"jumping iz not a crime"

Kieran Press-Reynolds with a guest piece at Shawn Reynaldo's First Floor, while the main man takes a vacation.  It's a report on "the holy hell of cursed jumpstyle" - a zoomer-oriented TikTok-propelled twist to the gabber continuum.  

"vyrval’s ballistic banger is the biggest tune in a growing wave of psychotic jumpstyle music that seems made to express existential fears: technology has gone too far, we’ve broken the world beyond repair, autocratic autobots will soon seize control...  In the comments of the clips that accompany these songs, people write what’s basically apocalyptic science-fiction, imagining grim future scenarios: “Me watching an AI generated video of me doing the most atrocious War crime ever.” The visual aesthetic mirrors the freakiness: unsettling cyber graphics are superimposed on neon landscapes, with distorted limbs and objects."

"At its most baleful, these songs obliterate any and all melody, leaving listeners with no chance for reprieve from their unrelenting assault. Dj Svevsx’s “jumpstyle (1)” has over 8 million plays and it’s just a 42-second spasm of feculent kicks." 

Looks bit like the Moving Shadow logo, that silhouette. 

Weathered legend returns to youth currency 

What K calls "peak slumpstyle" - the slowed + reverb remix 

Lithuian "nu-jumpstyle Jesus" Yabujin 

And his alter-ego

"What makes this internet-addled aesthetic so addictive is the way it taps into the younger generation’s collectively fried childhoods. It’s a shitposty Tower of Babble that crosses countries and languages."

Talking of shitpostmodernism, Kieran is quoted in this Kyle Chayka article in The New Yorker on corecore and "The Dada Era of Internet Memes"

Check out also K P-R's piece at No Bells on the Bushwick nightclub Rash, which was attacked by an arsonist in what may well be a hate-crime a few years ago, but has now been rebuilt and relaunched. 

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The uglier aspects of this scene reminded me a bit of this spoof  and spoof pt 2 I concocted back in 2007 (inspired by guesswho)

Old post on hardstyle, a related genre that has some militaristic undercurrents... well, overcurrents really

Jumpstyle in simpler, happier, more innocent days. 

frozen futures and final sicknesses (see you in 2018)

 

On news stands now, the latest issue of  The Wire contains a long review by me pairing the comeback album by Marc Acardipane a/k.a The Mover with  Sick Music 2018, a compilation of contemporary drum + bass on the Hospital label that I surprised myself by enjoying much more than I'd expected.  As well as an enthused review of two fine records, the piece is an investigation of  the fate of vanguard genres (in this case, gloomcore gabba and D+B) when their accelerationist drive stabilises into a steady state.





The Mover - Undetected Act from the Gloom Chamber.

Also in the April issue, a reet treet for all nuumologists: Michaelangelo Matos's Primer to Pirate Radio Deejay Sets. He's done a fine job laying out the evolution from circa 1989 through to the post-dubstep diaspora and his forensic sifting through the messy mass of archival tapes deposited online by old skool fans has uncovered a trove of true gems. This is probably my favorite of the Matos selections that I've so far checked out.



Finally, in case you missed it, I recently uploaded the best of my own stash of pirate tapes, which I'd digitized some years ago but never got around to turning into YouTube clips.