thirdform

pass the sick bucket
The people who were into stuff like Bring Me the Horizon and had snakebite piercings, weird straightened dyed hair that looked like a wig, skinny jeans, converse. The latest development of the post-hardcore/emo thing in the mid to late 2000s.

So very very white people like a hypothetical teenage Joe Muggs in the 00s?
 

thirdform

pass the sick bucket
it was actually huge with hispanics in my experience

That is reggaeton in UK, not sure why Mexicans love punk nonsense over there. I find reggaeton annoying but at least you can drink 5 thousand majitos to it. Punks all have rich dads but are so stingy they only buy you fosters or stella and you're already sick of them by the third pint.
 

thirdform

pass the sick bucket
That is reggaeton in UK, not sure why Mexicans love punk nonsense over there. I find reggaeton annoying but at least you can drink 5 thousand majitos to it. Punks all have rich dads but are so stingy they only buy you fosters or stella and you're already sick of them by the third pint.

Especially the punk metalhead crossover. The absolute worst. And then some of them turn crusty and get into psytrance, which makes them a million times more stingier.
 

luka

Well-known member
i dont think a lot of it but i also dont think its possible to enjoy anything you just click at on a youtube screen and listen to on laptop speakers for the 15 seconds it holds your attention for
 

bun-u

Trumpet Police
If I had to pick to something to quibble with, I would say that there's a case to be made that vocal psychedelia is much older than Neon Screams lets on. Autotune (etc.) itself may be new-ish technology, but the broad area of magic in which its best practitioners operate was discovered long before the 2010s. Even when electronic music was at its most primitive, people were creating otherworldly "voicescapes" (to use a revelatory phrase from the book), and they never stopped in the interim. In 1944, Halim El-Dabh recorded a street exorcism in Cairo and used electronic effects to intensify the chilling qualities of its singing in a (mostly lost) work called "The Expression of Zaar". Or take Karlheinz Stockhausen's 1956 masterpiece "Gesang der Jünglinge". One response to its premier, which Stockhausen read to Adorno live on air afterward, said it was "as if some radiation contaminated survivors of an atom bomb attack [were] trying to sing". This comment may have inspired Stockhausen's colleague Herbert Eimert; the composer, who grew up during the Edwardian era, delivered one of the most harrowing works of vocal transformation ever with the atom bomb-themed "Epitaph für Aikichi Kuboyama" in 1962. Even if you stick with pop music, you have tracks like Stacey Q - "Two of Hearts (A Capella)", in which the artist's voice shapeshifts into various wordless miragelike textures, including a haunting echo continuum resembling something out of Selected Ambient Works Vol. II. The list could go on and on. Mackintosh would probably want to point out that none these examples sound anything like the artists he's talking about. But nonetheless, they are instances of people using whatever technology was available to lend the human voice a superhuman expressiveness. The 20th century imagination wasn't all about tin can robots–the "posthuman" future has been gradually bubbling up to reach the surface of culture for a very long time.

There's also the 'vocal science' thing in UKG - a chap called Bat coined that in the late 90s on uk-dance forum to describe the way producers were chopping up, mashing and stretching vocals in a similar way to how jungle producers were doing this earlier to beats (though to be fair, Neon Screams does cite Todney Edwards)
 
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