How Commercial & Underground D&B Can Work Together

Marky shouldn't have been there originally I believe. Should have been BCee instead, but he couldn't make it neither there nor his set @ Hospital night that day. This panel was the one I was really looking forward to but because I've had to get to Milovice for my set I had to pass on that. I've been to most of the other panel discussion though and it's been really interesting to see how organic the scene is nowadays.
 
jmzmaloney said:
People forgot dBridge has just partly signed to Ram? Be a difficult line to walk without sounding like a hypocrite
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Lol I did forget this but I'd hope dbridge is actually into the tunes they're making for Ram. It's like when the guy asked about selling out.... there's no point umming and ahhing. Selling out is making money off of music you don't genuinely like. Really simple
 
Floating Hunter said:
Lol I did forget this but I'd hope dbridge is actually into the tunes they're making for Ram. It's like when the guy asked about selling out.... there's no point umming and ahhing. Selling out is making money off of music you don't genuinely like. Really simple
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Bad Company's music is almost the opposite end of the spectrum from what dBridge makes now (see his latest EP on Exit). I kind of doubt he's that into it, but then I also hope he stays with BC, even if only for some form of quality control.

I don't doubt Fresh but I do doubt the other two.
 
Floating Hunter said:
Selling out is making money off of music you don't genuinely like. Really simple
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To me, selling out is changing your sound with the single goal of financial gain. I imagine a lot of artists who do this genuinely like the tunes they make but they're making them purely to make money, that's the distinction.
 
Don't agree. if you're genuinely into what you are doing it isn't really selling out. say producer x doesnt really like mcs on songs then is asked to make a tune with an mc.. if they put their heart into it ,head in a direction that suits them and are happy with the result i dont think anyone could call them a sellout. could also just be described as trying something new and surprising yourself with the result
 
That's why the change in sound is an important part of the distinction. If a producer stops writing D&B and begins writing generic EDM with the single goal of making $$$ that's selling out.
 
Why is it so hard to believe that people on the panel says what they actually think?
Do you know them personally and know them to be lying, or what?

I thought the panel was very interesting, with a lot of interesting viewpoints - even those that don't align with mine, or rather what is right _for me_.
 
lug00ber said:
Why is it so hard to believe that people on the panel says what they actually think?
Do you know them personally and know them to be lying, or what?

I thought the panel was very interesting, with a lot of interesting viewpoints - even those that don't align with mine, or rather what is right _for me_.
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I think we've heard enough of dBridge's views on things in the past to believe he was holding back during this panel.
 
OneSeventy said:
that neurofunk was the example of underground dnb,...For me, neurofunk is the dnb most people I know think is dnb. Just like everyone thought dubstep was Skrillex.
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Completely agree. I saw Pendulum on NYE and they were just playing heaps of Neuro because that's what the people want, since it's played in clubs all the time now.
 
So I finally got around to watching this...

& it was pointless? Like, completely & utterly pointless?

dbridge was being a poof, Marky was a waste of space & the other two were trying to sound credible for making watered down finished products...

I wasn't gonna post this cus' as stated earlier, it could bring up good discussion... But they didn't have any genuine discussion did they? It was all yes sir, no sir, please & thank you.

You don't have to be rude to put a point across that others aren't going to like, but completely skirting & ignoring it is even worse, especially given the subject matter & the people involved.

I want 2 hours of my life back.
 
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It's not a case of commercial vs underground its a case of good music vs shit music

There has been several credible DNB tunes that have been good music and crossed over into the main stream

And there is a lot of "DNB" that is made purely for the purpose of trying to get Chart positions / Fame / Fortune / Ego enhancement / Facebook followers

Either way as a DNB DJ you either choose to play it or you don't, regardless of that a shit tune is still a shit tune

On a personal level I feel that DNB USED to be a genre that was about being forward thinking and experimenting - Being a pop star was never part of the deal and in the 90s was mostly frowned upon when anyone tried to come with that shit. These days it seems (to me) that producers are only interested in looking for fame and no one is interested in earning their stripes and working on making good music nor respect from their peers.

You do not get much in the way of experimentation nor do you get much in the way of new ideas - I get sent about 100 tunes a week and at least 80% of them all sound exactly the fucking same.

Producers who shaped this whole scene with amazing music and were there from the start get pushed to the side because they have not signed to certain labels nor want to make pop music. Kids who make 1 tunes but are signed to certain labels get booked all over the shop not because they make good music BUT because they are on certain labels who have got them on agencies who can strong arm promoters into booking them.

Good music gets dumped by the wayside by fame hungry DJ's who 5 years ago would be smashing out underground tune after underground tune in sets and actually giving a shit about promoting good music these days its all about the euphoria and the facebook livestreaming during sets - music is the non important part of the wheel to them any more its all about "look at me, look what im doing!!!".

Like I said personal opinion and im sure many disagree with it but its all good (y)
 
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