technical but not wanky, catchy, rousing epic melodies, consistently energetic and entertaining compositions, corny lyrics but in juuuuuuuuuust the right way
it's so good that i've felt compelled to go back and listen to every song so far again immediately after listening.
im only on track 4 and this is a very, very strong contender for death metal album of the year.
This is your reminder that Music for 18 Musicians and Different Trains/Electric Counterpoint by Steve Reich are some of the greatest musical creations ever.
At first, when I heard the stage 1 theme from Terra Diver (a.k.a. Sokyogurentai), I was unconvinced that it was a Hitoshi Sakimoto soundtrack.
But now that I'm listening to all of it, it sounds more apparent.
It's just that the soundtrack has a more techno-/pop-ish beat to it, unlike Sakimoto's other work, which is typically more symphonic in instrumentation. Which makes it a little deceptive.
His signature is more subtle, though. It is using chromatic harmonic changes (such as chromatic third relations) to create a feeling of motion.
I'm guessing that it's as much convergent evolution as influence: While Death Grips started releasing material around the same time as King of Hearts came out, MC Ride's earlier self-produced material from as early as 2000 has very similar production to DG tracks like "Get Got" and "Culture Shock"—although the production is way more lo-fi and Ride's flow is super-mellow.
I don't doubt that they were aware of this album, though. They're all clearly very clued into the more experimental side of hip-hop.
i've probably talked about this before, but i still find it curious that "common-practice" western classical harmony is relatively pushed out of western pop (though it retains a more territory in sappy love songs / "easy listening" and church/christian music and even a little country music) but is more prominent in east-asian pop
well, the church music part makes sense (ironically despite the usual association of the plagal cadence with the "amen"), though we're seeing secular pop/rock seep into that and make plagal sequences more prevalent there too with newer christian pop/christian rock stuff
but it's like, jazz led to rock in the states or something, while europe got techno which has got a little more in line with common practice harmony (though the instrumentation is much further off)
and i'm going to stop talking out of my ass now (until the next time i post that is)
Man is a most complex simple creature: see what he weaves, and how base his reasons for doing so.
Oh I love their verses too, and yeah, it seems like a promotional thing.
I'm just saying that I feel like Run The Jewels could maybe insert themselves in it more, or maybe they didn't do it because they didn't want to overshadow Until The Ribbon Breaks on their own track.
normally I'm not too impressed with random freestyle videos but this one was really nice. The only guy I didn't really think was all that interesting was Quasar.
and either OHM wrote his rhymes beforehand or he's like one of the most talented freestyle rappers alive and no one knows it.
Bizarre aside: I was looking up some info on the noise-punk/queercore group Sexgender, and I noticed that they had collaborated with a group called Hive Bent—who, given their references to wicked elixir and the Scourge Sisters on their Bandcamp are almost certainly named in reference to Act Five.
They are delightfully noisy and in-your-face. Not unexpected given their friends, but still, bands that make songs about web-comic characters have no right to be this gnarly.
i like that track cuz it has a bit of Captain Ahab's goofy sense of genre bending to it with the hardcore announcer-sounding BODY AND BLOOD vocal and the gabber kick at a rap-friendly tempo
Come to think of it, Have A Nice Life is a pretty meh name but it works if you treat the lameness as intentional to some degree. This is particularly apt with the ridiculous titles and weird tonal clashes in their very early material like "Variations on the Theme from Top Gun" and "Holy Fucking Shit: 40,000".
In the Studio with Brother Marquis from @Real_two_ live_crew we making some gems for new album , we got the bass hammer, cause this shitzzzzz #ridiculious
Comments
actually still really love Shawn Colvin?
new Sult
holy shit this is incredible
technical but not wanky, catchy, rousing epic melodies, consistently energetic and entertaining compositions, corny lyrics but in juuuuuuuuuust the right way
it's so good that i've felt compelled to go back and listen to every song so far again immediately after listening.
im only on track 4 and this is a very, very strong contender for death metal album of the year.
But now that I'm listening to all of it, it sounds more apparent.
It's just that the soundtrack has a more techno-/pop-ish beat to it, unlike Sakimoto's other work, which is typically more symphonic in instrumentation. Which makes it a little deceptive.
His signature is more subtle, though. It is using chromatic harmonic changes (such as chromatic third relations) to create a feeling of motion.
i liked the FKA twigs singles that i heard but i never got around to buying her full length
well, the church music part makes sense (ironically despite the usual association of the plagal cadence with the "amen"), though we're seeing secular pop/rock seep into that and make plagal sequences more prevalent there too with newer christian pop/christian rock stuff
but it's like, jazz led to rock in the states or something, while europe got techno which has got a little more in line with common practice harmony (though the instrumentation is much further off)
and i'm going to stop talking out of my ass now (until the next time i post that is)