predictions on music and its culture(s) in 2019


Yeah def agree all the Illian, Whities and Timedance stuff is top quality. Principe too. Wish Workshop would release more but lately the last stuff hasn’t been amazing. RIP Geigling loved their stuff but I guess it was time what with mini scandals re Konstantin and all.

There is great stuff being made for sure. And I’m very excited for the future. But that’s not to say I don’t have qualms with the present state of things. It’s fucking complex and a forum allows a space (potentially) for us to explore that complexity. I’m just being :imp: here to engage some of you all to tell me what you actually think.

I think this is our job as forum members. To be assholes, fanatics, and generally unfiltered…but we have to build trust in each other through conversations and time.

And moreso I hope you all tell me what you hate, are tired of, want to see less of. There’s a reason we have fake names and profile pictures that don’t need to be our faces. Anonymity can be emancipating…that was the premise of the internet in the 90s if we really wanna be nostalgic


I wanna tackle the last 30 posts and throw my hat in the ring but I gotta get on this real fast.

I started out with a lukewarm feeling on that Bruce LP, after several subsequent listens in a row it bumped it up a small margin. His ear for details and mixing is superb, but the tracks seem largely functional to me. I mean, yes, Elo or What is going to make people throw their hands up and flip out in a club setting, but in the context of an actual album, :man_shrugging:

There are elements of the album I really enjoy though, the use of the funky drummer snare and shuffle on Patience St. Pim is super slick. I dunno, it was all right, but I wasn’t razzle-dazzled by it. Could have broken the downtempo tunes and bangers into two concise seperate EP’s back to back and it would have been a stronger one-two punch to me.


@max-renn you’re right, not all of the tracks work well in the context of an album. actually it can be repetitive at points for album listening and would have worked better as a series of EP’s. The sound design FX are outstanding though which i’m always impressed by. I should have mentioned his previous releases instead because they are a truer showcase of his talent.


2019 and another record shop closes its doors. the last remaining blockbuster in america shuts. amazon produces a show about clubbing so you can feel like you’re doing it in your lounge room. netflix autoplays some loud stimuli so you don’t have to make choices. nowhere to go after work except loiter the supermarket internally warring over yes ice-cream or no ice-cream.


funny you should mention those three genres, since they were basically formed with a bit of geographic constraint in mind. even with the internet. Their origin points are one of the main defining traits for all of them.

was gonna post this yesterday but couldn’t be arsed too so it’s not as relevant right now. Still I think physicality is an important space that needs to be addressed more and more by artists, especially with everything basically going online nowadays.


The internet and social media distracts us from the social collapse occurring all around us everyday. To engage in the fight against this collapse is to reach out and meet people, create spaces to do so, and to have a conversation about what life feels like today. Music, dance and connection through it is a crucial tool in this engagement, but it needs to happen in real life as well as online.

I happen to live in the town that has the last remaining Blockbuster in America 6 months out of the year. It’s a white flight suburban pleasantville that’s 93% white and feels like a fucking Normal Rockwell painting at times. I think lots of Americans who are culturally afraid of the dark other are gonna retreat to Eisenhower/Regan era politics unless they are physically engaged by community in person sharing music, food, sport, dance, or outdoor activities. Just my advice / prediction on how we avoid a culture war in America when the tornadoes, hurricanes, wildfires and droughts become a yearly occuracne.

Ok back to music! More 100-300 capacity venues with proper sound and a night for all ages serving organic juices and ital foods! More sound systems on permaculture farms, moonlit beaches and run down rural properties!! More fucking warehouse raves!!!


Yeah exactly. Space and broke motivated musically educated people making tunes together in a small zone. Cultures need melting pots to cook up a new recipe.


Yes, agreed. Great points re songs as dancefloor tools, and I think you have to bite before you imitate its part of the process, it’s just interesting to me the way removing a comments section helps a journalist reward biters without being called out by heads. Which speaks to a larger 2019 trend re: discourse in the community, it’s primarily online oriented hype and personal listening experiences alone rather than live / club / festival set response…that’s the big thing that’s changed in the past 3 years or so imo.


It will all be more and more like this


Could well be the most accurate prediction we get on here.


and the most unfortunate


Totally dig it actually


i thought death grips had done death grips already?


I think maybe (i hope) that rian treanor/gabor lazar/b dillon fact mix sound will take off. 140-160BPM deconstructed-ish type rhythmic tunes that is, to quote rian; intended to make people’s bodies move in unpredictable ways.

it may also become more integrated with juke/footwork/grime sounds like jlin & proc fiskal


Enjoying this threwd. some of the ideas have been on my mind as a producer scratching their head thinking where to go sonically.

Re: pushing things forward and innovating @nickecks I’m deffo with you on the need for physical spaces for local music communities to grow. healthy competion and exchange of ideas doesn’t translate very well on social media/internet imo. What does healthy competion look and feel like online? I’d say it feels more annoying than inspiring.
Also I dont think it’s by chance that some of the labels mentioned, such as ilian tape or timedance, have a core group of artists from their cities (Bristol and Munich).

Radio element is a big thing for me too. Even in the post dubstep phase the hessles and swamps had a regular radio show on rinse to push the artists and sounds. Don’t really have that radio presence for the new labels I’m digging

Finally I think the technological aspect is overlooked with regards to innovation. There’s been significant technological shifts and new machines for new scenes and genres.

Drum machines and new synths for house/techno
samplers with jungle
Access to daw’s/more affordable ways to make music with dubstep/grime

Currently We seem to be a mish mash of this history atm, rather than having new means to make music. Modular seems new but this doesn’t seem very accessible or affordable to most. Also modular or hyper sound design may be interesting or different However, sonically, I feel it lacks that anthemic quality which has been so important to the hardcore continuum.

Here’s to 2019 alien anthems!!


there’s whispers…


i’d agree, presently it’s more annoying than uplifting bc social media channels are very difficult to use as spaces to be critical, in general, without being mobbed by feel gooders or comment police.

i think it looks like remix competitions judged by original producers, forum threads where we deconstruct what we love and hate about certain productions as well as sharing links to tracks that are relevant to the production, and labels / crews going live for dj sets with a dedicated chat group picking apart what gets played in real time…

I think lots of people in 2019 wanna go with some new paradigm changing bullshit that they think is new but actually need to return to the roots of what made a scene strong in the first place - limitations of money, gear, and movement that created deep focus on a localized sound/crew/night/system. and find ways to bring what happens digitally into the physical so that songs become rooted in their ability to be physically/emotionally pleasing instead of simply mentally/cerebral/i see what you did there ironically pleasing. there needs to be a balance imo.


thank u for this, i was just about to mention how important vibrant irl scenes are to the development of dance music. its why we can still name places like Paradise Garage and Musicians Institute and Big Apple Records even tho they dont exist anymore. these physical places where fellow djs and producers and promoters and fans can all meet and discuss as social equals is something that needs to be reiterated as a social and political need. if u need more proof read the recent RA piece on the history of Basic Channel, and notice how important Hard Wax was even in the early days as an important trade hub and meeting ground for techno Berliners, not to mention the American and Jamaican visitors who supplied the imports:

and we must recognize it as an inherently political need and a demand for an inclusive and equal urban environment for creative work, esp in an age where authoritarian forces are inherently threatened by it and have actively tried to destroy it for the past 10 years with intense gentrification and austerity, trying to neutralize urban life as a whole as a privilege for rich finance gamblers. which is how u get to a point where about 2 dozen of queer youth are killed in a fire in oakland because of being locked in the only arts co-op the city has allowed to exist, and instead of reacting by trying to fund even the littlest more resources away from police and tax cuts for the rich to fund inclusive youth arts grants and other programs, city officials around the usa react by quickly shutting down all the arts activities outside the market they couldn’t wait to shut down anyway :pensive:

this rlly just goes back to that old socialist and modernist concept of The Right To The City, the right for all the working class people in all urbanism to control and shape the collective environments of our cities, free from any economic authoritarian restrictions. and really wasnt this what all good dance music scenes do to an extent and demand as well. its why much of the traditions of The 'Nuum, as one singular example, stem from the most modernist of activities, of jumping from council estate rooftop to council estate rooftop to covertly transmit a pirate fm signal, making a cool beat on ur apartment desktop, bouncing it to tape, then biking over to ur friend at the record store to make a quick batch of dubplates, and probs the most obvious of all, hosting and djing a rave at an abandoned warehouse, making incredible cultural (not to mention ecological!) reuse of a giant building capitalism built and then left to rot when no longer profitable.

reminding me again of probs one of my favorite writers ever, Marshall Berman. who i think is more important then ever, because i dont think its any coincidence that the person who could probs makes Jordan Peterson look like the babbling fascist fuckwad he is is a happy-go-lucky Marxist Jew from the Bronx who loves the subway and loves urban life, and has defended it against all inside and out who wanna destroy it with market competition and ethnonationalism til his death (rip :revolving_hearts:). ill post these two reviews from Jacobin about his recent posthumonus essay collection and u can see how it fits:

Marshall traveled, as he himself said of Andrei Biely’s masterwork Petersburg, on a “shadow passport.” As we read him in Modernism in the Streets, he can take us to someplace not on any street map we’ve hitherto encountered, not even on Manhattan’s grid plan. With Marshall, we can leap into spectral spaces, journey across boundaries and transgress frontiers, including academic disciplinary frontiers, bypassing border patrols en route. That’s what his shadow passport can bring us, will always bring us.

That’s what he has passed on to us, passed on to me. I’ll keep my “official” passport in my jacket inside pocket, but Marshall’s shadow passport will always be in some secret sleeve, out of authority’s sight, beyond their ken, even beyond their strip searches.

And with this shadow passport, we might discover another sort of citizenship, one that helps expand and enlarge ourselves, something less toxic than a citizenship based around flag and nation. It’s a citizenship expressed through our connection with cities, “an open and shared identity by identifying with cities.”

This was Marshall’s great romantic dream at the very end of his life. It’s a vision that goes back to the Old Testament, yet ironically informs our own times, too, coming closer to home than perhaps even Marshall himself imagined.

The Old Testament wrote of “cities of refuge” set aside as sanctuaries for people, as spaces of asylum to protect innocents — and sometimes the guilty: “These towns will be cities of refuge,” the Book of Numbers says, “for the sons of Israel as well as for the stranger and the settler amongst you.” Marshall recognized, in his valedictory essay, “The Bible and Public Space,” that Adam and Eve were “the world’s first refugees.”

He also recognized how the Hebraic tradition acknowledges the right to an urban immunity and hospitality that goes beyond mere particularism, beyond a search for unique refuge: it offers a divine hope for a form of urban sovereignty where people can become wholly human. “Is there some sort of place,” Marshall wondered, “that can nourish people’s sense of identity without crushing other people’s identity?” Yes, he said: “The way is the city” (Marshall’s emphasis).



Yo putting in my 2cts here, interesting conversation. Might have also had something to do with the more theoretical thread which was referred to earlier. Though my memory of it is a bit hazy. Might not be all as coherent as some of the other comments in here, as I’m writing in a foreign language and I might not be a very coherent person in fact.

Really into the idea of “locality” as a brewing place for ideas. Kode9 referred to these small local scenes as global ghettotech (this includes grime, kuduru, and I think we could argue maybe even the scene around timedance/livity in Bristol), if I have any prediction at all it’s that there’ll be more of that and it’ll keep sounding more refreshing than your internet-connected producers.

It’s interesting how we seem to be able to differentiate (often by ear!) between these locally brewed, futuristic, strong sounds and these more global internet-clans making pastiches of eachother in a similar but different way. To go on a big leap: maybe this ties in with the resurgence of more local, subjugated knowledges as a force against neoliberal globalization (sorry for the Foucault). The way producers of Hakuna Kulala or Gqom Oh have shown the interconnectedness of localities often shown as backwards or without agency in the teleology of modernisation could offer an interesting way of halting the bad sides of the project of “global capitalist development”? In that sense I think it’s our (political) responsibility to help protect these blooming local scenes in a way that they get their global recognition but while saving them from being appropriated too much (by other producers/labels/marketeers or by capitalism itself).

What irritated me about the whole lo-fi house scene was the way fucking youtube forced it unto us. I couldn’t listen to a track without suddenly hearing DJ Boring’s Winona or some other lo-fi hit. I think aesthetically indeed it’s not as badly nostalgic, as some of you have already suggested, and that indeed the way they use these samples makes the music somewhat new. But it’s interesting how geographically disparate the producers are and how their music is more of a mushy globalized sound fed through marketing wank-machines (youtube pushing it, fact writing badly about it, …) and it never got fully grown-up before it became marketable.
It ties back to what I mentioned above. In local scenes and in global scences there seems to be a similar process of building on each others sounds, but for some reason in the one it ends up being in a mushy commercial and formulaic way.
Anyway, I hope that I made some sense and that I’m able to spark some further discussion with my rambling.


buy it on bandcamp
the flatscreen has an off button
your job dosent have to be your job
plenty of places to go if you break the fear pattern
it hurts until it dosent
your life is your life

couldn’t resist had to list some alternatives to complaining