The reality was that it wasn't loud enough Tuesday night. By the end of the show, you could hear yourself talking over the sound system.
This scene will continue to remain a niche until clubs can turn up the bass. I read this thinking -- what's the answer? What's going to happen when J:Kenzo comes to Kings next month? Is it going to be another painfully quiet show because one neighbor won't stop calling the cops? It sucks to think that there is all this talent -- DJs, producers, promoters and sound engineers -- that won't see their full potential because there isn't a club in the Triangle that can handle a purpose-built rig like Sean's (but Kaiju at the Pinhook was pretty sweet).
I'm glad to see this coverage from the Indy, but the scene isn't new here, and the effort to frame it as such shows either naivety or ignorance. The crux of this article isn't that 'new music is gaining foothold' -- it's that bass music is struggling in a city that is still figuring out how to deal with loud noises. (And it's not just bass music -- I know there's been tons of coverage lately on the noise issues in Raleigh). The questions left unanswered for me are: Are there venues in the area that can take really loud bass? What legal options does Kings have? Are there permits? Are there petitions? If it's just one neighbor, can we buy some rockwool insulation and just soundproof their apartment?
"For Lu, the moment pulled back the curtain on a new era of electronic music in Raleigh, one where young enthusiasts wanted to make the music rather than just play it."
Is that a jab at DJs? It reads like a nod to the implicit hierarchy that "live music" > DJing.
I did indeed go! I hope what you're hinting at is a Badman Sound feature... I've been waiting for that article for a long time. Sean and Steph (and Uzoma, among others) have put Raleigh on the map for the whole 'bass' scene. They are part of bringing the sound system movement to the Triangle... A movement that forces listeners to think about the relationship between music and its intended venue. An experience that can only be replicated in clubs, with other people, and certain types of music.
"The 'dub' part of the subgenre made some sense, referring to the weed-heavy percussion that offered a dungeon's echo of dub reggae, paired with patient, artful two-step beats."
Common misconception. If you listen to any of these DJs, their dub/reggae influence is minimal. The dub in hyperdub refers more to dubplates than it does to the... "weed-heavy percussion" of reggae (could that description be any lazier? What the fuck does a "weed-heavy" snare sound like?). "Dub" is a reference to DJ culture -- cutting dubs, playing obscure B sides, etc.
What should the reader expect for this show? Dubstep and "very-out-there electronic" music? Sure, you can read the Wiki page and listen to 9 Samurai, but if you looked any further than that, you'd know that Kode9 and Hyperdub are so far removed from the dubstep scene at this point that this preview is anachronistic and does nothing to explain what these guys are currently playing.
People worked hard to bring this show to Raleigh... And no mention of the custom speaker rig brought out for the event... what a fuckin' preview
Yeah sorry guys. It's probably not worth being a pedant over. It's a minor quibble. I hope Luke finds the strength to continue impacting people's lives in a positive way.
Lisa, thanks for your response!
I think it cheapens the print edition to offer "complete" articles online. Maybe the goal here is to get print readers to jump online to finish an article... I hope not. It makes me think I should just skip the print altogether.
Multi-part articles are fine -- I like the format, it gives me as a reader something to look forward to -- so why not make the online article multi-part as well? Doesn't seem like an issue of physics to me. Just save the full article for next week.
I don't mean to derail the discussion about Luke and his injury. I'm glad you took the time to consider the subtext of using phonetic spellings in quotes. I hope next time you choose to make observations about speech and pronunciation outside of quotes, instead of relying on your readers' perception of language to get the point across.
What an incredibly well-written article. The story is heartbreaking, even more so because the author does a great job humanizing the people in it. I really felt like I got to know Luke, his family and friends.
It was disappointing to only get half the article in print and find that the whole thing is already posted on indyweek.com -- who the hell decided that was a good idea? Why is the online article much better than the print article -- more photos, more information -- the paper's already been knocked down a notch with the redesign, now you're giving the premium to the online version?
I disagree with the author's use of phonetic spellings in quotes. Country folk don't speak a foreign language. I'm sure Mr. Tucker thought it helped further the character's personalities, but in effect, I think it otherizes the people you're quoting. I doubt you'd take the same approach if you were quoting a speaker of the African American English dialect. I bet you know a lot of people who have different ways of pronouncing wrestling -- "resslin" "resling" "wrestle-ing" -- why would you single out someone's specific pronunciation, other than to remind readers of a familiar stereotype?
Look, I really enjoyed this article. I was moved. But it's worth pointing out the judgment you cast on your sources and the assumptions you make about your readers when you choose to spell-out certain words.
Here's a blog post from a linguist who considers the use of "gonna" in quoting Sarah Palin:
"... using non-standard spellings like gonna for standard (but informal) phonological variants paints the speaker as folksy, rustic, etc.... The writer thus covertly injects a social judgment about the speaker into what is framed as a report of an interview about experiences and opinions. In the pages of the New Yorker, N variants convey a negative judgment (because the magazine's readers are likely to hold to the belief that the N variants are, if not simply non-standard, that is, "incorrect", then at least rough, "hick",
variants). In other publications, N variants might be understood differently...."
Just getting ready for the new Megafaun album, stumbled on this. Wow, what an important article. I'm glad this band's transition to the Triangle has been written about in such vivid detail.
This graph, especially:
"Throughout his childhood, Brad had struggled with severe Attention Deficit Disorder. He was a classroom jokester who responded most to drawing and painting. His parents introduced him to stippling, a form of drawing where images are formed by the relative density of hundreds of thousands of dots. He found the musical analogue for that preoccupation in Eno's Music for Airports and, later, in Steve Reich's meticulous counterpoints."
The influence of Reich's phasing technique is even more evident on the new album. Nailed it.
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