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BAMM.tv exclusive: ‘OG’, Religious Girls

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Religious Girls don’t have the most accurate name for a band – their membership is comprised of three guys, and the fact that they lie about being girls means they’ve ignored one of those ten commandment things. We shouldn’t let such semantics get in the way of the fact that they’re an awesome, awesome group, however. If you’re a fan of the fractured, unconventional and wild musical stylings of Animal Collective and Battles, this Oakland three-piece may well become your latest obsession.

Check out this killer (and needless to say, exclusive) performance of ‘OG’, taken from last year’s Phono del Sol festival (brought to you by our good buddies at The Bay Bridged and Tiny Telephone).

Oh – and while we’re on the subject, how would you like ‘I Want To Believe’, the brand new album from the band, entirely free? It’s a one-day-only offer, so you’d better hurry over here and grab it …

OTHER BAMM.TV STORIES YOU MIGHT LIKE:

BAMM.tv exclusive: ‘Love Star’, Nicoluminous

BAMM.tv exclusive: ‘1-2-3 Go!’, HOTTUB

BAMM.tv exclusive: ‘Hey Big Bang’, The Superhumanoids

BAMMsterdam Review: Capeman – Stand Out Cause Trouble

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Capeman are the kind of rock outfit who really wear their cocky, boyish charm well. It’s a trait often associated with Amsterdam natives. Britpop enthusiasts might remember it from their 90’s icons, or perhaps modern-day acolytes Kasabian. Whatever you might call it, singer-guitarist Darko Tadic and his motley crue have plenty of it.

It’s what makes them a particularly exciting live act, even though they’ve definitely dialed things down from their earlier exploits as The Darko. Their previous entity was all energy; Capeman employ a different, more dynamic approach to songwriting and also boast the added bonus of a fourth member, guitarist/soundscapist Ymer Marinus. With plenty of stage time under their belts and harboring a new musical direction, they’re as confident as ever, a fact bolstered by the aptly titled debut album Stand Out Cause Trouble.

Of course, the first question is: how does all this on-stage energy translate to their studio efforts? Well, the pumping rhythm section of Martin Von Lier and Sin Banovic definitely holds it own on record, driving the band’s staccato grooves home to great effect. Oddly enough, it’s not the muscular cuts that hit home the hardest. Aggressive riffs like those in Mass Destructo or Shed Some Light feel transitional, as if there’s a residue of The Darko they can’t seem to shake off. A shame, as such pumped up rock songs can’t help but feel … well … dated.   We Got Glue is a notable exception, thanks to it’s Bloc Party-esque guitars shreds and it’s haunting synthpads.

Thankfully, the majority of the album leaves the band with more room to breath. As it turns out, Capeman have found their comfort zone in spacious mid-tempo songs with plenty of influences, ranging from new wave to electro. Here the slick production works to their advantage, pushing tracks Mongolian Oil and single Science to above average performances. But the absolute standout here must be Televisions. It’s by far the best composition, beautifully arranged and produced, with plenty of room for Tadic’s vocals to take the limelight. Combine that with the excellent hook in the chorus, and you could be mistaken for thinking it’s the next big single from Foster The People.

Overall, Stand Out Cause Trouble is much friendlier than the title might suggest. It’s rock tendencies feel more like leftovers from a bygone age, while their more indie/electro inspired tunes have all the potential to take alternative radio stations by storm. If they exercise a little more restraint, and keep playing to their strengths (as well as awesome live shows), Capeman could well become a strong contender for festival slots and greater exposure in the Benelux and beyond. A promising debut, all in all.

Look out for Capeman’s session on BAMM.tv in the next few weeks, as we’ll be releasing the sessions recorded by BAMM.tv at Desmet Studio’s in Amsterdam last January.

BAMM.tv partners with Mozilla as it redefines mobile apps

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Hey: we’ve got some exciting news. Pretty soon there’ll be yet another new way of accessing your favorite BAMM.tv content—and quite a special one at that. You may have heard about our friends at Mozilla deploying HTML5 web apps on Mozilla Marketplace. Soon, it will be yet another platform where you can get your BAMM.tv fix.

We’ve already nailed down lots of great outlets for BAMM.tv. We’ve recently announced a great new deal with Flingo, allowing you to watch our hi-def vids on your hi-def home entertainment system, and you can also find our videos on Samsung Apps for Android and our songs on Samsung Apps for Bada. We’re working night and day on crafting something really incredible for the iPad. Oh, and did we mention that we have a new website coming along soon?

We’re lucky to work with talented developers, and we always listen up when you tell us what you want. (“When’s your iPhone app coming out?” “Soon!”) But here’s the thing: developing specific products for specific devices and markets takes a lot of time. It’s worth it, sure, because it lets you adapt to the strengths of each device. Yet… How cool would it be if someone could simply make something for the web, and have it work on any device?

Well, that’s exactly what tech pioneers Mozilla are introducing at the Mobile World Conference in Barcelona. It’s a huge trade show, and they’re unveiling something genuinely new for their company. The Mozilla Marketplace has a unique twist: an HTML5 app can be released on any internet-connected platform with zero need for re-coding or re-development.

This is all part of Mozilla’s quest to build a better internet, along with their dedication to keeping it free, open and accessible to all. It will make for a revolutionary multi-platform experience. So, expect an upcoming whirlwind of awesome, innovative new apps…

…including ours. Soon, your internet-connected device will never be more than a tap away from the world of BAMM.tv. Through Mozilla Apps, if your device is online, your device can play BAMM.tv, simple as that. We’re recording new stuff all the time, and we want it to be available to everyone—any time, any place. We’re hugely excited to be joining Mozilla in this great new venture, and we hope you’re excited too!

Exclusive BAMM.TV Interview with Geographer

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Today’s the day that the new album by Geographer – ‘Myth’ – is released (you may remember we flagged this up a few days back when we linked to a streaming feed of the whole thing in advance). As luck would have it, this year is also a leap year, which means that you can bookmark tomorrow’s extra day for staying at home, chilling out and listening to ‘Myth’ over and over. Hey – it’s not as if your boss can do anything. It doesn’t even count as a real day anyway (warning – this may not be accurate workplace advice, and BAMM holds no responsibility for any angry phone calls incurred).

Before you fire up ‘Myth’, however, why not get inside the heads of the creative busybodies behind the album itself – check out our exclusive interview with the Geographer lads by clicking on the video above.

Studio Review: Harbours (12/15/11)

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Harbours talks shop in between songs during their recording.

 

“We’re not a solo band,” Miguel Zelaya says. Although Zelaya, songwriter and frontman of Harbours was referring to the lack of guitar solos on the band’s upcoming album, Parlors & Electrics, the sentiment works in a more general sense for both the album and the band. Lucky for BAMM.tv, we were able to witness exactly what he’s talking about last Thursday when the band stopped in for a filmed performance. It’s refreshing to be so impressed by subtlety.

There’s a clarity to these new songs that points to both Zelaya’s sharpness as a songwriter and the band’s ability to find cohesion in a short amount of time together. As is the case for many bands, the Harbours lineup has gone through quite a bit of change recently (Zelaya does a nice job summing it up here). Perhaps needless to say, but band transitions can be unsettling, especially when the former lineup had already begun tracking an album.

What’s cool about the Harbours’ story is that the new members (Peter Weldon on guitar, Heather Marie Ellison on keys and backing vocals, and bassist Braden Towne) have not merely helped finish an album, but they’ve affected a new direction, so much so that Zelaya decided to start over on the new album.

“I’ve always been most excited when you’re writing a song and working with people and they bring something that you wouldn’t have even thought of,” Zelaya says.  “There’s something particular about it (the new lineup) where everyone really does bring a huge part.”

Harbours will continue recording in the coming months. In the meantime, check out studio versions of the set from Thursday here.

Set from BAMM.tv studio recording:

  1. “Where You Take Your Mind”
  2. “Hold On”
  3. “Wait For Me”
  4. “Put Down The Sorrow”
  5. “Lost In Your World”

 

Check Out Episode Four of BAMM’s Global Scene: London

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Our Global Scene series continues its in-depth look at London’s music scene with an episode focusing on the culture of the city itself – how exactly does the ‘character’ of a city filter through into the wide variety of sounds it produces? We chat to an amazing selection of artists and producers from across the genre spectrum, gathering their thoughts on this city-specific phenomenon. Keep your eyes peeled for upcoming episodes!

Appwatch: Taking The Pulse Of The Digital Revolution

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We’ve been highlighting all sorts of innovative music apps in our regular Appwatch feature these past few months, and can confidently say that we’ve formed an overall picture of the music app ‘scene.’ It’s crazy to think that many of these technological marvels would have been impressive on a home computer as recently as five years ago, never mind the tiny device you slip into your pocket before your morning commute.

In general, there are a few tried-and-tested ‘genres’ which have been carved out; the evolution of the app format meaning that this brave new world is finding its feet. First up, there’s simple, good old fashioned music appreciation – the act of listening to music brought kicking and screaming into a digital realm. Artists like Bjork and The Polyphonic Spree have made sure their new releases incorporate app functions, while existing record collections can happily be filtered through Planetary and Hitlantis.

Then there’s the prosumer revolution – the apps that allow even those without a musical bone in their body to enjoy the magic of music creation. Sound Cells, LaDiDa and Tabletop have all joined this particular party.

Finally, there’s the social element: the ability to make music part of your online connection sphere. Facebook Vibes, Straight Spittin and AudioVroom are prime examples of music meeting social media in exciting new ways.

So: why are we indulging in this quick little round-up? Simply to highlight the fact that all these elements – music curation, prosumer involvement and social interaction – are all part of a ‘new music industry'; one which BAMM is dedicated to cultivating further.

We’ve shown you lots and lots of great apps over the past few months, but now it’s time to pave the way for the only one you’ll really need: our very own BAMM app, coming soon (and incorporating all the fun and frolics of the digital music revolution into a stylish and innovative portable BAMM gateway). Take a look at the preview vid below, and keep ‘em peeled for more information very soon.

The Bob Podcast #16: “Song Dissection – The Soft White Sixties”

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The Bob Podcast #16: “Song Dissection – Queen of the Press Club” by BAMM.tv

Most of us only hear songs after they’ve been completed, but in their infancy, songs are incredibly fragile ideas. Taking an idea–a melody, a riff, an image–and creating a great song is a complex, exhaustive process, which is why we at BAMM.tv wanted to devote some podcast time to dissecting some of our favorite tracks from emerging artists. In doing so, we gain insight into a band’s dynamic.

The Soft White Sixties have a classic sound. There are no sub-genres here. Neo-soul-post-grunge-British-invasion? No hyphens needed with these guys. They play Rock & Roll. It’s that simple, and that’s what’s so great about this band. As you will hear in this podcast, The Soft White Sixties are students of music. They know their history, they understand the role each member plays in creating a song, and they are attune to the the fact that the pursuit of great music is a pursuit and obsession of the subtlest details.

For more info on The Soft White Sixties, check out http://www.thesoftwhitesixties.com/.

Welcome to Global Scene London

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Here is the second article introducing BAMM.tv’s Global Scene London by Zakia Uddin, exploring various elements of the music industry. In today’s article, she explores the phenomenon of “genre-bending” currently in vogue in London. Expect new editions of Global Scene every week, only on BAMM.tv. And as always, let us know your thoughts!

“The moment it gets a name it starts to die away”

I

In Camden, speculation about the death of tribalism in music—and its consequent effect on clearly defined boundaries between genres—takes a new twist. The Goth capital of London has its own pockets of ska fans and rockabilly fans. Its legendary Marathon Bar plays host to Kingsnake, a North London born-and-bred rockabilly guitarist who can often be found in the local Tesco’s and rockabilly hangout The Elephant Head in his stage get-up. There are no recorded performances or set out dates. He happens to be there most nights of the week, performing to a wildly enthusiastic, and as is befitting for the neighbourhood, rather drunken crowd. A fan of his who often performs alongside him on any given night of the week, who professed to have been raised as a rockabilly, seemed relaxed about the possibly loaded question of whether he was actively engaged with any contemporary music. “I sing Kylie in a rockabilly style, I sing Nicki Minaj in a rockabilly style…,” he shrugged.

Although Kingsnake identifies with a very distinct musical genre, he refuses to box himself in by only listening to one type of music. Journalists and industry figures have endlessly debated the idea that music tribalism has died, having been replaced by a more robust, genre-bending patois. Think about it: Is it any longer possible to really identify what kind of music people like by what they choose to wear? The other side of the debate centres on what this means for musical invention itself especially in a place like London where musical tribes have co-existed for so long. Are we in a period when musicians can finally say—without ruining their credibility—that they don’t feel bound to any particular style?

II

The term ‘post-dubstep’ has been bandied around for a while since the bass lines and the two-step sound got incorporated into chart players. Having produced huge stars in the shape of Katy B and adopted by global figures such as Britney Spears, the scene has extended far beyond its South London base. This leaves those who started out at the clubs as fans keen to create their own tags. Artists such as Ikonika, Jam City and Girl Unit have been pooled together under the ‘post-dubstep’ moniker, partly because their sounds are similarly sparse and spectral, utilising dubstep’s familiar, insistent basslines. However, standing on their own each artist brings in a massive range of influences. Girl Unit’s dance floor anthem Wut doesn’t necessarily epitomise the influences on display across the 24-year old Londoner’s music. Rather, it sounds like the Antarctic, with huge glacial synths with crystal notes dropping onto the surface, underneath pitch-shifted rave vocals. Girl Unit and Jam City share some of the tropes of the witch house scene—nocturnal atmospherics, sloth-like pace and epic scales. Ikonika’s super-intellectual rhythms are comparatively spare and intricate, less euphoric than melancholic. ‘Post-dubstep’ has also been used to designate bass-heavy music from New York such as FaltyDL and London-based musicians that didn’t emerge from the dubstep scene such as Kieran Hebden, otherwise known as Four Tet.

Despite attempts by some to associate it with the post-dubstep scene, despite the ‘stickiness’ implied by the use of the word ‘label’, one (erm…) label, South London’s Night Slugs, consistently refuses to be pinned down. Its roster includes Girl Unit and Jam City, but it celebrates their diversity more than their similarity. In a recent interview, co-founder James Connolly told The Guardian: “If you check what we made a year ago, it’s totally different to what we’re making now—it’s always evolving, always in flux.” Co-founder Alex Sushon, otherwise known as Bok Bok, added semi-seriously: “There’s actually a ban on giving [the sound] a name. The moment it gets a name it starts to die away.” Elsewhere they have said they want to create dance music that doesn’t just go for the reflexes. So is it an ethos without a genre?

Connolly has just released his album Neon Dreams under his DJ name L-Vis 1990, which explores the early Detroit sound using analogue instruments from the period. At the same time, Night Slugs’ US label star Kingdomm has gone on to open a sister label in the US. Talking to Dazed Digital, L-Vis said that the two labels would operate under a ‘collective unconscious’, which determined their sound without any specific ‘label prescriptions’.

Genre-pollination operates not only across cities, but also across the sea—throwing into question the idea that a style can be identified foremost with ‘a place’. Whether this is a temporary period before musicians again align themselves with a scene is uncertain. The music journalist Dan Hancox, an authority on the roots of grime, taking its origins in Bow, East London, to the wider London scene, comments on the term ‘post-dubstep’. “There have been plenty of times when the lines have been blurry in the past. In electronic music, the end of the UK garage period was marked by loads of names for loads of different new micro-genres. Before dubstep was dubstep it was ‘the Croydon sound’, ‘new step’, ‘8 bar’, ‘dark garage’. Maybe we’re in a similar moment now with the Venn Diagram displaying house, garage, dubstep and related animals. But maybe these sounds will never ossify into genres, and maybe that is a good thing.”

So is it the case that there is a scene percolating again slowly—or to quote David Lynch’s Twin Peaks, there’s a fish in the percolator? Or has there been a genuine shift which means that there is too much fragmentation, too much going on, too many influences in this city for another major era-defining, now globally influential genre like dubstep to coalesce?

 III

Wayne Francis of the 12 Tone Brass Band told BAMM’s Global Scene that he thought that production using the DJ programme Ableton and combining with instruments on-stage will result in “a new London sound” which is not “definable other than the fact that everyone approaches it this way”. He adds that is about the approach, rather than the actual ‘sound’. The idea is that the character and spirit that define an ethos are more important than prescribing to a specific sound. And this certainly fits with what’s happening across London in 2011.

Musicians arguably now face less pressure to fit into any scene, and this affords a great deal of creative freedom to experiment. However, the nature of London’s hipster culture tends to imply that as bands are often around for just a short time, there’s no apparent need to develop in a particular genre, or identify with one particular tradition. The quick turnover of bands barely meets the appetite of taste-setting websites such as Platform and Hipster Runoff. Some of the biggest tags of the past two years, ‘witch house’ and ‘chillwave’, have remained amorphous, with bands loosely associated with the label, based on name or their aesthetics.

One example of a shape-shifting musician whose career trajectory defies categorisation is Devonte Hynes. Starting off in the short-lived hipster synthy dance band Test Icicles, he moved onto a solo career as Lightspeed Champion, singing rather wan, mildly depressive folk. Since then, he has become a constant chameleon on the fast-changing scene, relaunching most recently with the narcotic synth dance duo Blood Orange, who have made low-key, packed out appearances in Dalston, East London’s venues such as Efes and the Alibi.

Speaking to Interview, Hynes said that his desire to write a quick succession of projects was down to believing that “all music exists on its own and should be listened to with a clear head”. “That’s what I’m hoping to achieve by giving different names to each new project I begin,” he said. “I’m always weary of connotations. I don’t want people to listen to the music I make presently because they liked my previous work, or to dismiss it because they didn’t. I’m guilty of this as well—having preconceptions about other artists.”

Hebden is another musician who has objected to labelling but for different reasons. The 32-year old artist, now on his sixth album, told Clash magazine last year: “It’s all a bit silly to me, the speed in which everybody’s trying to bring out new genres. Sometimes I think it’s a bit disrespectful to what’s come before it.”

The aversion to labelling may come from a keen sense of experimentation, which has seen critics define their own terms to describe his sound—‘folktronica’ is one of the more memorable phrases—to label his experimentation with folk artist Adem, and other collaborators. Others have see Hebden as someone who borrows motifs from different genres in London and melds them into unique shapes to construct his own musical universe. Ironically, for this reason, he fits perfectly within the ‘post-dubstep free-for-all’ Zeitgeist, where artists are free to borrow and affiliate themselves at will. His upcoming Fabriclive CD is strongly influenced by his recent frequent residencies at London’s Plastic People, with his own distinct sounds combining with those of grime and dubstep. It could be a chicken and egg debate—Hebden’s credibility with his own music may give him the authority to experiment with established genres, or alternatively, the scene may have opened itself up to more experimentation.

Micachu, aged 24, is another example of a musician who has moved between different genres in London. A classical composer, she made her commercial name on the dance floor by collaborating with grime and dance artists. Her dance mix tape Filthy Friends featured singer Ghostpoet, Jack Penate and the pop band Golden Silvers. Despite going on to produce fuzzy, hookless, dark music characterised by its distinct technical flourishes such as open tunings, discordant noises, she describes her music with her band The Shapes as ‘pop’ music.

Speaking to Time Out in 2008, the singer said: “I don’t really know what it is. I’m not saying I’m doing something amazingly new and different but I’m a bit greedy in that when I bring songs to the band I’m taking a lot from everything I listen to. I’m a sucker like that. Like, if I’m into something, like garage or R&B, I try and write music like that. It gets all mixed up and makes it pop because it’s not one specific genre.”

These individuals would be hard-pressed to describe themselves as part of a musical movement, either seen as being ‘post-’something, or otherwise, but they have experimented from the outside, and been accepted from the inside despite their patchwork approach and refusal to integrate into any given tradition or genre.

The music that people listen to when they are out and about also informs what music is made back at home. Producer Daniel Avery, aka StopMakingMe, believes that DJs in London are instrumental in creating cross-currents in music across the city. “There are definitely lots of new DJs emerging who are all making names for themselves—and producers as well—who play in clubs but their music is informed by lots of things outside of the dance floor, outside of the club.” Aspiring DJs can sit at home and watch live broadcasts of sets at places such as the Boiler Room, instead of actually stepping out for themselves. While there are more opportunities to go out than ever before, there is also the online world of collaboration and uploading, potentially making music creation a more introverted experience that uses non-musical influences as freely as more conventional ones.

IV

Whether constant turnover by musicians and cultural mavens such as Devonte Hynes is good for the future of music or not might be dependent on which side of the ‘poptimist’ versus ‘rockist’ debate you fall on. The debate is relevant, as it forms part and parcel of a maverick approach to music, which refuses to align itself to any tradition, and questions the use of the term ‘commercial’ as criticism. One of the debates that may have had a significant influence outside of rock critic circles is whether all music should be judged from the same set of values associated with rock music, such as authenticity, tradition and posterity. Stemming from a famous article in the New York Times by Kelefa Sannah called “The Rap against Rockism”, the debate has changed music commentary and criticism itself. Beyonce’s latest album is likely to get more serious analysis than the latest Radiohead album, mostly because she’s glamorous and her music, being covertly seen as reactive and commercial, might offer a prism through which to analyse contemporary cultural obsessions.

Jennifer Egan’s Pulitzer Prize-winning novel Welcome to the Goon Squad was a paean to the music industry, which ended on a strangely jarring note. The friends and family of different generations ended up watching an ageing rocker perform a comeback gig in Madison Square Garden, his authenticity a uniting strand for those of different generations. The popularity of the book attests to the ideal that music can still have this effect, but the picture rang false. However, the book could also be perceived as part of the backlash against the new hegemony of poptism.

Several music commentators have pointed out staunchly poptimist critics could replacing one set of dominant values with another. Poptimist criticism is seen as being at risk of rejecting the legacy of rock criticism, which fought to shield popular music from the idea that it was inferior to classical music. However, with musicians embracing the possibility of picking from a smorgasbord of sounds, without any fear of being ‘inauthentic’, poptimism seems here to stay.

V

The attitudes of musicians towards the history of music arguably parallels that of fans and music consumers who have embraced technology that allows them to mix up musical genres, regardless of tradition and scene. Countless editorials have already highlighted how having endless amounts of music at your disposal makes the prospect of listening to a whole album paradoxically feel like working. A recent article in The Observer asked whether musical tribalism is dead following the announcement of the finalists for 2011’s Mercury Music Prize, which for the first time included a huge cross-section of genres in its embrace. London-based acts as diverse as electro band Metronomy, electronic composer James Blake, singer Ghostpoet and grime star Tinie Tempah were nominated side by side. Marketing figures were confused about whether this is a good thing or not. While there is a bigger market for all genres, how do you pitch these records to music buyers? Uneasy music industry figures said that the interchangability of genres threatens to make music more ‘grey’ and ‘homogenous’—that is to say, less marketable. Respected music sociologist and chairman of the Mercury judging panel Simon Frith pointed to how the free-for-all attitude was impacting on the music industry itself: “For some of these artists it is quite difficult to pinpoint what genre they represent… artists are not constrained by marketing labels any more.” The biggest losers appeared to be marketers, with musicians speaking excitedly about potentially being able to experiment with all the different types of music on their iPod when in the studio.

Secondly, it is important to ask whether music is the most important social glue when the internet allows young people to connect over gaming platforms and social networks. The same fear of losing an established set of marketing categories seems to have bought the Channel 4’s Tribes research project into existence. It began in 2005, with the aim of categorising an increasingly fragmented youth audience. Its research only identifies around five distinctive music tribes out of 23 in total. Despite the exercise in segmentation, the large-scale ethnographic study acknowledged that these affiliations, and indeed all the categories it found, were more fluid than ever before.

So, diversity. It seems you’re damned if you do and you’re damned if you don’t. Arguably, the historical roots of different genres in the capital still serves as a source of inspiration to musicians. Without London’s unique variety of influences, so many different sounds wouldn’t be up for grabs. Some recent (short-lived) developments have included grindie, which was very briefly championed by grime artist Lethal Bizzle, who made a rare urban incursion into the NME’s tour in 2007. He told The Independent: “In the Nineties it was really divided. I think people were scared to cross over but me and a few others have just thought, ‘You know what, fuck it! Let’s try and do something different.” ‘Grunk’ may have been a better term, given that the most referenced artists by Lethal Bizzle were the Sex Pistols and other punk bands from the late 1970s. Interestingly, the scene has taken off outside of London, with Leeds-based Hadouken being most closely associated with the cross-genre sound, which mixes up punky guitar riffs with spitting. That poses the inevitable question of whether the vastness of the London musical landscape means that it’s easy for new sounds to develop, but harder for them to cohere into their own ‘scene’.

VI

On the other hand, it’s not as if everything in The Big Smoke has become The Big Creole. Digital radio station Deju Vu recently decided to resurrect grime nights on Monday, marking the shift from when grime and dubstep events used to be held on Sunday nights because the music was considered otherwise too inflammatory. Grime artist Frank Sly described the move as a “positive one” for the scene. However, others have spoken out against the “perversion” of the sound elsewhere. In June, journalist Mark Doogan complained in a provocative statement against the development of ‘gorestep’—the term for dubstep from US-based metal producers such as Skrillex who have made the sound much more wobbly and heavier than before. “Unfortunately [US artists] are not mad for the sound us Brits went mad for. I know I’d rather be wanked off by Freddie Kruger wearing a wire brush round his palm, than go out and listen to that trash,” Doogan colourfully observed. Commentators on the UK-based Grime Forum and even scene originator Skream described Doogan as verging on hysterical, but his comments show a sound is still seen as part of an ethos stemming from a lifestyle by some fans.

A recent exhibition at The Old Truman Brewery in Brick Lane documented dubstep in pictures over the past ten years, showing an inextricable intertwining between the iconography and the genres of dubstep and grime. As Rory Gibb of the Quietus said: “[The attendance] is a reminder that, though some of the sounds they’ve pioneered have become globetrotting prodigal children, the people involved in FWD>>, Rinse and Tempa have been tirelessly working away in the underground for years. You don’t collaborate with such a passion for such a long time without gaining a sense of perspective.”

The disappearance of dress codes denoting certain musical affiliations has also resulted in much hand wringing. Teenagers who have never known a Walkman and have only ever downloaded music can buy Ramones and Black Sabbath t-shirts from Top Shop, when previously getting a band t-shirt meant that you’d been at the gig to get to the merch stall. Streetwear, such as baggy t-shirts and skinny jeans, are commonplace across urban and dance scenes. However, if tribalism is about having a certain look, then there’s no shortage of scenes predicated on getting the dress code spot on. It’s possible to speculate that these style-driven scenes, where musical innovation is less rated than getting it ‘right’, are a reaction against the idea that there’s a ‘universal’ definition of cool. The South Bank held a massive vintage festival in July, where the iconic Royal Festival Hall was transformed into a north and south-divided dance floor with music in each room covering scenes between the 1950s to the 1990s. The outfits on display and the attention to detail, combined with a deep knowledge of the music and how it should be played—there’s a Northern Soul rule that no DJ should ever play the same track more than once in their career—indicate that tribal affiliation is still considered a worthy investment of money and time.

That said, some scenes, metal and folk in particular, seem impervious to change. Jake Harding from London metal band Dead Existence told BAMM’s Global Scene that “metal doesn’t get bigger or smaller. There’s always a loyal following of fans. There are certainly some more commercial styles that have become more charty and popular, but they’re not necessarily metal any more. It’s maybe influenced more commercial styles of music.”

Responding to the debate on whether music tribalism is dead, Hancox said: “Nah. I went past Brixton Academy the other night as it was kicking out, and there were 3,000 people pouring onto the streets dressed head to toe in rockabilly garb—all tats and quiffs and turned up jeans and big 50s dresses. Tribalism may have changed, and in some areas it’s intensified, as with rockabilly, which is a weird one. Look at teenagers in London. They still wear their affiliations literally on their sleeves.”

If anything, the idea that genres die easily borrows from the same sort of superstition as the notion that ‘photography can steal your soul’. The obsession with documentation appears to pickle and preserve certain forms of music, serving to create nostalgia before its time. The power of genre to evoke an ethos or way of living remains strong, as proven by the recent riots in London. Cultural commentators were quick to identify rap as an influence. Historian David Starkey went on the BBC flagship current affairs programme Newsnight, blaming rap music for making “whites black” and encouraging young people to loot and riot. In December, the background to the student unrest and gatherings in squares was grime, with Lethal Bizzle’s Pow emerging as an anthem.

As a global city, London’s musical movements have tendrils everywhere, drawing in influences and then twisting them for its own ends. On the ground, the cross-fertilisation of different sounds has resulted in a scene where labels can become anathema to artists wanting to experiment. However, at the same time, the development of some genres of music are tied so closely to London that no matter how popular the sound becomes, it can always be reclaimed. The closest parallel to a scene such as grime might be punk in the 1970s. Punk brewed into its distinctly English variant in a similar economic climate, where the young felt disenfranchised and excluded. For that reason, grime and punk might have seemed like obvious bedfellows, despite leaving each other dissatisfied in the end. However, the musicians speaking to BAMM all confirm that cultural heterogeneity in London makes it a very different place than three decades earlier. Wayne from the 12 Tone Brass Band told Global Scene that “no one’s defined by their culture, but everyone’s culture has a place within it. And within the youth, more than the older generation, there’s a lot more intertwining and intermingling, which really wasn’t around before…”

Cross-pollination can happen because individuals feel freer than ever to move across scenes, while local musical influences help nurture and ground artists. This snapshot of London’s diverse music scenes has tried to pinpoint what makes London such a great site for musical innovation and collaboration. This is a task paradoxically made harder by the current vogue for labels and artists to deny tribalism or adherence to any genre. The denial allows musicians to give credence to all the different genres they are playing with in their music. It is possible to observe the phenomenon as part of the cycle of music scenes in the city, a fluid Venn diagram of a global city in perpetual motion. But a more exciting perspective would be to interpret the cross-pollination we see today as part of a wider, more long-term socio-cultural shift, making people eager to challenge the boundaries of music and the assumptions that come along with the terrain.

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