I never said HH wasn't made by mindless idiots. One dimensionality isn't a bad thing but I like it as a side dish, not the main course.dj jedi wrote:I should probably back up my claim that not all happy hardcore is Hey Jude rip offs, so here's a couple of examples from 1995:
This has as much musical merit to it as anything Photek made, you can't put together a piano score (not simply a riff) like this with zero talent.
The main breakdown in this is pretty 'emotional' IMO.
you may not like either of these tracks, but can hopefully appreciate they haven't been composed by mindless idiots.
But both of those tracks sound like the worst aspects of italo house cribbed piano riffs and cheesy 92, all ostinato arpeggiated wank.
My point is: where are the interesting sounds? Where are the evocative images that got you into this music to begin with? There are none. Jungle/dnb (particularly the dark techstep stuff) was pushing at the outer limits of texturology whilst remaining attached to the dancefloor.
And let us say jungle raves are moody/serious/whatever. Isn't it telling that jungle raves have always been multiracial whilst the HHC scene has been overwhelmingly white dominated? If rave is an escape how does the music differ compared to anything else that came before it? There seems to be no horizon for futurity in HH. You can't really hear the machines and technology. It almost feels as if it's 200 years too late.