Here is the truth: Both were innovators Wagner forged new genres and Brahms infused established genres with a modern musical vocabulary, which made them new again.Īt any rate, Wagner was the emblem of program music, Brahms of absolute. Neither one was self-proclaimed but rather, co-opted by the different factions. Both composers actually had a grudging respect for one another, though the spectacularly pompous Wagner would never have admitted it. (Brahms, who was less pretentious, actually bought the expensive handwritten autograph copy of one of Wagner’s scores.)īoth men viewed themselves as the rightful heir of Beethoven. Wagner believed the Great Master had achieved all their was to achieve in the purely instrumental forms. As substantiation, Wagner pointed to the fact that even Beethoven felt this, because he added voices to the Ninth Symphony in seeking expression beyond mere notes. Nobody in Chicago was doing what he was doing in the '90s.For Wagner, it therefore followed logically that vocal music was where the future lay. There’s also one guy from the past I would have loved to have worked with, this cat from Chicago called Gemini. It's a group of seven guys all producing under different names, sharing studio space.
I guess an early ‘A&R tip’ would be these guys out of Vancouver that operate under the name Mood Hut. I think the recording style lends itself to that rough, rugged nature you find in Stacks and TFB.Īny names out there who you’d be really keen to work with? Then there’s the record coming up after Kowton by a dude called Guy Evans, which are all tracks made in the early '90s.
I’d say it runs through the Helix and Kowton tracks because they stem from this relationship between grime and techno – two genres which share qualities that make for easy and effective crossovers.
It’s hard to say because I don't really know, but you’re right about that militant aesthetic. Is this intentional? Can you see yourself going in a specific direction style-wise? Stacks Riddim and the new Kowton record both have a pretty militant feel to them. So it was definitely more this bombardment of different sounds, many of which were new to us. We all came from a dubstep background, but then as UK tastes began to shift around 08-09, we found ourselves catching up with 30 years of electronic music.
I don’t think there was any one particular sound. Was there a particular sound you were excited about at the time, or was it more of a general conflation of influences? I'm not sure whether there was a particular reason to move on to a label format, other than that we wanted to contribute to something we loved, and we were getting sent the right music at the right time. Ryan and Matt were the driving force behind the radio show. Was there something in particular that spurred you on? He spoke to us ahead of this month’s Pleasure Principle festival, where he and All Caps partners Ryan and Matt will be playing alongside a troupe of seasoned Weegie taste-makers, including Hudson Mohawke, Rustie, Jackmaster and Spencer.Īll Caps started out as a radio show on Subcity. Then there’s Bake, who despite a relatively short time in the game has produced a much-hailed mix for LuckyMe, gone back to back with Ben UFO on Rinse FM, and been featured on everyone’s favourite online-sweatbox tweet-party, Boiler Room.
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