What is with Mode One - IQ Collective?

H

hydr0

Guest
I was checking out Ishkur's amazing, yet outdated guide, when I went to hardstep and found a track I had previously overlooked. On there it's called Mode One - IQ Collective, but when I looked it up on YouTube, a different sounding track came up.

But then I found a very recently posted track, but this time it was labeled as a Dieselboy track, but not as a remix. It sounded just like it did on Ishkur's guide:

They both sound completely different, does anyone know why they're both labelled as the exact same track?
 
Can you not hear it????

The first video you posted is IQ Collective - Mode 1 in its entirety. The second video you posted is obviously cut from a mix where the DJ is playing Dieselboy - 97 Octane then mixing Mode 1 into it. You can hear at the end of the video the breakdown just before the bassline from Mode 1 drops.
 
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Who is Ishkur and what is this guide?

I wish there was a guide when I got into this scene 24 years ago. I've probably being doing drums and basses all wrong since it was ever invented.
 
Ishkur's Guide wasn't the WORST attempt to place a veneer of taxonomy onto the web of electronic music scenes / genres, but it has long outlived its usefulness and really only works as a historical snapshot of which producers and sounds were big on Napster in the late 90s.

People with shitty opinions reaching to Ishkur's guide as some sort of authoritative voice that one can settle any debate with are some of the worst people on the internet.
 
I'd never of thought there'd be a thread where the legendary Mode One will be mentioned in the same vein as that slag of a word hardstep

I'll hardstep you with some neurofunk back to chillstep city if you keep carrying on you bunch of eurofags
 
$pyto said:
I'd never of thought there'd be a thread where the legendary Mode One will be mentioned in the same vein as that slag of a word hardstep

I'll hardstep you with some neurofunk back to chillstep city if you keep carrying on you bunch of eurofags
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Kiss my Hardstep :teeth:
 
The 2nd video you posted is from 97 Octane, which is a CD mix by Dieselboy. Oddly the tracks on 97 Octane start at incorrect places. For example, track 2 begins at the drop at the first song and track 3 begins at the drop of the 2nd song. What you're actually hearing in that 2nd video is the song that comes before "Mode 1" with the beginning of "Mode 1" being mixed in at the end.
 
Thanks for the explanation, and I just go to the site for fun. Looking forward to version 3, though. And what's wrong with hardstep? It is stupid to make subgenres of subgenres, but if there's a difference with the way tracks sound, then some sort of identifier needs to be put on it.

So if the second track just has Mode One mixed in at the end, what is the the name of the track up until that point?
 
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hydr0 said:
but if there's a difference with the way tracks sound, then some sort of identifier needs to be put on it
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NO IT DOESN'T!!!!!!!!!!

Please, it's just Drum & Bass.

Pigeon holing every single fucking sound is driving me insane!
 
Thing is, I am enough of a dance music nerd and armchair historian to know that categorising music is a neccesary and natural reaction to having vast tides of music to sift through and classify, and I also know that each of the various strains of music has its roots in scenes, selections, and periods, even record shops and critics etc, its just that the current trend in dnb to classify everything as "neurofunk, jump up, jungle or liquid" kind of erases an awful lot of history and reduces the impact of lots of the finest music in the genre that might not be easily classifiable, and that is down to things like digital sales, soundcloud, and the process of digital tagging and searching.

It seems the way to success with *sales* now is to make music that conforms really closely to the common denominator of any one of those four categories, and to build a customer base from the sort of person who goes on Beatport and literally searches for the "neurofunk" top 50.

This is REALLY not helpful for the long term viability of this music as a whole, and it has resulted in a tidal wave of horrible music cluttering up even the best record labels.
 
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