#90s big beat | Explore Tumblr Posts and Blogs

milkywayes · 6 months

Text

commission for the lovely @girafficparka! read her fic 'comparative anatomy' on ao3.

#mass effect #shakarian #femshep x garrus #mass effect garrus #mass effect fanart #digital art #illustration #big day for raptor toe enjoyers (me)#never beating the 90s anime coloring allegations #milkyart

547 notes · View notes

royb0t · 1 year

Text

#my discogs scans #mtv's amp #mtv amp #y2k #y2k aesthetic #big beat #breakbeat #breaks #acid #electronica #idm #digital hardcore #3d design #90s #neon #discogs #my scans #crucial listening

267 notes · View notes

stinkman007 · 8 months

Text

hhey guy s dave from. megadeth heere. uhhhwhere is here anyway

#no really why is he in the backrooms #horror movie found footage type beat. nice.#megadeth #dave mustaine #thrash metal #thursdave #pinterest #90s metal #80s metal #80s thrash #90s thrash #the big 4 #mtv #not my gif lol #get this ginger in a situation

129 notes · View notes

the-90s-music-colosseum · 1 month

Text

youtube

Listen to both songs before voting, and define "better" any way you wish!

#the 90s song ever #poll #polls #music poll #tournament poll #90s music #the prodigy #big beat #90s electronic #R.E.M.#alternative rock #90s rock #Youtube

43 notes · View notes

disease · 8 months

Text

HEY BOY HEY GIRL (DEMO) THE CHEMICAL BROTHERS [RADIO 1 ANTI-NAZI MIX, 1997]

#audio #the chemical brothers #big beat #breakbeat #techno #demos #rare #dj mix #hey boy hey girl #90s #electronic #music #u #HEAVY REPEAT

109 notes · View notes

thisisrealy2kok · 13 hours

Text

Various - MTV's Amp 2 (1998)

21 notes · View notes

generation-dope · 1 year

Text

Lil’ Kim

Hardcore

#lil' kim #lil kim #big beat records #90s hip hop

62 notes · View notes

dankalbumart · 10 months

Text

Subliminal Sandwich by Meat Beat Manifesto Nothing Records / Interscope Records 1996 Leftfield / Trip Hop / Industrial / Downtempo / Big Beat

#leftfield #trip hop #industrial #downtempo #big beat #dance #dance music #electronic #electronic music #music #90s #90s music #90's #90's music

36 notes · View notes

posthumanwanderings · 2 years

Video

[Fake Toonami Trailers]

#zvidz #toonami #tenchi universe #tenchi muyo #gundam wing #90s anime #90's anime #sailor moon #outlaw star #dreamcast #TOM 1.0 #DNB #drum n bass #big beat

72 notes · View notes

revvywevvy · 15 days

Text

crawls in here like a little bug. i need to scream abt random scv things dont mind me im gonna just shove my face into the tags and shriek into the void

#cell mumbles #//help i tried to do a legendary souls run in the emulator and got my ass absolutely handed to me immediately by kilik #//IVE FORGOR HOW TO DO EVERYTHING SOBBING PROFUSELY #//im so bad now LMAOOOO... at least before I was able to complete the entire thing (even if it took 90+ minutes)#//but now......................... agony and suffering #//kil(ik if i (playing pyrrha) look at u with my big ol puppy eyes will you let me 3(3)B you off the raft 3 rounds in a row pretty pleaseee #//for me? the little silly? pwetty pwetty pweeeease? im just a little guy! a silly little girlie! a little baby birdie!#//you wouldnt wanna hurt a little birdie would u kil(ik? /silly #//in better news I did an arcade speedrun on my xbox; got 2'19"330 and submitted it pending review #//could u guys imagine it? the ceo of pyrrha? having the pyrrha category arcade world record?#//i can see it now... THE babygirl connoisseur /very big silly #//thooooough the time is very much beatable bc I made many-a-mistake x_x|||#//i feel like matching the general wr time is possible if you had perfect opponent + ai rng #//like. get ae/on; yoshi; zw/ei; then sieg/fried as the randomized opponents; then have them cooperate and get hit by the 3(3)B first try.#//then speed thru beating the shit out of ti/ra and night/mare; maybe even get successful ro's on the latter #//and boom #//like. i dont think u can BEAT the current wr with pyrrha per se bc like. those runs were WILD. but i feel like u could get very close!!#//u just have to get veeeeery lucky #//OH YEAH ALSO I MADE A BUNCH OF CUSTOMS OF PYRRHA AND IMMA DRAW THEM AT SOME POINT #//i already drew 2 and will do more #//can u guys tell im normal :]

5 notes · View notes

randomvarious · 3 months

Text

Today's compilation:

Q Presents: The Best of the Best 97 1998 Alternative Rock / Britpop / Big Beat

Folks, this little comp here, which was included as a freebie sampler in an early 1998 issue of British music magazine Q, really gets at something that I've been banging the drum about for years now, and it's simply that, writ large, UK music is just better than American music. And I don't know how long it's been that way, but it dates back to at least sometime in the 90s. The things that have always seemed to set us apart from each other are our relative eases of access to different types of music and the overall rigidity, or lack thereof, of our many-tentacled popular music industries. And I'm gonna simultaneously get into both of those things right now.

For one, while electronic music in the US has largely been treated as this weird and foreign sideshow, the UK has managed to fully embrace it. They had their Second Summer of Love back in 1988, which saw teenagers and twenty-somethings taken hold by the acid house phenomenon, in which large warehouses were commandeered in order to throw enormous and illegal late night raves. And outside of London, Manchester caught the bug for it especially, which then spawned an iconic scene called Madchester, with bands like The Stone Roses and Happy Mondays venturing into alternative/indie dance territory by incorporating acid house into their own respective sounds. Versatile British dance trendsetter Paul Oakenfold would co-produce the Happy Mondays' most acclaimed LP, 1990's Pills 'n' Thrills and Bellyaches, and in addition to that, enterprising DJs were also hijacking the airwaves with pirate radio transmissions of their own too, so they could bring other underground electronic music, like jungle and breakbeat hardcore, to the masses as well.

And the prevalence of both the warehouse raves and pirate radio then seemed to engender this tradition among a significant amount of youths towards clubbing. Nightclubs would be open every night, often with some sort of theme or genre allocated for each one of those nights, and the young people would have their pick of where they wanted to go. And this time around it was all legal, except for all the drugs that you might choose to do 😅.

Now, the US, of course, has had its own clubbing history and culture too, but clubbing seems to be a far less popular activity among Americans, and you'll almost never hear our most popular radio stations showcasing the kind of electronic dance music that gets played at a club, whereas the BBC will be hip enough to air sets from some of the UK underground's greatest contemporary dance DJs.

So with nothing like a Second Summer of Love ever managing to occur in the US, despite the fact that we invented both house and techno, we still never really had a generation that electronic music successfully permeated to a comparable point of ubiquity as the UK did. And I think that's the main reason why our music isn't as good as theirs. You'll find electronic music in plenty of American pop material now, but we are so far behind what the UK has already been doing for decades. They developed their own scenes for every electronic genre under the sun and it ended up serving as this connective tissue to make the UK such a sonically vibrant and dynamic melting pot. Underworld's utterly strange techno odyssey, "Born Slippy," went to #2; drum n bass was popular enough to chart; Portishead, Massive Attack, and Tricky were all huge deals; and the big beat scene that was helmed by people like Fatboy Slim, The Chemical Brothers, and The Prodigy went simply bonkers. And the US really never had *anything* close to that, besides some of that big beat crossing over to soundtrack our futuristically-themed audiovisual media, like The Matrix, et al., and some car commercials.

And without that dimension of electronic music being able to flourish Stateside, the state of our own industry resulted in something that was a whole lot more cliquish and segregated. Little to no cross-pollination really ever occurred here and the most tangible thing we ever got out of it when it actually did happen was rap-rock and nu metal 😒. After grunge died, some of our biggest, most accessible American alt rock acts ended up being names along the lines of the Red Hot Chili Peppers, Third Eye Blind, the Goo Goo Dolls, and Everclear, and over in the UK, they had Radiohead, Oasis, and Blur. And Radiohead would end up drawing inspiration from Aphex Twin and IDM, and Damon Albarn from Blur would go on to form The Gorillaz. Do you see what I mean?

So all of this is to say that while Q could produce a CD like this, comprised of fantastic music by mostly UK acts that the record-buying public over there was already familiar with, no widely read US publication would've been able to pull off the same in 1998 with a CD of mostly US acts. They might've been able to cobble together a better album with purely indie material, but then a lot of the names on that CD would've been obscure to a whole lot of folks. And while this comp from Q presents UK-made electronic music in the form of big beat from The Chemical Brothers, big beat-hip hop from The Prodigy and prolific abstract Big Apple rapper Kool Keith, and vocally soulful drum n bass from Roni Size / Reprazent, the best that the US probably could've mustered in comparison would've been something from someone like Moby, and *literally no one else.*

To be clear, America has produced plenty of great music without electronic music being popular enough to really inspire it, but the problem is really twofold: that amount of music, for the massively larger population that we have in comparison to the UK, is in nowhere near as much of an abundance, and for the great stuff that we have made, our industry, mechanisms, and apparatuses don't really do all that much in order to successfully raise its profile to a point of pervasiveness like the UK does. And I think a lack of electronic music being somewhere in the accessible ether definitely has something to do with it all.

Seeing as how this post is already long enough as it is, let me just provide one example of a song from this album that's a) very good and b) by a popular UK band that's not very well-known to Americans. I'm sure the US has had an indie group whose sound approaches that of England's Mansun before, but there's no way that what they ever made ended up amounting to anywhere near a similar amount of commercial success. Mansun's music has been available in the US, but they've only ever managed to chart once here, on the Billboard Modern Rock Tracks list, with their 1996 single, "Wide Open Space," peaking at #25. And while the debut LP that that song is derived from, Attack of the Grey Lantern, didn't chart in any capacity in America, conversely, it managed to make it all the way to #1 on the UK's Albums Chart.

And the Mansun song that's on this Q comp here, "Mansun's Only Love Song," is from that same album too, and I think it's safe to say that no remotely popular American band has ever made anything quite like it. It's super catchy, melty, and silky-smoothly surging Britpop with icy synths and a distinct hip hop underbelly. And it's so good 🥰.

So, something that us music lifers always seem to be confronted with is this difficult-to-maneuver intersection between art and capital, which often leads to an axiomatic conclusion that striving for capital will always corrupt art, and sacrificing your art generates the potential to attain more capital. And while that's certainly borne out in the US to what feels like an extreme degree in more modern times, I don't feel like that conflict has ever been as dire across the pond, and this simple comp here of 15 songs that were mostly made by UK acts shows that some of those who are capable of making excellent and inventive music can also make a good chunk of change off of it as well, without having to either be a rare indie band that finds a way to strike rich, or a group of total sellouts. Whatever the UK's had in place, they've certainly managed to find that balance a whole lot more often than the US has, and one of the main reasons why they've been able to do it in the first place, in my opinion, is because the fertile ground that had been laid by acid house in the late 80s enabled electronic music, more broadly, to achieve a mix of popularity, accessibility, and inspiration that never came anywhere close to materializing in America.

Fin.

Highlights:

The Chemical Brothers - "Block Rockin' Beats (radio edit)" Texas - "Black Eyed Boy" Erykah Badu - "On and On" Bush - "Swallowed (7" mix)" The Prodigy - "Diesel Power" Supergrass - "Tonight" Portishead - "Cowboys" Depeche Mode - "Barrel of a Gun" Blur - "Country Sad Ballad Man" Mansun - "Mansun's Only Love Song" Primal Scream - "Burning Wheel" Roni Size / Reprazent - "Heroes" Oasis - "Fade In-Out" Radiohead - "The Tourist"

#alternative rock #britpop #brit pop #alternative #alternative music #rock #big beat #dance #dance music #electronic #electronic music #music #90s #90s music #90's #90's music

4 notes · View notes

lilkimuk · 2 years

Text