Since I am still awake somehow, I thought that it would be prudent to mention that my pet cult synth-prog-pop-acid-industrial-rock eccentrics The Legendary Pink Dots have just released Chemical Playschool Volumes 16 & 18. You can stream it on their Bandcamp.
If you are not familiar with the series, the first two volumes were ninety-minute cassettes consisting of much of the band's output up to that date (1983) with plenty of bonus material; later volumes, some numbers skipped, were more focused on otherwise unreleased material, the last few being continuous suites of new or otherwise unheard songs and sound art spanning an entire CD each. It's good stuff, if a bit impenetrable to newcomers.
Hail Mary Mallon (Aesop Rock x Rob Sonic) have released the first single from their second album. It's the same one from the announcement video that came out a while ago. It's called "Johnathan" (the one with the line about being such a bum that your beard has a beard).
Their flows contrast more than they did in the first HMM release. Rob's gotten a lot more smooth while Aes has gotten a good deal choppier, the difference is still minimal but it's not like the first album where you often couldn't tell the two apart.
On the one hand, he's bashing Kate Bush (in an admittedly vague way), and I disagree with that sentiment. On the other hand:
Smith also hit out at the current state of festivals. "The Fall aren’t really a festival band," he said. "We’re a city group, and we prefer to perform in cities. Festivals have become totally over-priced; they’re all about charging 900 quid a ticket so these rich parents can send Jemima and Tarquin for a nice weekend away. I watched a bit of Glastonbury on BBC for the first time in my life this year – I literally forced myself to watch five minutes of Metallica without vomiting."
Yeah.
Mark Smith is a curmudgeon. He's always been a curmudgeon. But he has his moments.
The Fall were never really a punk band, though. They just kind of went along with the ride. They did have ties to the political left in the North early on, though.
Phish aren't bad for what they are. It's just that what they are is a highly dubious thing in itself.
My main opinion is that they're decently talented musicians who mostly fuck around and are popular because they managed to hack the pleasure centers of intoxicated people.
So The Composers Desktop Project, which is a collection of Sound Transformation and editing software, is releasing their core software and documentation for free. There are still some additional software you have to purchase, but all the core stuff is completely free on their website, so if you're looking for some cool sound manipulation tools, it's worth looking into.
I was lead to believe Genesis immediately turned pop after Peter Gabriel left, but I'm listening to A Trick Of The Tale and it still sounds pretty proggy to me.
I was lead to believe Genesis immediately turned pop after Peter Gabriel left, but I'm listening to A Trick Of The Tale and it still sounds pretty proggy to me.
Don't know who told you that, but yeah, they still had a few prog albums in them after Gabriel left. Hell, they released my favorite of their prog albums after he left (Wind and Wuthering).
Syro might actually be my favorite Aphex Twin album.
Because it's the first one I've heard where it sounds like he's trying to make good music instead of just fucking around and coincidentally making good music.
in other news I think that since my mouse is broken and I can't really play too many games without it, today might be a good day to try to get into E40.
I've liked basically every verse I've ever heard from him.
Syro might actually be my favorite Aphex Twin album.
Because it's the first one I've heard where it sounds like he's trying to make good music instead of just fucking around and coincidentally making good music.
idk i think even with syro the latter is still the case. i think it is actually a big part of afx's appeal
I don't know, I felt it sounded more deliberate but I'm not a huge Aphex Twin guy in the first place so maybe I wouldn't know.
In other news, I made an exciting discovery today, while reading various "albums of the year/decade/whatever" lists as I sometimes do when bored, I came across--and subsequently downloaded--From Here We Go Sublime by The Field.
This is exciting because this guy(?) is....doing more or less what I do. It's the first sound I've heard that's recognizably similar to mine, the main difference seems to be that they use fewer samples than I do. It's nice because well, it proves that I'm not just being a complete idiot and this is a form of composition that has some merit to somebody (it'd hardly make it on to a Best of the 2000s list if it didn't).
Comments
Their flows contrast more than they did in the first HMM release. Rob's gotten a lot more smooth while Aes has gotten a good deal choppier, the difference is still minimal but it's not like the first album where you often couldn't tell the two apart.
even more reasons to never listen to Crotchety Old White Man Punk Bandstm
(*Wold is heala btw, and the album in question is free on the Profound Lord bandcamp*)
insane
man i've gotta pick this up
Some of their new album sounded good to me, but Wombat is one of the worst songs I've ever heard.
So The Composers Desktop Project, which is a collection of Sound
Transformation and editing software, is releasing their core software
and documentation for free. There are still some additional software you
have to purchase, but all the core stuff is completely free on their
website, so if you're looking for some cool sound manipulation tools,
it's worth looking into.
CDP homepage: http://www.composersdesktop.com/
Actual Download page: http://www.unstablesound.net/cdp.html
Free tutorials on working with CDP for new CDP users: http://www.composersdesktop.com/workshops.html
the breakdown pumpkin
Because it's the first one I've heard where it sounds like he's trying to make good music instead of just fucking around and coincidentally making good music.
I've liked basically every verse I've ever heard from him.
In other news, I made an exciting discovery today, while reading various "albums of the year/decade/whatever" lists as I sometimes do when bored, I came across--and subsequently downloaded--From Here We Go Sublime by The Field.
This is exciting because this guy(?) is....doing more or less what I do. It's the first sound I've heard that's recognizably similar to mine, the main difference seems to be that they use fewer samples than I do. It's nice because well, it proves that I'm not just being a complete idiot and this is a form of composition that has some merit to somebody (it'd hardly make it on to a Best of the 2000s list if it didn't).
music like this:
Kalafina - Magia - QwquipMpsiQ
Ayahi Takagaki - Meteor Light - pJvQYje9mOA
what is the name of the genres/subgenres of this?
i started calling it "demonic pop" but I've heard that it ought to be called something more like trance-pop or something?