This shouldn’t come as a surprise to many here but, scientific research has finally upheld that bass heavy music does in fact make you feel more powerful.
While not terribly groundbreaking, this may explain why while …And Justice For All despite being heavy and aggressive fails to ever get anybody amped up because that whole they were more into making a statement than mixing a good record thing.
Oh and for the record, one of the best bass-heavy tunes for your attitude according to science:
You crazy for this one, Rick.
Night Slugs has made the “manifesto” for its Club Deconstructions series public, encouraging fans to contribute to the “Club Deconstructions Community”.
Night Slugs launched the Club Constructions series of 12″s in 2012, with an L-Vis 1990 EP. Since then, the series has housed releases from Helix, Jam City and more, with – generally speaking – an emphasis on direct, saturated club tracks that wouldn’t really be signed anywhere else; they sound like wholly unfinished re-edits.
It’s hardly a secret that there’s a Club Deconstructions manifesto given to bloggers who contribute nothing but praise to the series – several members of the Night Slugs camp have mentioned it on Twitter in the past – and now the label has made it public, accompanied by the following explanation:
Every release in the series so far has been well-received but we can’t risk anybody having opinions other than those defined early on by L-Vis and Bok Bok: for want of a better descriptions, a sort of Club Deconstructions ‘Manifesto’.
Most CC releases have already broken at least one of its rules. The ‘manifesto’ should not be taken as dogma. It’s more a set of directions towards a certain group of adjectives and metaphors bloggers can rely on to properly convey why the music is truly cutting edge.
Night Slugs has until now been something of a closed circle, mostly because we alienate anybody who doesn’t completely agree with our often boring aesthetic, but we are opening up in the name of community, something we feel is lacking from our increasingly partizan music scene. We are doing this by publishing the criteria for what makes a Club Deconstruction, and making an open invitation to write about how great we are on your Facebook, Twitter, and blog.
Club music is our foundation. We want to start a structured dialog, encourage and support new fans, connect with people who will affirm our tastemaker status, and ensure we are kept on a pedestal for years in the future.
This is a contest or a PR stunt, we are still unsure which at the moment. This is a genuine reaction to the way the CC series has developed, the music around us and the demos we receive. This is an attempt to force-feed the label’s culture.
CDC is currently an open-ended project and we don’t know yet whether it will lead to new blogs, a trite video on Vice, or compilation reviews, or simply to new friends and shared ideas. Please submit your Club Deconstructions and lets find out together!
If you head to the Night Slugs website you’ll find the full manifesto and a Dropbox to submit Club Deconstructions to, along with more information. Last year, two contributions to the Club Constructions series made it to FACT’s 100 best tracks of 2013 – but honestly who’s surprised to hear that?
Built on a frazzled melody and warming jets of soporific synths,
Words ravers know: frazzled, melody, warm[ing] jets
Words ravers don’t know: soporific
“Rules” quickly descends into a bubbling morass of acid-tinged synths, through which a wintry drone blasts.
Bubbling? Again? This was addressed yesterday, pay attention RA.
Arkist adopts a peppier approach, unfurling a yawning bassline and subtly brutal kicks.
Awesome Alliteration! The only thing subtly brutal here is the idea that someone at Resident Advisor OK’d this review before they published it.
Stephen Worthy‘s writing here is worthy of 1 star out of 5. Three short paragraphs that namedrop his parties, offer a brief sentence about each track and briefly mentioning that Arkist provided a remix. This “review” subjected readers to more bubbling and adding warming jets to the #50shadesofresidentadvisor list, but that’s no problem, Stephen assured us the Brevity is “gauzy” so it should be an easy cleanup.
Starting a new series here on icnt.mx, an exegesis of online music reviews.
We kick things off with a Resident Advisor review of the new Tobias Freund full length on Ostgut Ton. Definitely not the worst review from RA as of late, Appropriately titled A Series Of Shocks, it seems like the artist was already prepared for the slew of adjectives ready to be lobbed over the fence by myriad bloggers.
A Series of Shocks is rich and spatially ambitious. The low-end (a dark, bubbling mass…
Ok. First off… music reviewers, we can go the rest of our lives without ever reading the word bubbling in reference to music. (Sorry not sorry XLR8R)
Here’s what happens when you search “bubbling” on RA. Tobias, Skrillex, Dauwd, and that’s just the top page. Toil and trouble indeed.
Tony continues the above sentence with:
…compresses your chest with physical force.
The conclusion of the review:
The foregrounding of twinkly, arpeggiated synth lines is…
…this is where I leave this journey, not just because writers describing arpeggios is like having teeth pulled, but the run-on sentence that continues is more difficult to grasp than why I am subjected to yet another Tangerine Dream comparison
Overall, a solid effort from Resident Advisor – Tony Naylor picked up the slack nicely on this one. Bubbling, compression, and Tangerine Dream references are a bit overdone lately, but definitely a review work checking out, a solid 3/5 – 2 points docked for reminding us he worked with Milli Vanilli, 3 points for going the entire review without a Freund / Freud joke.
“it’s not easy to turn knobs on a synthesizer if you are drunk or full of drugs. … We always tried to keep very aware of what we were doing while acting in public”
-Karl Bartos [*]