an apple on the moon

woops

woops

is not like other people
but i'm in no way criticising your adventures in modern music, just speaking my experience, and i'll assume that last part was a compliment, thanks
 
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mvuent

Void Dweller
woops said:
i'm just saying luke is doing what i'm saying kodwo is. which is discussing in literary terms, stuff that have nothing to with music production.
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tbf i've always heard things more or less the same way and i'm very unliterary and am a music producer (...well, sort of)
 
woops

woops

is not like other people
but seriously though i don't see your point - don't you need to do a little review of the tunes you're posting saying what you hear in them? 'cos i listened to diana ross and it's a nice disco ballad but i don't see the literary implication
 
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mvuent

Void Dweller
here's a mini review i did of the james tenney work posted at the beginning
mvuent said:
the harlquinn


the visuals are important here. this is the memetic version of elvis, the one that's sold on tshirts across the world. the colors are more reminiscent of an old hand drawn poster than reality. it's as though an image tucked away in the corner of a bar in anywheresville, america has come to life, harry potter style.

the hairstyle and eye shadow, etc. remind me of the androgynous attractiveness of Desire in the sandman. at times i find it hard not to retroactively see the mannerisms of jim carey characters in elvis' facial expressions and movements. (probably they looked funny and unnatural to begin with--that was part of the magic.) this strange combination of associations furthers the sense that you're not looking at a regular human, but some other entity.

oh yeah and there's music too. this is what pop music could sound like when the majority of people in the US were just a generation or two removed from being hillbillies. now it's archaic, almost out of sync with the image of its performer. but really good and rollicking. a voice that has an undulating quality--the smooth, cartoony downward swoop of "you can do anything but stay off of my blue suede shoes".


bonus beats:


fragmented and transformed into a thousand new forms, all released in a single three minute explosion. roaring mechanical beasts to squealing cartoon chipmunks. sensory overload. at 1:16 elvis proper appears as a gibbering, statanic fool. hilarious and terrifying, but mostly the former. better than the original.
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mvuent

Void Dweller
ignore the played out visuals and focus on what happens to whitney's voice from 1:02 to about 1:53. this goes beyond the usual slight manipulations you get with "vocal science" in how it spirals off into abstraction. wordless, barely recognizable as a voice, yet the source is recognizable. starts as a regular human voice but stretches into something else. similar to the scratch masters / owner of a lonley heart example. catchy and beautiful in a strange way.
 
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luka

luka

Well-known member
i was just having a walk round Blackheath with sadmanbarty and i was going to him did you see that person on dissensus trying to say synths weren't spaceships and he was going yeah what was that all about? if they're not spaceships what the fuck is the point of them? thats literally their whole justification for existing. we all know they're spaceships. every association is spaceships we are the robots trip to the moon ufos.
 
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mvuent

Void Dweller

type 1 example: the way this fragment of a pop song appears out of nowhere (1:04) in the middle of a hard machinic vaguely scifi world. anything can happen in ardkore.

though breaks science itself was a type 2 example, since in the early 90s normal breaks were ubiquitous / highly familiar.
 
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mvuent

Void Dweller

another example in the same vein. maybe even weirder for how the sample hearkens back not just to the present/everyday, but to really old pastoral britain. apparently that song was first recorded in 1904! anyways hearing it appear in this contrasting context evokes an amazing, unique feeling.
 
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linebaugh

linebaugh

Well-known member

This was the group laugh-at-a-bad-song track for a minute (legendary rick ross verse, cant miss), but the D'Angelo sample spiked in there at the 1:07 is legitimately very cool
 
luka

luka

Well-known member
mvuent said:

another example in the same vein. maybe even weirder for how the sample hearkens back not just to the present/everyday, but to really old pastoral britain. apparently that song was first recorded in 1904! anyways hearing it appear in this contrasting context evokes an amazing, unique feeling.
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The bit where it says badboy come again? This is a great example of how amazing this lot were making breaks sound in those days. The drums take on a whole set sonic qualities which don't appear in the original source recording.
 
linebaugh

linebaugh

Well-known member

the steel guitar in this song -the wobbly nature of the instrument, the slight phasing and tremolo effect- get at what this thread is on about I think. Reminds me almost of a record scratch or a sample warped to the point of just being a whooshing sound, or as mvuent put it in the latin freestlye thread 'a fire ball being hurled about'
 
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