DJ Nate

it's good in short doses.

i don't know if it's dj nate in particular, or juke in general, but the stylistic constraints of the genre are pretty limiting. that makes releasing something like a 25-track album really redundant.

  On 12/20/2010 at 5:32 PM, KY said:

it's good in short doses.

 

i don't know if it's dj nate in particular, or juke in general, but the stylistic constraints of the genre are pretty limiting. that makes releasing something like a 25-track album really redundant.

I agree! I can never make it through the whole album. Is the DJ Roc thing good? I may try that or the upcoming comp they have. It's fun music to listen to for about a half an hour, I would say. Obviously not recommended if you like a lot of "craft" or technical accomplishment to your electronic music, but that doesn't have to be present 100% of the time for me.

It's only related really in terms of tempo, but I find the Shangaan Electro album (hyped similarly by Boomkat et al) to be equally exhausting when tackled from beginning to end. But in 20 to 30 minute bursts, wow!

The DJ Roc record is significantly better than the DJ Nate one.

I think the Nate one was calculated to provide maximum WTF value and then the Roc one was like here's what a more sophisticated artist does with the same style. Unfortunately mikeP underestimated the amount of stoopid on the internet and the hatestorm from DJ Nate completely overwhelmed the DJ Roc release.

I'm putting both records in my best of 2010, but the Roc one is threatening the Top 5 and the Nate one is not.

And yeah I don't think you're supposed to listen to all 20 tracks in one sitting.

just from a historical perspective….from the many unknown small soul labels that were in the huge shadow of motown…to the raw gritty self produced funk 45s en masse from 68-75

to the birth of house/ghetto tech/booty and beyond …this is a continuum of the urban youth dance tradition and more importantly should be scene in context of "the monkey" "the jerk" etc

detroit dances to it's own beat so fuck you

http://www.youtube.com/watch?v=fqhBXggp4Nw

in a parallel galaxy I am waiting for jamaican dancehall to take a twist and do something new ….to sub divide into something else for it seems stunted and stalled for a long time now

  On 12/20/2010 at 9:34 PM, analogue wings said:

The DJ Roc record is significantly better than the DJ Nate one.

Wow no kidding! I didn't think I was interested before, but this intrigues me now. I guess I assumed it was just more of the same. Ugh, more music to buy.

..don't understand it? - ban it!

I still don't get dj nate. I watched a bunch of footworking vids on youtube, and the tracks they used were much nicer than the other stuff I've heard so far (so maybe I just don't like dj nate). I'm not sure I'd enjoy listening the music it out of context though.

  On 12/20/2010 at 9:34 PM, analogue wings said:

I'm putting both records in my best of 2010, but the Roc one is threatening the Top 5 and the Nate one is not.

"I'm a loner Dottie.... a REBEL"

You are either trolling or trying to be sooooo too cool for school if you honestly believe that. Maybe my sarcasm detector is broke, but really? I'm not saying every juke track is shit (Although I havent heard a good DJ nate track), but christ man, give it a rest, and the way Mike P handled it was borderline exploitation for the people involved, the way it was presented to the "general public". Like, "oooooh, look at these CRAAAAAAAZY niggers!". Fuck that. And the hate doesn't stem from jealousy like you so often imply to the point where you may be in denial yourself.

Hey! If the dude likes it, let him listen to it. Each to their own and all that!

  On 12/21/2010 at 8:45 PM, sneaksta303 said:

  On 12/20/2010 at 9:34 PM, analogue wings said:

I'm putting both records in my best of 2010, but the Roc one is threatening the Top 5 and the Nate one is not.

 

"I'm a loner Dottie.... a REBEL"

 

You are either trolling or trying to be sooooo too cool for school if you honestly believe that. Maybe my sarcasm detector is broke, but really? I'm not saying every juke track is shit (Although I havent heard a good DJ nate track), but christ man, give it a rest, and the way Mike P handled it was borderline exploitation for the people involved, the way it was presented to the "general public". Like, "oooooh, look at these CRAAAAAAAZY niggers!". Fuck that. And the hate doesn't stem from jealousy like you so often imply to the point where you may be in denial yourself.

Do you really think that was how it was presented to the general public though? I seem to recall Mike P writing nothing but very interested, complimentary things about the whole juke "scene" and how he was excited to be able to introduce it, blah blah. When once was race mentioned?

I agree it may be a pretty "shallow"/purely functional musical style overall (at least so far), but so was techno, once upon a time (also largely "black" music when it first started, by the way).

Even if it wasn't directly presented that way, I still got those vibes. Maybe that says something about me, I don't know.

And i know where techno came from ;)

And there it was, juke with a structure.

Just read the whole thread.

This shit is fucking awful and made me feel racist.

as a chicago native, ive been hearing the term 'juke' my entire life. I think its really just an evolution of the work 'jack' or 'jacking'. This was used by alot of the early house and Acid guys on the south side to describe the dance everyone was doing. which was basically sex simulation on the dance floor.

around the time that ghettotech/ghetto house was starting to come about (think 'face down Ass up' and 'the percolator') juke music was probably more popular than just about any genre among young people in the city's rougher neighborhoods. i went to a public school in the city and i remember kids, literally in 3rd grade, singing "its time for the percolator", over and over again dancing in the playground, and the first time I went to a juke party was in the summer of 6th grade. also, at ANY school dance function their would inevitably be a juke sesh with everyone screaming 'juke-it! juke-it!" over and over into the circle where people were dancing.

what footwork and this whole juke craze really came from is a derivative of crip-walking, a dance done by gang members to celebrate their affiliation where they would just spell out the word "C-R-I-P" with their feet. then it evolved to competitions and the invention of other dance moves, but i guess once a bunch of white British folks got a hold of this 'new' trend they went crazy for it and tried to market it like mad in a place where people had never heard of it. but i don't think this is anything more than a passing fad really. there's just no substance here.

i think there was observed the possibility that this could easily become the new dubstep, the hip cool new thing to blow up.

honestly i think the possibility is still there. I think paradinas saw it and wanted to capitalize on it, and i think he tried.

my problem with this is that he seems to have jumped the gun and sort of pushed this DJ Nate character a bit too much. there have been times i've genuinely enjoyed Da trak genius, honestly. it's sleek, urban shit. depraved feeling and potentially very entertaining in the right situation.

however the album is really not as great an exploration of the genre as i think we could have gotten. i don't personally know what else there is available, but there must be something.

so basically, i think paradinas made a mistake hyping Nate instead of biding his time. he saw an opportunity and jumped to take it and now at least he can claim to have been ahead of the curve.

that's just my take though.

also, regarding racism and exploitation of the scene, it's just a feeling. it's actually irrelevant, I would say. In the end the only reason that feeling would mean anything is because many people inherently believe black people to be cooler and more hip than white people, so that is the sort of feeling they attach. i say fuck that, that's bad. we shouldn't expect the worst in people like that.

imagine bringing so much baggage to a thread that you read "i like this music" as trolling

I think my main problem with it is that I LOVE ghetto house, ghettotech, etc, and juke just doesn't hit the same spot for me. It's so abstracted that it's hard to find that more party friendly groove the aforementioned genres have. I'd disagree, there IS substance there, as there seems to be a definate scene emerging from Chicago of artists - however, whether it can keep momentum/interest of the outside world is another question. I can't really see it blowing up longterm and infiltrating clubs in the way dubstep did as it's just nowhere near as accessable

  On 12/22/2010 at 12:36 AM, analogue wings said:

imagine bringing so much baggage to a thread that you read "i like this music" as trolling

I know. I have my issues no doubt, but I wasn't SURE is all, because of other sarcastic comments you've made in the thead. Sorry man, today's been rough and I may have vented inappropriately.

But yeah, IMHO, juke is shit to ghetto-tech/booty-house/etc, just because it makes me JACK. MOST of this juke just seems so irritating, with little redemptive value, other than being at a live footwork session, I see little use for this music.

yeah i don't relate it to ghettotech cos it evokes a totally different response for me. i find it really hypnotic and obnoxious/audacious in terms of the repetition. i dont see the repetition as dumb or annoying cos it has plenty of precedent in other musical styles (can, glass, techno, etc) and i like all those styles too. i cant really imagine people dancing to all these tracks though - especially some of the DJ Roc ones - so that adds a bit of "where tf did this come from and why" mystery to it

  On 12/21/2010 at 10:09 PM, sneaksta303 said:

Even if it wasn't directly presented that way, I still got those vibes. Maybe that says something about me, I don't know.

 

And i know where techno came from ;)

Sorry if that came out all catty about techno… I was just making a comparison.

I think this thread is interesting, anyway. While I don't agree that this music is super exploitive, it's not as if it's totally DEVOID of the feeling of hm, is it really a good thing to completely decontextualize this very niche urban dance music and sell it to (I suppose) largely white people?

But I think you can say similar things about a lot of genres. And also it IS probably a good thing, because getting music to a wide audience could potentially bring enjoyment to a lot of people and lead to good things for the artists involved. But yeah 'authenticity for sale' is certainly an aspect of music marketing, even when it's not explicit.

Personally I feel like I don't really have a choice but to glom on to some other scene I don't really 'belong' to because my part of the country/locale/demographic doesn't really have much of a musical culture to call its own. Unless you could like, Boston and shit they play at the mall. I do like Boston though.

Of course you could argue that by assuming a black artist on a white label is being "exploited", you are assuming the black person is naive and gullible and that you in fact are being racist.

Nothing positive can come of white guilt. Define yourself by what you do, not what you are. And define music by what it does to your brain and your feet, not by some real or imagined socio-economic context.

I honestly don't see how anyone could like this as music to actually listen to. It sounds like absolute shit.

The sound of serial killer trying to serially kill himself

The sound of an urban DJ retiring

The sound of Goldie running naked in the streets of london

The sound of someone slowly forcing 12 Pritt Sticks into your bum

who can describe this sound in a single sentence?

I can appreciate that Mr. Paradinas genuinely likes the music and wanted to share it with a wider audience and maybe put a bit more cash in the artist's pockets. However, I don't really see this catching on in its current incarnation. As has been stated already, the music doesn't make much sense out of the context of being played as backing for footwork dancers.