.

i mean samiyam released an album last week, i posted about it, it didn't even get 1 response.

how many people do you think even downloaded it, illegally?

i'd venture less than 1000.

What about folks like TNGHT or Flume? Baauer? Cashmere Cat? Pretty Lights, Fly Lo etc...

They are not only pushing the genre but have careers much more lucrative than Dilla ever did.

The LA Beat scene and the acceptance of the "DJ" as an artists have propelled the beat-maker to rock star status. And these dudes are pushing what Pop is making now.

There is no Katy Perry ft Juicy J without the "EDM" trap movement.

>What about folks like TNGHT or Flume? Baauer? Cashmere Cat?
>Pretty Lights, Fly Lo etc...
>
>They are not only pushing the genre but have careers much more
>lucrative than Dilla ever did.
>
>The LA Beat scene and the acceptance of the "DJ" as an artists
>have propelled the beat-maker to rock star status. And these
>dudes are pushing what Pop is making now.
>
>There is no Katy Perry ft Juicy J without the "EDM" trap
>movement.

Im like, Dilla pushed a PARTICULAR sound to the so far it revertebrated outside of hip-hop. However, to say that someone like Flylo, a dilla devotee mind you, ain't making new moves production wise...lol.

Dudes want the same records chopped up over and over again

Well "Hip hop" as a label... wont get you shows...

lol

Promoters still thinking Wu Tang is gonna show up and burn their venue down.

but an "EDM" or electronic producer or DJ.. that's safer, cooler and makes a ton of money..

>Well "Hip hop" as a label... wont get you shows...
>
>lol
>
>Promoters still thinking Wu Tang is gonna show up and burn
>their venue down.
>
>but an "EDM" or electronic producer or DJ.. that's safer,
>cooler and makes a ton of money..

My fav is the current hipster blogosphere fascination with DJ Rashad(who deserves it btw). I saw him play the 'you're on your way!' EDM club Output in NYC and during his set I just sat there wondering how oddly placed he was, since outside of a few footwork backdrops (all on top of modern hip-hop classics) it was a funkmaster flex set.

Yea I mean.. I love the fact that the old heads can get some bread. They've done so much to cultivate these subgenres that have built the new EDM wave it's great they can eat too...

Still wild watching 2 Chainz at like HARD festival but fuck it.. if it works and the fans love it..

It will be too soon

im all for artistic ghettotech/ghettohouse, but calling the genre footwork seems like some shit someone who had never actually experienced it would do.

Flosstradamus too I believe

LOL!!

Sorry. I'm not saying it's not, I'm just saying hip-hop heads here represented by the starter of this post, don't care what these kids call themselves, it's not a continuation of hip-hop for them even if it retains some of the core elements.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

.

And probably just salty that innovation in hip hop production is coming from French techno producers instead of someone they can "relate" to

>What about folks like TNGHT or Flume? Baauer? Cashmere Cat?
>Pretty Lights, Fly Lo etc...

Other than FlyLo hip-hop heads don't know who they are.

Also the og post was keen on sampling which the majority of your list isn't known for.

>They are not only pushing the genre but have careers much more
>lucrative than Dilla ever did.

'genre' the operative word here. They are actually from a hip-hop perspective pushing out of the genre.

>The LA Beat scene and the acceptance of the "DJ" as an artists
>have propelled the beat-maker to rock star status. And these
>dudes are pushing what Pop is making now.

All irrelevant to hip-hop heads.

>There is no Katy Perry ft Juicy J without the "EDM" trap
>movement.

Neither EDM or Trap continues the Dilla legacy. Trap is a breakfast cereal commercial away from 'not being hip-hop' at this point. And again it's all good but not really pushing beatmaking from where Dilla left off.


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

>>What about folks like TNGHT or Flume? Baauer? Cashmere Cat?
>>Pretty Lights, Fly Lo etc...
>
>Other than FlyLo hip-hop heads don't know who they are.
>

Don't know who Baauer is? The kid with a number 1? They don't know who Pretty Lights is? The kid who can sell out Ampitheatre's? These guys fans ARE hip hop heads. They can go to a Dilla Tribute and a Pretty lights show

>Also the og post was keen on sampling which the majority of
>your list isn't known for.
>

Flume is and he has number 1's.. I can add Aarabmuzik to the list as well.

>>They are not only pushing the genre but have careers much
>more
>>lucrative than Dilla ever did.
>
>'genre' the operative word here. They are actually from a
>hip-hop perspective pushing out of the genre.
>
>>The LA Beat scene and the acceptance of the "DJ" as an
>artists
>>have propelled the beat-maker to rock star status. And
>these
>>dudes are pushing what Pop is making now.
>

All irrelevant to hip-hop heads.

Hip hop heads CREATED the La beat scene.. Low End Theory comes out of Dilla, madlib and experimental beat fans

>
>>There is no Katy Perry ft Juicy J without the "EDM" trap
>>movement.
>
>Neither EDM or Trap continues the Dilla legacy. Trap is a
>breakfast cereal commercial away from 'not being hip-hop' at
>this point. And again it's all good but not really pushing
>beatmaking from where Dilla left off.

People need to eat man. Samples dont do that. At a time when you can be sued for a drum break the innovation happened elsewhere

>
>
>█▆▇▅▇█▇▆▄▁▃
>Big PEMFin H & z's
>"I ain't no entertainer, and ain't trying to be one. I am 1
>thing, a musician." © Miles
>
>"When the music stops he falls back in the abyss."

>Don't know who Baauer is? The kid with a number 1?

"The Harlem Shake dude?" He bits about as much hip-hop cred as the meme did.

>They don't
>know who Pretty Lights is?

No they don't. Sorry.

>These guys fans ARE hip hop heads. They can
>go to a Dilla Tribute and a Pretty lights show

Uhhhh... I've been following Pretty Lights since the first ep. He's not coming close to Dilla. He made his niche and god bless him for that, but c'mon son. You take dilla heads to a PL show they're liable to punch somebody.

>>Also the og post was keen on sampling which the majority of
>>your list isn't known for.
>>
>
>Flume is and he has number 1's.. I can add Aarabmuzik to the
>list as well.

I don't know who Flume is but I'm old. Aarabmuzik... still making beats for Dipset?

>Hip hop heads CREATED the La beat scene.. Low End Theory comes
>out of Dilla, madlib and experimental beat fans

And? There's an inteview with one of the leading LET heads saying how much they hated the MC's pre LET when they were stuck at goodlife. Now they got rid of them... That's my point.

>People need to eat man. Samples dont do that.

Irrelevant to the original topic.

>At a time when
>you can be sued for a drum break the innovation happened
>elsewhere

But focusing on this. None of these motherfuckers are innovating. None of them. Making hot trendy shit sure. Innovating... NOPE. Not for hip-hop, not for EDM, not for the breadth of electronic music. They just getting paid. Bless em for it whatever on that.

And I'm a fan.


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

>But focusing on this. None of these motherfuckers are
>innovating. None of them. Making hot trendy shit sure.
>Innovating... NOPE. Not for hip-hop, not for EDM, not for the
>breadth of electronic music. They just getting paid. Bless
>em for it whatever on that.

yall gotta remember i'm speaking as a fan of this shit. there's a double platinum post of electronic music from this year that i've got a third if not half the posts in. i'm listening to it. and if we're talking electronic in general fuck yeah there's innovation. if we're talking electronic with hip-hop leanings it stalled out after everyone realized they could get more licensing money if they didn't try to innovate. and the edm and trap mentioned by double o are offshoots of that. this ain't even an old man rant this is just critical analysis.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

you seem mad, bitter, and hater-ish

to say FlyLo, Araab, Lunice or HudMo aren't being innovative is very short-sighted.

sure a lot of shit is very monotonous on the sample-based and "trap ends of the spectrum, some of which crosses over, but heads def finding new sounds/methods to evoke those old moods

hit me with an innovative hip-hop production technique.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

If none of them innovated then neither did dilla

and doing something new with it, not creating something new on his own
and often that can be even more difficult to do
but all of that stuff sounds derivative and actually more like Madlib than Dilla

Yea but to say that no one is doing that now...

Mr Carmack? Cashmere Cat?

There are so many kids on soundcloud doing incredible shit

there's innovative stuff all over the place with no audience, no different than when Dilla was at his peak

I'm not talking about how popular he is or whatever but his actual work. I've had a couple of people try and sell me on how great this kid is and I just don't hear it. And it's certainly not appealing to heads. Hell Flying Lotus barely is.

I like his take on 90s R&Bish type shit... in 2013..

I wouldnt go to a show though. I just don't think his music would be dope live..

Because honestly I don't hear anything special at all. I can think of a bunch of dudes out Detroit, LA and Chicago doing way more interesting things and certainly more Hip Hop styled production.

>I like his take on 90s R&Bish type shit... in 2013..
>
>I wouldnt go to a show though. I just don't think his music
>would be dope live..
>
I think what you were saying is these guys are borrowing from Hip Hop and making waves in other lanes but despite what they may call themselves that shit is not appealing to Hip Hop heads anymore than Led Zeppelin appealed to my grandpa who was a Delta Blues fan.

you don't think the "Head" has evolved?

Like the cat who was listening to Co. Flow is probably the same cat at Low End Theory or Boiler Room now..

But I don't think they are really checking for someone like Cashmere Cat.

>you don't think the "Head" has evolved?
>
>Like the cat who was listening to Co. Flow is probably the
>same cat at Low End Theory or Boiler Room now..

There are always exceptions but in general heads are more checking for people with much more aggressive styles of production. It's a lot more likely to be Black Milk or Hit Boy than some dude from Norway unless he is dropping certified bangers which I don't think Cashmere Cat is. Like I mentioned earlier even Flying Lotus is still a little out there to a large amount of straight up Heads and I definitely feel like they are later to the party on him than other folks.

Yea.. I mean MOST heads are still on head nod shit... right now that head nod is 140bpm...

>Yea.. I mean MOST heads are still on head nod shit... right
>now that head nod is 140bpm...

I'm not saying that's a bad thing either.

FlyLo is barely registering with "heads" or some niche artist

all the hip hop blogs, mostly written by older heads constantly post his music.

critics across mags/online have praised every single release

in LA, you best get tickets early when he performs cause his shows constantly sell out

dude is one of the figure heads of one of the few actual physical scenes to emerge in the last decade

and we aint even talkin about the music

sheesh

Now if you go you are starting to see more heads at the show but he's been on the radar of what I'll call non-heads for a much longer period of time.

>FlyLo is barely registering with "heads" or some niche
>artist
>
>all the hip hop blogs, mostly written by older heads
>constantly post his music.
>
>critics across mags/online have praised every single release
>
>in LA, you best get tickets early when he performs cause his
>shows constantly sell out
>
>dude is one of the figure heads of one of the few actual
>physical scenes to emerge in the last decade
>
>and we aint even talkin about the music
>
>sheesh

Most of those people at those shows tend to be fans of a cool, hip shit and I wouldn't describe them as heads. I'm not saying their are none in the house like I mentioned earlier he has grown in that community but the vast majority of those people at those shows are also going to be at a bunch of other trendy shit in LA as well regardless of genre.

Where music exists in some unspecified ether until it can be defined by way of its audience

>Where music exists in some unspecified ether until it can be
>defined by way of its audience

I don't think Fly lo and others are in some unspecified ether that is undefined. I just don't believe or see that a ton of what we were referring to as Hip Hop heads are into him. As someone else noted for the most part they are still checking for more head snapping type of production and that's not generally what Fly Lo has to offer.

the tools at their disposal and then evaluate how they are innovating the use of those tools. show me what you think is innovative and there's likely someone who did it twenty years ago with far more difficult tools.

next thing you explicitly stated trap and edm, the former is so locked into a formula there's literally no room to innovate, and at its very birth (in this incarntion) was apporpriative, while the latter is so braodstroke and yet at the same time so limiting that again there's no room for innovation. this is literally the third wave of 'edm' (though its just now received the horrid name) in the last twenty years, and there's nothing that has changed about it except the tools have made it a lot easier to do what folk did before and during the first waves.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

>the tools at their disposal and then evaluate how they are
>innovating the use of those tools. show me what you think is
>innovative and there's likely someone who did it twenty years
>ago with far more difficult tools.
>

Not everything. No one 20 years ago could technically do the vocal chop processing stuff that's happening now. Melodyne and Ableton helped usher in a ton of innovation.


>next thing you explicitly stated trap and edm, the former is
>so locked into a formula there's literally no room to
>innovate, and at its very birth (in this incarntion) was
>apporpriative, while the latter is so braodstroke and yet at
>the same time so limiting that again there's no room for
>innovation. this is literally the third wave of 'edm' (though
>its just now received the horrid name) in the last twenty
>years, and there's nothing that has changed about it except
>the tools have made it a lot easier to do what folk did before
>and during the first waves.

Both names suck. There are tons of electronic musicians who hate the labels.. Once you get rid of them it isn't as formulaic as you'd think. They aren't doing what happened before at all. Fat Boy Slim and Prodigy didn't sound like each other let alone Avicii. And Avicii sounds nothing like Bass Nectar or Pretty lights etc...

We woudnt be talking about any sub genre of electronic music if there was no room for innovation... no trap, no dubstep.. no ratchet.. no juke. There is constant innovation in the underground. That's the point

>
>█▆▇▅▇█▇▆▄▁▃
>Big PEMFin H & z's
>"I ain't no entertainer, and ain't trying to be one. I am 1
>thing, a musician." © Miles
>
>"When the music stops he falls back in the abyss."

>Not everything. No one 20 years ago could technically do the
>vocal chop processing stuff that's happening now. Melodyne
>and Ableton helped usher in a ton of innovation.

You could do it with a couple of hours and a S950 if you knew what you were trying to do. The technology made it easier, that's the innovation not the uses.

>Both names suck. There are tons of electronic musicians who
>hate the labels.. Once you get rid of them it isn't as
>formulaic as you'd think.

This is circular. I'm specifically calling out the claim that edm and trap are innovating. Not the broader electronic. To say get rid of the label and embrace it all, you're including things which are not trap or edm in the mix which is irrelevant because above i already said electronic is innovating just not in those subs for the reasons previously expressed.

>They aren't doing what happened
>before at all. Fat Boy Slim and Prodigy didn't sound like
>each other let alone Avicii. And Avicii sounds nothing like
>Bass Nectar or Pretty lights etc...

I'm talking about innovation at the level of techniques. What it takes to make what they are making. These foundations were laid. They are named in the presets, built in the emulations, and cherished in the sample packs because it all came before.

>We woudnt be talking about any sub genre of electronic music
>if there was no room for innovation... no trap, no dubstep..
>no ratchet.. no juke. There is constant innovation in the
>underground. That's the point

This is an empty statement. Even more you gotta pick a side. Two posts up you're championing cats in the underground. Now you're saying the innovation is happening underground. That was actually my point. The styles that you're talking about aren't underground they've morphed into popular formulas that keep them from innovating.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

But in EDM the "underground" is eating...

You are right though.. I should say Niche or lesser known.. because that line is blurred

but there is a very specific tier of cats like Avicii, Afrojack, Diplo, Ingrosso, Alesso, Tiesto etc....

and then Flosstradamus, Baauer, Fly lo, Bassnectar, Flume etc..

I only used underground because the latter (cept baauer) doesnt have Billboard Top 40 radio play.


and unless you can show me an example of someone chopping a vocal and repurposing it like Skrillex in an Akai sampler then nah you are wrong..

>and unless you can show me an example of someone chopping a
>vocal and repurposing it...

subject line sorry i don't have a link.


>like Skrillex in an Akai sampler then
>nah you are wrong..

operative word is 'like' and what exactly you mean by 'like'. i'm talking technique, you describe the technique for the Skrillex vocal chop (ie take the first sylable, at the sixteenth repeat then go into the full phrase before reversing it) other than time stretching you can do most of it with tape, and time stretching as an innovation is more about the technology than the application.

see what i'm saying. now does it sound like how skrillex does it, not necessarily, but the technique is still ancient. what is it that skrillex does with that technique that is innovative for the technique and not a result of the afforded technology?


█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

Sorry... no tape splicing is doing this..

http://youtu.be/fq-geJ9UwG4

round 33 seconds on for a long as time..

Anyway,,, this is a new technique.. you could chop a note and map it to the keyboard with any keyboard based sampler.. i.e. asr 10, eps 16

Jimmy jam talks about mapping janet jackson background vocals and playing them instead of her stacking them...

But none of them are THIS level of intricacy.. You need the software to push the boundaries this way... and skrillex pushed it... He took notes from Aphex and Noisia.. but pushed his own shit

>Sorry... no tape splicing is doing this..

2) The only difference from tape where you physically touching the tape to warp it while its playing as its recording as a sample onto another tape then splice those recordings together into phrases, is time stretching.


>Anyway,,, this is a new technique.. you could chop a note and
>map it to the keyboard with any keyboard based sampler.. i.e.
>asr 10, eps 16

So then again how is it new? It's a new application of an old technique with new technology.

>But none of them are THIS level of intricacy..

3) Attention to detail sure why not.

>You need the
>software to push the boundaries this way... and skrillex
>pushed it... He took notes from Aphex and Noisia.. but pushed
>his own shit

4) You don't need the software to do anything but time stretch.

5) In a discussion about the innovations of hip-hop production this is a stretch. What one does with Melodyne is a far cry from what one does with an MPC in terms of producing beats, and this is a clear example of a disconnect, because while I'm sure amongst those that enjoy this there are some hip-hop heads, when you go to the core hip-hop audience and play this you'll get nothing but blank stares.

>Sorry... no tape splicing is doing this..
>
>http://youtu.be/fq-geJ9UwG4
>
>round 33 seconds on for a long as time..
>
>Anyway,,, this is a new technique.. you could chop a note and
>map it to the keyboard with any keyboard based sampler.. i.e.
>asr 10, eps 16
>
>Jimmy jam talks about mapping janet jackson background vocals
>and playing them instead of her stacking them...
>
>But none of them are THIS level of intricacy.. You need the
>software to push the boundaries this way... and skrillex
>pushed it... He took notes from Aphex and Noisia.. but pushed
>his own shit

u say there's something intricate going on there, but i can't tell what i'm hearing. and most importantly, the end result is nothing i'd ever want to listen to.

lol.. well no reason to explain then...

I mean innovating techniques don't matter if ppl don't like the end result right?

>lol.. well no reason to explain then...

i'd appreciate being educated. u don't have to be too detailed. lol. i don't know if i'm missing an obvious sample source or what.

>I mean innovating techniques don't matter if ppl don't like
>the end result right?

no, not true. maybe some one could use those powers for good!

Ok... well

long and short..

Skrillex is singing maybe 4-8 bars.

Chops those vocals up (probably on consonants) into little pieces then dumping them in melodyne where he is rewriting the melody with the vocals...

Dump em back in ableton where he can chop again and "play" them how he wants in the beat.

Some effects processes happening (reverb, reversing parts, delays, etc..)

if you want a distant relative to it. it'd be vocoding. That requires a synth source though. he can just do this without one and treat his voice as a midi instrument.

>Skrillex is singing maybe 4-8 bars.

or sampling

>Chops those vocals up (probably on consonants) into little
>pieces

"Recycle'd" been around since the 90's

>then dumping them in melodyne where he is rewriting the
>melody with the vocals...

Primary functionality here being the interface which makes rearranging easy, and time stretching which makes the rearranging auto match the tune.

>Dump em back in ableton where he can chop again and "play"
>them how he wants in the beat.

Can also flow right out of Melodyne.


>if you want a distant relative to it. it'd be vocoding. That
>requires a synth source though. he can just do this without
>one and treat his voice as a midi instrument.

Eh... it's not really close to vocoding at all. But it does highlight another recent technological development - audio to midi, though that's not necessarily what's being employed here (even if it is in the backbone of Melodyne, it's not necessarily an active technique).

From this though you can still see that it's really just the ease which of course has led to doing more things, but I'm still on the fence with the innovativeness of it. I mean considering this - http://www.youtube.com/watch?v=pugC5qZ_SXU was done strictly with hardware in the 90's (artists voice, chopped rearranged, pitch effects etc) technique wise what has been added? Sure you could say things like the post processing effects, but it's not that those couldn't ahve been done then as well.

Me thinks you need a soundcloud account..

There are so many ill producers worldwide these days...

Dilla is like 4 generations removed. What these kids are doing now with vocal samples .. sample chops etc.. is really dope.

Is it all good? no

But they synthesized dilla's ideas and have far surpassed them.

they can chop it but it lacks the character to make it stand out as unique.

of coure this isn't all of them, but no one i've heard has stood out as next level.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

I saw a dude making dubstep and it wub wubbed for him. He had no clue what a LFO was.

Well.. we have MORE now though.. Too many options almost...

When music overly democratized its much much much harder to stand out.

I don't think Dilla would be seen the same had he come out today..

of this thread. Especially what supablak said. The answer to your statement I think is both Yes and No.

There are both great and silly things to come in the Post-Dilla rememberance era. The entire LA Beat Scene, and all other associated acts are great. The fact that casual rap fans will even be exposed to that kind of music is pretty dope to Dilla, even if its a bit shallow. To be bitter about something like that is just that, bitter. But also I do wish that Dilla heads would chill out a bit. Like with all good things, practice moderation, Keep it moving.

And I also think that the OG poster is in that sort of that frame of mind, he makes a lot of points, but as one dude said, SOUNDCLOUD is home to some of the most innovative shit ever! you just have to be willing to sift, appreciate, learn, about way too many artists to count, cause the payoff is big. Your cynicism is not an excuse.

And just to contribute something to this post, I will now post some of producers that I feel are worthy of in hopes of enlightening about what I find to be innovative today:

3 cats i've interviewed on my podcast (shamless plug lol)

Zack Sekoff (17 YEARS OLD!!!) http://www.youtube.com/watch?v=2wvAezPIUnk

A Sol Mechanic (another cat from LA) http://www.youtube.com/watch?v=QUNBSaVDAd0

CohenBeats (one of Israel's dopest producers) http://cohenbeatsaredope.bandcamp.com/track/cedars

and then a couple others

Clipping (don't know who the producer is, but I've never heard shit like this)
http://www.youtube.com/watch?v=JIAQv_8qkqE

Sonnymoon (not exactly hip hop, but I feel its relevant) http://www.youtube.com/watch?v=vVWEIxCsRjk

This is just the tip of the iceberg. Many more people are much more well informed.

And one more thing. I feel that any and all people who complain about the state of music, how bad it is, devoid of talent, blah blah blah, are just so misguided by their one affection for the halcyon days of the genre, and the originators.

Maybe Its just because I grew up in era where Pop music was always generally shit, but don't come posting making claims in a place where people speak about and trade music that is more often than not NOT commercially relevant but dope.

There is way to much good music being made by artists who still work at Kinkos and Wendy's that it just makes my head spins. I fall in love with something new everyday. I hope I hope I never become jaded and cynical, but the way things have been the last few years, I dont believe it will happen for a while.

Suff Daddy
Dexter
Vanilla
ChromadaData
Brenk Sinatra
FS Green

So many really, really dope producers out there these days who are definitely putting in the practice that Madlib/Dilla once did. Maybe not on the same level, but there's stuff out there that I believe would make em proud.

I thought that the production on Gonjasufi's "A Sufi & A Killer" was DOPE.

I haven't liked much else from Gaslamp Killer at all though honestly.

Mainframe is a dope ass producer (seriously), but WTF IS GOING ON WITH THAT M.F.?
I haven't really heard from him since Danny Brown put him on blast for trying to release some old pre-XXX schitt?

Fly Lo is okay...but was his creative zenith Cosmograma? I NEED Thundercat on his schitt to keep me interested.

Georgia is STILL dope ass hell, but sometimes her stuff just doesn't connect.

It's like starting out at at dope ass party...you meet some cool people and they say, "Let's Go To Another Dope Ass Party", so you leave and spend the rest of the night getting the run around/wandering aimlessly with these "cool" people whole still insist that there is "Another Dope Ass Party", but they've parked in the middle of nowhere and now you're walking to God knows where with these folks you and are starting to think aren't so cool anymore.

That's how I feel about the L.A. Beat scene...

I'd love to hear Earl on some Mainframe "Johnson & Jonsun" type of schitt.

I don't know... I DESPISE ALL OF THAT TRAP SCHITT THOUGH.

s.blak
I forgot what else I wanted to say.

that people who get turned off by its reappropriation care to find out. Like all trendy dance music, the imitators quickly adopted and killed the awesome stuff that came out, but there's still some dope ass shit thats a lot more interesting melodic and crazy than the bullshit you hear at the club most times.

http://www.youtube.com/watch?v=_k2iOUdE9vI

personally i like this^, maybe you wouldn't consider it trap but its chasing that.

Anyway, whether or not you like the specific LA Beat Scene artists (who are my go to's, I will pretty much listen to anything Fly Lo touches and probably love it), you have to admit that is a scene and culture that celebrates experimentation. And that's all you can ask for in my opinon from any group of fans/artists.

Trust, keep looking, keep checking, downloading, its tiresome but you will find another champion or two in the rough.


Like Astrological of Elekwent Folk

http://elekwent-folk.bandcamp.com/track/borealis-feat-moka-only

http://jellyfishrecordings.bandcamp.com/track/amethyst-jam-ft-mosaic

Like Astrological's other group with Nick Wisdom Potatohead People

http://jellyfishrecordings.bandcamp.com/track/kosmichemusik

Like Shlohmo (not unknown by any means but needs to be mentioned

http://www.youtube.com/watch?v=ZckIyXQE83I

Like Hot Sugar

http://www.youtube.com/watch?v=o1ebBBRitWw

I will keep going till the cows come home. Let's get the Electronic/Beats post up and at em again people!

Mr Carmack..

I hate that dude he's so good... lol

and yea Friends Of Friends cats are super dope..

My brother says they sound like Dilla heads who listened to Sigur Ros in High School

I told Ryan Hemsworth that and he said that shit was spot on...

thats a great description though lol.

FOF... is the crew/label..

Shlohmo and them

http://fofmusic.bandcamp.com/album/laid-out-ep

but i guess that's the appropriate second wave aesthetic.

don't forget though Mexican With Guns came through friends of friends and they started with Daedelus and Jogger which appropriately fits the Dilla meets Sigor description.

Getting Freddie Gibbs and MWG together was an early attempt at bridging the cultures. The cat that started it is a head, he was so happy to make that happen.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

Thanks for reminding me about how much I fucked with Jogger... need to listen to that shit again...

He mentioned Shlohmo.. I just said it was dope...

All this stuff is opinion.. in the end...

I look at it like this.. had Dilla been around.. he'd be a huge star not... whether he wanted to or now.. The way music is consumed now he wouldnt have needed to submit to those Jayz projects he never sent shit too

But Dilla was amazing at what he did... he's provided Hip Hop with definitive classics... to say we havent innovated since then though?.. nah..

I just wish the rappers would catch up to the producers.. lol .. at least take their chances

under his wediditcollective thing, but i guess thats his own jawn.

cool im checking this new stuff out now!

when looking at it from the trap perspective out. but when you examine where they pull these techniques from to apply them to trap, it's a watering down of the techniques. it works synergistically but it bottoms out in terms of moving forward so that they either have to go more trap or abandon it all together. meanwhile the folk that are outside of that label are continuously pushing it.

machinedrum is a great figure in it all because he has so much of that influence from the idm perspective. he floats in and out of the trends on a whim, and becomes a defining point for them, but can always fall back to his roots so to speak to put out some shit that bucks the trends because of his mastery of the techniques.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

I'm glad this post became a place to share some dope shit.

The stuff just isn't very musical. It's repetitive. It's rhythmic.
Lord knows I try...but I know the amount of creativity that goes into the sounds I'm hearing and it's exactly the sort of music I have to tell myself NOT to make when I fire up my DAW.

I like experimentation but within a certain context.

What Boom Bap brought to the table was a simplified version of the funk & soul I grew up on.

A guy like Dilla was experimental in his digging/chopping/looping and mined some schitt out of himself AND his tools that seriously to this day...I still stop and listen extra hard now...I'm addicted to the kind of thinking/flavor he was applying to his music and still keeping the wildest schitt true to some straight up headnod boom bap-ery.

I don't hear that sort of thinking a lot.

Q-Tip is one of those dudes.
Ishmael Butler is one of those dudes.
Marley Marl is one of those dudes.

Flying Lotus (and I'm singling him out because he is the leader of that pack) isn't one of those dudes. I like the way he thinks...but I'm not crazy about (meaning: I'm not anticipating or keeping tabs on dude) his music.

Maybe I'm too much of a gearhead...but, I'm definitely from another generation.
As much as I can't stand hearing lazy production/programming, schitt like Soundcloud drives me crazy.

I was on there the other day...you know how it plays the next thing on the page?
Well it actually played some dope schitt. Like schitt that I was like, "WHO THE FUCK IS THIS?" (a feeling I RARELY get nowadays).

Dude...my browser froze. Had to close schitt. Forgot to make a note of the joint I was feeling and *presto* I'll never know what the fuck that schitt I heard was.

I just DO NOT LIKE IT.

I like record stores, and folks that know music in context, studios and musicians...way more than I like clubs and crowds and hype and blogs and stuff.

s.blak
*shakes cane*

you should check out Cashmere cat, flume, ryan hemsworth.. jogger as seen above... I hate the repetitive shit too so I love when a cat can really flip beats but have some awesome melodic structure on top of that

i agree wholeheartly

>i agree wholeheartly

word. spot on.

an EP and Until the Quiet Comes since Cosmo and if you count Captian Murphy

but i def feel you about the general feeling of the LA scene

like I've said before, as has Bammer, they needed fucn rappers to rap on their shit, bu the new crop of good to great rappers aint come until 4/5 yrs after

I think trap dudes will go the way of a lot of dubstep guys...

the Benga's of the scene will become the magnetic man's etc..

TBH I think the scene shows the major problem with mainstream rap with limited perspective and ideas.. A producer can just chop and screw some cool phrase himself and loop it and boom... song... no rapper needed

Magnetic man is a group that benga is a part of

I'm saying.. going from

this:
http://www.youtube.com/watch?v=ddjIfOhmhrc


to:
http://www.youtube.com/watch?v=jWskQy5-b5Y

The evolution of instrumental bangers to radio legitimized hits

It was conceived as a side project specifically for making something different than their usual solo stuff and the influence of skream starting to lean towards house and disco cant be denied

That's just one example.. In the broader sense.. The OG UK dub guys scaled their sound up to pop standards when it needed to happen..

bc styles can shift and evolve even if there hasn't been a cat who has truly evolved the *skills* of a dilla, or a madlib for that matter

like you *could* say jazz stopped "evolving" long ago even though there are great musicians who make great jazz right today, they've developed new styles & approaches even if the basic skills have all been on the table for some time

Like sampling and chopping loops...who gives a shit?

If thats the way someone wants to make music, great. If not, great.

No one here seems to care about what it sounds like. A lot of inane arguments based on not having to work with 25 year old technology and whether or not an artists fans are true "heads".

If someone can turn out a dope record with a laptop, be grateful we live in 2013. Not resentful that he didnt have to listen to 150 pieces of forgotten vinyl to do it.

Im being facetious with that statement, but really...

I think hip-hop production has transformed into something so far removed from the Dilla aesthetic that its not even feasible to compare.

I mean people rode the Dilla disciple sound till the end after the man passed away (e.i. bit the hell out of it). I haven't heard the all too familiar hard swing, off beat slugging drum programming in YEARS. Chopping a sample into the most intricate pieces then musically piecing back together is out the window now..shit, sampling PERIOD now is damn near extinct.

Even the Oddisee's, Black Milk's, Jake One's of the world have went on to other ways to get their styles across. Cats like Hi-Tek have all but disappeared.

Just like already discussed, all of the innovative stuff going on in beatmaking currently have been on the EDM, Trap and vst software synth revolution of production. Which leaves the 'heads' in a position of endangered species.

Dilla :: hip hop as Joy Division :: new wave

He was great, but he's gone. Time to move on.


``i know you are fake. . . 'cause man, i'm the same.``
"unspecified psychosis." http://bit.ly/1a47kMe
"untitled 6." http://bit.ly/19QmVPu
"untitled 5." http://bit.ly/GWjmBl
"so whatever 2.0." http://bit.ly/18hYTfT
"1.5.2.0." http://bit.ly/18UMv7A

>He was great, but he's gone. Time to move on.

s.blak
You Just Go Hug Yr Swirly/Whooshy Stuff

``i know you are fake. . . 'cause man, i'm the same.``
"unspecified psychosis." http://bit.ly/HgJRBl
"untitled 6." http://bit.ly/19QmVPu
"untitled 5." http://bit.ly/GWjmBl
"so whatever 2.0." http://bit.ly/18hYTfT
"1.5.2.0." http://bit.ly/18UMv7A

s.blak
you seem dead though

Instead of addressing a valid point.

It's fine to look back for inspiration, but if the measuring stick for current innovations is nearly a decade departed, there's not much room for new sounds to come forth.

At least "not with that attitude" and whathaveyou.


``i know you are fake. . . 'cause man, i'm the same.``
"unspecified psychosis." http://bit.ly/HgJRBl
"untitled 6." http://bit.ly/19QmVPu
"untitled 5." http://bit.ly/GWjmBl
"so whatever 2.0." http://bit.ly/18hYTfT
"1.5.2.0." http://bit.ly/18UMv7A

lol...that's for sure.

I'm refraining from telling you to SHUT THE ENTIRE FUCK UP YOU SIMPLE STOOGE.

but..I don't care

His Music Is Still Alive & Inspiring More Than A Lot That's Happened Since...Kinda Like How I Still Hold Mingus & Hendrix & Jeff Buckley As High Water Marks As Far As My Standards.

s.blak
I don't need to post schitt you like, fool

Buddy of mine whose taste in hip-hop I respect a lot
was big upping the FlyLo joint on Mac Miller's new album.
I asked him if he messed with FlyLo because I was honestly
kind of surprised, and he said "yeah, he's the closest thing
we got to Dilla."

Analyzing that statement, I can kind of see what he's saying
if you're only listening to the FlyLo stuff that is similar to SDS.

Guys like Jon Wayne, Mac, Ab-Soul, Jeremiah Jae to name a few
that are rhyming over FlyLo stuff are rhyming over soul chops,
and more traditional head type beats that Lo cooks up for them.


As far as no one doing new techniques, certainly not in the hip hop genre. I guess 40 was trying to push a different sound when Drake popped up with So Far Gone. Wouldn't say it was new, maybe the lush atmospheric landscapes and drums were relatively new for mainstream hip hop.

Look at Just Blaze, he's really only touring right now. Making great money from the what he says on twitter. International DJ sets at festivals probably playing dance music with some of his hits thrown in for good measure. Production wise, the last big thing he made and pushed was a HOUSE / TRAP joint with Bauuer with the Jay U DON'T KNOW samples.

This post did make me immediately think of the interludes on ELECTRIC CIRCUS. I don't know if Dilla did those, or if all of the Soulquarians had a hand in making them but some of those joints were the precursor to the beat scene in LA IMO. New Wave too with the STEREOLAB sample which I know was a Dilla beat.

The Hustle sounds like it could be on Until The Quiet Comes.
The interlude at the end of Come Close.
The transition into and the hook on New Wave? LOL, crazy.
Star 69 sounds like something Samiyam would be making.

I know Erykah is on the interlude after I Got a Right Ta,
but that sounds like it could be on New Amerykah 2 which
came out what close to 10 years after EC?

The pitched down vocal on Jimi Was a Rockstar? screams Shlohmo!!
LMAO, I'll never understand the thought process
behind that song. Thats 9 minutes they could've used to bang
out 2 more joints using beats like:
- The Selma Hyjack Show
- The Electric Circus
- The Dark
- Show fo ro step into the ro..... all beats Quest posted years
later from the EC sessions.

nah

what was your intent with this post originally?
I know you're a Dilla stan for the most part, but was there a reason for this post aisde for bigging him up at the expense of everyone else for the umpteenth time?
no snark intended, I just wanted to be clear on what you were aiming for with this post, because from what I can gather it's either that or wanting to be exposed to other things in that vein of creativity, but I'm not sure which it is

I'm unhappy with the current state of hip hop production and what it's transformed into.

Like my man supablack said...alot of current production is void of being musical and lack of feeling and soul

Producers are lazy and current technology has a lot to do with it

Instagram: ascensionmusic

that's also the reason I always hated ?uest's "Pete still uses and SP 12oo when he has a brand new 3ooo in the box" stance, especially since there are some ways the SP is superior to the 3ooo
but having things like a program/machine that chops samples for you and all this other pitch correction shit really sucks the life out of the music to me

The ease of the tools.. really don't mean anything if you can't use them and make em sound good.

Fruity loops, Reaktor, battery were out when dilla was alive. The tools were there but that doesn't mean that cats could make them sound awesome or had it any easier.

Having the "slice to midi" function in a program only helps people who know what to do with it.

lots of people can use the shit, using it properly is another matter
a computer can't truncate a sample the way Pete Rock can, that human element is sorely lacking because technology has made things almost too easy

Instagram: ascensionmusic

I dont think it's the human element..

I think it's the low bar element... people can be inundated with music that is just passing because there is no filter/curation going on.

At the same time there is some great shit happening. It's just clouded by the noise...

It's ok though. I think the line between amateur and professional will only grow as ppl become weary of the democratization..

It could be bad for the underground.. but what breaks free and sees the light will def have to be more quality than say the souljah boy/d4l era..

that you can't get from clicking on a box in a step editing program
you're a producer, I'd expect you to know this
sure in programs like FL you can shift the boxes offline, but most users don't even do shit like that-they just click boxes and have at it
as long as they can get by with basic shit, that's what we'll keep getting

We're talking about hip hop...and if you knew me my music tastes are all over the place.


I'm not like most hip hop listeners who accept mediocrity or garbage just because that's what's left in 2013...I like good forward thinking hip hop and there ain't a lot of it out there

I don't wanna hear garbage 2 note cheesy synth or appregiated EDM beats
I don't wanna hear these garbage ass trap beats with 100 "Ayyyyye" vocals
I don't wanna hear kids looping up popular R&B / classic hip hop songs
I don't wanna hear songs with wack drums from a drum kit they bought off ebay

The commercialized lazy field of hip hop production disgusts me....i choose NOT to accept it

Instagram: ascensionmusic

there's been no single person to "change the game" since Dilla and
have the impact and influence he did at least from an underground
perspective. It was Pete and Premier type impact.

the musical landscape is FAR too spread out. There are way too many producers out there for one person to affect ALL of them. Sure a popular style might take hold, (see "ratchet", see "trap") but I find that those sounds are birthed not out of a particular person but out of a consensus feeling, and team effort by a large group of people.

So its really unfair now a days for people to live up to J Dilla because there might really be someone out there that is pushing things dramatically. The problem is, we won't ever be able to single him out as THAT guy. Or maybe I'm wrong, and there isn't and its like a Lebron/Kobe/MJ situation. Maybe we'll get another chosen one in 10 years, but I doubt it. The era of "The One" is over.

even in the current landscape, just hasn't happened yet.

>the musical landscape is FAR too spread out. There are way
>too many producers out there for one person to affect ALL of
>them. Sure a popular style might take hold, (see "ratchet",
>see "trap") but I find that those sounds are birthed not out
>of a particular person but out of a consensus feeling, and
>team effort by a large group of people.
>
>So its really unfair now a days for people to live up to J
>Dilla because there might really be someone out there that is
>pushing things dramatically. The problem is, we won't ever be
>able to single him out as THAT guy. Or maybe I'm wrong, and
>there isn't and its like a Lebron/Kobe/MJ situation. Maybe
>we'll get another chosen one in 10 years, but I doubt it. The
>era of "The One" is over.

- Harmonic 313: When Machines Exceed Human intelligence

- Nosaj Thing: Drift

- Beat Dimensions Vol.1

- Flying Lotus: LA

- Dorian Concept: When Planets Explode

- Hudson Mohawke: Polyfolk Dance Ep

- Jai Paul: Jai Paul LP

- Sa-Ra: The Hollywood Recordings

- Afta-1: Aftathoughts

- Dr Who Dat: Beyond 2morrow

- Dimlite: Grimm Reality

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."

but sometimes i wonder if i have just moved on or the sound has not brought new amazing releases.
still serves as a counterargument for op tho

..not a lot of "evolving" going on ...but i'd rather hear a late 90s style of boom bap production anyway

Instagram: ascensionmusic

neither name is mentioned in this thread

Of course Dilla did use noise and stretching, but i think Clams and BSBD create atmosphere and have a sound that isn't really something I remember hearing Dilla do

Also, I agree that Shlohmo is something new

that's what I hear anyway