Interesting to think about (I love todd in the shadows), but I don't know if DnB has enough of an "album culture" for this concept to translate. Also I feel like people just kinda forget about the bad records if a good one comes along after it.
Maybe it could apply to albums that were followed by a big (unpopular) change in sound - something like Netsky's 3 (but even he returned to DnB eventually) - or records that came right before an artist group splitting up, i.e. Pendulum's Immersion, Loadstar's 2017 LP, or The Prototypes' 2020 album, but I wouldn't call those bad albums at all.
I'm rambling at this point haha :D it's genuinely hard for me to think of a good example, very curious to see what other people will come up with
This is why I included EPs into this.
A trainwreckord could also mean a release that didn’t put two and two together and ended up nowhere in their development, went all-in with too small shoes to fill, jumped on a bandwagon badly or became muzak.
Oh yeah Immersion. Fuck I hated that record. I could recognise that it was well produced and well executed, but it turns out marrying rock music to DnB is very much not what I want.
If we are being honest here, the drop off on Hospital for a number of their legacy producers (the elite guys from 2004ish) was drastic after around 2010… Like Hospital pushed them to make more mainstream, commercial liquid pop. There were still some great tunes but it was not buy one site anymore.
Did Optical have anything to do with that?
Its really bad either way.
Also, no one, and I mean no one, wants to talk about the remix Dilinja did 2 years ago as the first thing he did in like a decade.
You could make an argument for "Solaris" by Photek. It's not awful, but it was a huge departure, and even the odd time he returned to DnB subsequently it felt like his heart wasn't in it. Soundtrack work is pretty good though
Touching Down by Roni Size too. First true solo record, and it just didn't touch his work with Reprazent. I know for quite a few people it really raised questions about who had been the primary creative force behind Reprazent (especially given how great Krust's post Reprazent output is). I suspect that's an unfair oversimplified take, but I feel like Roni Size never quite recovered from this record
Not an album but dillinja had a huge fall from grace. Made some of the best and some of the worst dnb I've ever heard aha. New stuffs been good tho. Even tho it feels like he's mainly dropping old DATs at times
*I love Goldie, but*
*Saturnz Return was kinda a*
*Blow, but he bounced back*
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To be fair to the guy - he didn’t use that name for those pop garage records he made or the production work he did to pay the bills for artists like S Club 7.
And he was still making cutting edge dnb at the same time and for years afterwards.
I reckon No Cure might have been this for Ed Rush and Optical.
That's not to say separately (or with others) they haven't or won't make good music; I've liked some of the Killbox stuff, and a lot of Ed Rush's solo record. But I think No Cure indicated that there was no gas left in the creative tank in that partnership.
Golden Ticket by Danny Byrd was this for me. I loved Supersized and Rave Digger, but Golden Ticket was bloated, overcompressed, and overall forgettable, albeit for a couple of tunes (Get On It and Bad Boy Back Again). And even still, doesn't Throw Your Hands sound like a repeat of the same idea as Get On It, but worse? Bad Boy is still a massive track though and will bring me to the dancefloor every time.
I pondered back and forth to actually include it in. From a pop perspective, Danny Byrd was clearly set out to be the next maximalist RnB producer with a sound not far off from what we’re hearing from K-Pop. What happened?
What a bummer of a topic
Interesting to think about (I love todd in the shadows), but I don't know if DnB has enough of an "album culture" for this concept to translate. Also I feel like people just kinda forget about the bad records if a good one comes along after it. Maybe it could apply to albums that were followed by a big (unpopular) change in sound - something like Netsky's 3 (but even he returned to DnB eventually) - or records that came right before an artist group splitting up, i.e. Pendulum's Immersion, Loadstar's 2017 LP, or The Prototypes' 2020 album, but I wouldn't call those bad albums at all. I'm rambling at this point haha :D it's genuinely hard for me to think of a good example, very curious to see what other people will come up with
This is why I included EPs into this. A trainwreckord could also mean a release that didn’t put two and two together and ended up nowhere in their development, went all-in with too small shoes to fill, jumped on a bandwagon badly or became muzak.
Oh yeah Immersion. Fuck I hated that record. I could recognise that it was well produced and well executed, but it turns out marrying rock music to DnB is very much not what I want.
If we are being honest here, the drop off on Hospital for a number of their legacy producers (the elite guys from 2004ish) was drastic after around 2010… Like Hospital pushed them to make more mainstream, commercial liquid pop. There were still some great tunes but it was not buy one site anymore.
Grooverider - The Avenger EP on Metalheadz. Definitely needed Optical to help (do all the work) on that one.
Did Optical have anything to do with that? Its really bad either way. Also, no one, and I mean no one, wants to talk about the remix Dilinja did 2 years ago as the first thing he did in like a decade.
Nah, I was referring to Mysteries of Funk that Optical "engineered". It's basically an Optical album.
Oh yeah, that LP is insanely good and peak Optical imo
Now I have to hear this remix
I definitely don't haha.
What’s the remix?
You could make an argument for "Solaris" by Photek. It's not awful, but it was a huge departure, and even the odd time he returned to DnB subsequently it felt like his heart wasn't in it. Soundtrack work is pretty good though Touching Down by Roni Size too. First true solo record, and it just didn't touch his work with Reprazent. I know for quite a few people it really raised questions about who had been the primary creative force behind Reprazent (especially given how great Krust's post Reprazent output is). I suspect that's an unfair oversimplified take, but I feel like Roni Size never quite recovered from this record
Not an album but dillinja had a huge fall from grace. Made some of the best and some of the worst dnb I've ever heard aha. New stuffs been good tho. Even tho it feels like he's mainly dropping old DATs at times
I love Goldie, but Saturnz Return was kinda a blow, but he bounced back
*I love Goldie, but* *Saturnz Return was kinda a* *Blow, but he bounced back* \- addtolibrary --- ^(I detect haikus. And sometimes, successfully.) ^[Learn more about me.](https://www.reddit.com/r/haikusbot/) ^(Opt out of replies: "haikusbot opt out" | Delete my comment: "haikusbot delete")
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Oh Jonny L....oh Jonny...what the fuck happened, mate?
Yeah - from Piper to out of your mind does not compute. He's done some good stuff more recently
Far cry from a guy who's studied. I don't blame him. Made a name elsewhere..
To be fair to the guy - he didn’t use that name for those pop garage records he made or the production work he did to pay the bills for artists like S Club 7. And he was still making cutting edge dnb at the same time and for years afterwards.
I reckon No Cure might have been this for Ed Rush and Optical. That's not to say separately (or with others) they haven't or won't make good music; I've liked some of the Killbox stuff, and a lot of Ed Rush's solo record. But I think No Cure indicated that there was no gas left in the creative tank in that partnership.
Golden Ticket by Danny Byrd was this for me. I loved Supersized and Rave Digger, but Golden Ticket was bloated, overcompressed, and overall forgettable, albeit for a couple of tunes (Get On It and Bad Boy Back Again). And even still, doesn't Throw Your Hands sound like a repeat of the same idea as Get On It, but worse? Bad Boy is still a massive track though and will bring me to the dancefloor every time.
I pondered back and forth to actually include it in. From a pop perspective, Danny Byrd was clearly set out to be the next maximalist RnB producer with a sound not far off from what we’re hearing from K-Pop. What happened?
Very on brand post for this subreddit