kumar

Well-known member
It’s like the inverse of more bounce to the ounce where the mind blowing thing was hearing roger troutmans robot voice make these discrete jumps between tones, whereas with gliding bass on drill it’s the continuous loop the loop whip lash feeling
 

kumar

Well-known member
The thing with cgi is there’s no dirt unless you add it whereas if you photograph something your contending with microscopic lint fibres and hair folicles on the lens
 

luka

Well-known member
It’s like the inverse of more bounce to the ounce where the mind blowing thing was hearing roger troutmans robot voice make these discrete jumps between tones, whereas with gliding bass on drill it’s the continuous loop the loop whip lash feeling
It's like the frames per minute have got to the point where it's the perfect illusion of motion
 

luka

Well-known member
The thing with cgi is there’s no dirt unless you add it whereas if you photograph something your contending with microscopic lint fibres and hair folicles on the lens
How strangely clean the Marvel films look. Everyone's shiny plastic costume. We were talking about a similar thing in relation to eighties cinema actually
 

Pandiculate

Well-known member
hmmm. I dunno, I really rebelled against that whole turn of the noughties microdetailed digital dance music in the early 2010s but I've been going back to it. The cult of the analog can get equally as insipid and vapid when people use it to make bog standard hip hop beats or template dub techno. More about what ideas you have and their execution than the gear, innit. Like give me this over all that lo fi house any day.

Is it a weird glitch or did you mean to post this video?


because thats whats come up on my screen and I agree.

This really confused me but it looks like it's showing the last video you liked for some reason, I think this is the actual video

 

entertainment

Well-known member
when I was 15 I bought and mpc and started sampling obscure soul because I wanted my hip hop beats I wanted them to sound like real instruments.
This really confused me but it looks like it's showing the last video you liked for some reason, I think this is the actual video


for me it was this track my mate made which had 800 views and is really bad. thought i had gone mad
 

other_life

bioconfused
It's that broken, disrupted rhythm from grime, but more so the drums never "get going", so it's not really designed to dance to or listen to in a "flow", that's where the sounds become in of themselves more important.
the secret union of evasion and commitment
 

WashYourHands

Cat Malogen
Bit late to add this now but guess this question gets at some of the Mark Fell compositions I find rebound off my ears, rather than being seduced by them

Caveat, no everything, so much of it does work, yet there’s big blocks that sound like equations run through pitch and tone filters, never doing much while appearing to do lots. Don’t get abstraction when it appears as being for the sake of abstraction, or cgi patterns run, recorded and beefed up with a bit of extra treble and bottom end

Perlon are/were a label that could do gems, then their next ep would be clicky bouncing algorithms instead of meaningfully constructed rhythms. Dead end cul de sacs for the sake of pursuing abstract style to its illogical conclusions
 

other_life

bioconfused
running with what third said re:chino amobi (who i've also felt burned out on) and also what luka said re:what's it for, it seems that there is a possible move to make away from composing-through-elaboration of synthetic textures for the sake of elaborating an extra-musical/context-specific concept (which makes the listener passive, is a sort of 'program music'), and towards the same mode of composition, the same toolset + even the exact same set of references in mind sometimes, but for the sake of things imminent to the process, for the sake of feeling out + pushing on the boundaries of that process.
music doesn't have to say anything in itself for everybody about the context in which it's made. it can speak about itself as music and that is 100% okay.
luka asked what is digital for? you answer your own question and it's precisely for a complete emulation of God. that's all this is about, and we can link 'man is the brother of God' to 'God makes the world with light' re:why the play of light on surfaces is such a persistent fascination, such an appealing thing to model. it's a flex of that very ability to display kinship with God-via-imitation.
and it doesn't have to come with any guilty conscience either. we are ultimately hermetists, not protestants.

kumar -
"You can put the “damp cupboard” reverb on a snare and filter it through the “rickety windmill” then side chain it through the asteroid field."

there is so much *joy* in this kind of attitude towards production and also in putting -the process- to words. it's perfectly descriptive of the track they posted, also.
 

other_life

bioconfused
i don't want to dead third's contributions to the thread but the 5 things posted earlier (pillow filter, sonar circle bass flip, jumping jack trash, the villalobos set, touch of jazz - steps) feel like they belong to a different time + a different idiom than what luka's trying to discuss (although i personally like those tracks better than say the objekt track for many different reasons).
what luka's trying to get at feels genuinely new, like past half decade new.
when pc music was starting to blow up i engaged with it from a point of envy + resentment because -i do not know how this kind of sound design is done-. it all sounds very -expensive-, in its depth and its intensity.
there's definitely continuity from this track back to something like confield + the broadly microhouse stuff third posted but there's also a rupture. the low end is more fleshed out, it imposes itself on or grabs the listener more.
but the reason it doesn't satisfy as much as its predecessors is, again, the lack of commitment to a rhythmic direction.

i've been advocating for a return to this broader style of production. the drums are dated in a thin/boom bap way but if the textural research of club deconstruction and -the gumminess and glitter- of ~trap~ could be paired with these kinds of rhythmic + hook recipes (which you could argue SOPHIE was already doing, that her + others commitment to *the integrity of a club construction* is what makes 'deconstructed club' such a misnomer),
then you'd have a psychedelic rap freed of its anhedonia and an idm freed of its own evasions.
 
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