Well-known member
this is why you keep accusing me of secretly loving it, you secretly hate it and all the art school kids that play it at the parties they don't invite you to. And you're right to hate it.


Well-known member
Because of course it is. It's the most perfectly realised example of 'this sort of thing' I've come across.
im glad you are engaging with it now because i knew youd have interesting things to say

grime garage and bassline are all big reference points. also rustie and hudson mohawke and all that hyper kitschy stuff


bandz ahoy
It's an interesting one to think about in relation to CGI.

CGI can draw attention to itself, and that's often the point of it. In Jurassic Park for example, the CGI was intended to look as "Real" as possible, but it was also intended to be a spectacle in of itself.

But it can also be there to invisibly assist an illusion. (There's probably a lot more CGI in the Marvel films, for example, than the stuff that's obviously CGI.)
you can also see a kind of genealogy of sound and trace all kinds of influences in a ongoing refinement of abstracted sonic space and sonic symbols. back to dub for innovations with reverb and echo, then synthesis and all that... synthesis, sampling pulling in the whole library for some collage. and there are certain sensory focal points, dubsteps singular physicality, electro and eski cold, house warmth. theres a linking of signifiers over time, how the aural relates to the visual and other senses