If I want to write something with a swing rhythm, is it okay if I just notate it in compound meter? rather than using duplets or dotted rhythms to represent swung duplets, I mean.
and now im listening to a circa survive album because that was in the recommended videos and it had really cool album art
it's... charming? not as good as the cover art would indicate and i wish they'd kick the weird bits that poke through the edges up a notch and upped the track length to let things breathe more
the vocalist sounds so obnoxiously whiny that it loops back around into sounding good
he is so whiny, i have never heard such a whiny voice in my entire life
Alternative music has a record of exploiting the avant-garde, not so much to mimic artistic or musical provocation as for the benefits of association. Take, for example, Brian Eno’s use of the recording of Kurt Schwitter’s reciting Die Ursonate. This sound poem, originally written in 1921, was reduced to an upper register embellishment in the song “Kurt’s Rejoinder”, a Sousa march for the 1970s. Eno, the Maxfield Parrish of contemporary composition, was more concerned in how Schwitters pedigree might influence perceptions of his authorship and historical lineage than in any attempt to respond to the artistic provocations of the poem.”
my official opinion: every track needs to be a minute or two longer and they need to just be more indulgent in general
i agree with this assessmentof circa survive but unfortunately they cant be more indulgent as it would run the risk of alienating their core fanbase of boring white girls who believethat anthony green 'saved their life' and get circa llyrics badly tattooed on their wrist
I think that I've grown to actually like post-Barrett Pink Floyd.
I'm not entirely sure why that is, but I suspect that two factors are involved. The first factor is that I wasn't properly exposed to their weirder stuff before recently. The second factor is that having so many friends into avant-garde music has left me able to absorb bands that are more "normal" by comparison but nonetheless used to be outside my taste range, if that makes sense.
Meddle and the live half of Ummagumma are my favourites, although really every album has at least something to offer. I do feel that it would've been better if they ended after Animals, however, although The Wall and The Final Cut do have their merits to them.
Animals, Meddle, Dark Side of the Moon and Ummagumma are all quite good insofar as I can remember. The Barrett era was more exploratory and "sparky," but the Waters/Gilmour period had the advantage of consistency and cohesion. The problem is that their most crippling self-indulgences coincided with their least interesting music.
Now, in the direction of self-indulgence producing genuinely interesting music: I listened to the entirety of Trumans Water's double-LP opus Spasm Smash XXXOXoX Ox & Ass yesterday during a long car ride, and while I did like them before, I think I have a new-found respect for the band. There is something exhilarating about a band that manages to have all the exuberance and unrestrained nervous animus of a free improv outfit or a basement punk group with the melodic yen and dynamic sensibilities of the best riff craftsmen—with none of the pedestrian qualities of the average pop-rocker or punk and none of the pseudo-boho pretences frequently associated with the "high art" side of rock.
I checked out Eno and Hyde's Someday World, after Section showed me "Daddy's Car". I've only listened once, but I like it so far.
Goliath, by Steve Taylor & The Perfect Foil, came out last week or so. It’s interesting that Taylor's promotional material is mentioning his prior albums from the 80s and 90s as little as possible. (That ties in with why they're "Steve Taylor & The Perfect Foil", not just Steve Taylor.) Not because he’s embarrassed by his old work, as far as I know, but because he wants to attract new listeners who might be put off by "new album from music dude from the 80s who you should already be listening to!"
Well, that strategy worked for me. Every Steve Taylor fan I've interacted with has mainly praised the guy's witty and satirical lyrics, but that's always turned me off because the lyrics are the part of the song I'm LEAST interested in. So I've been reluctant to really dig into his back catalogue. Then the promotion for THIS album made it clear that it's a good jumping-in point for newbies AND had a witty concept parodying U2's recent marketing gimmick. That got me to look up the music videos, and from there the music hooked me.
Listening to Tooth & Nail's sampler Happy Christmas Vol 3, I still refuse to believe that "Have It All" by Ace Troubleshooter is really a Christmas song.
Section42L said once that Eno and Byrne's Everything That Happens Will Happen Today felt less like an album and more like a practice session for something better. Sec thought that Love This Giant was Byrne delivering on that promise of something better. Now, I think Someday World is Eno delivering on his half of that promise.
If that's how you feel about it, then I'm going to have to pick it up and listen to it in full soon. I'll probably do that after schoolwork clears up for me.
I should also remind you that they've released another album, called High Life. I will have to listen to that in full soon, too.
Flatland is decent. Much of the first half was more icy and mechanical than I generally like my music, but it gets a bit more organic as it goes on so I think I like the second half better. As stated elsewhere I want to hear someone rap over "Dogma".
honestly i was a little bit disappointed w/ Flatland, it's just not as insanely detailed as any of Objekt's singles
that's not to say that it's bad, but he kinda built his reputation around putting out a couple of absolutely perfect singles every year and obviously putting that much time into every track on the album would make it take forever but yeah
Man, I think that Big Star's Third/Sister Lovers has grown on me.
As much as I still dig the brilliant pop vibe of #1 Record, I have come to quite dig the subtly deranged melancholic pop vibe that Third/Sister Lovers exudes, too.
what kind of classical you after? soothing pretty stuff i guess if it's for working to? if you want something modern like that you could try the album 'Atomos' by a winged victory for the sullen
Recommend me classical musics to listen to while I do homework.
I have a lot of logic to do tonight guys
off the top of my head: Handel - Oboe Concerto #1 (melodic, Baroque) (just listened to this on the radio, I really like it)
Max Bruch - Symphony #3 in E major (late Romantic, may be somewhat more dramatic) (a perennial favorite of mine)
(now thinking with the intent of doing homework in mind) Chopin - various Mazurkas (Romantic period, smaller pieces, may or may not be less distracting?) Mozart - various piano Sonatas (Classical period, again has relatively consistent texture so might be less distracting) Haydn - various piano Sonatas (same as above)
The "less distracting" bit doesn't apply if you're me, though, or someone else who automatically pays more attention to things like harmony, melody, and tonality, rather than texture.
An idea: find a youtube upload of the complete Well-Tempered Clavier by J.S. Bach. Either book will do, but the second might be less distracting since it's less well-known.
White Lighter's self-titled is a surprise. It's a spiritual successor to Neon Horse, but with slightly less Jason Martin input. It's more of a slow burner than either of the Horse's albums, and none of the songs are grab-you-by-the-throat singles. But they seep into my brain and take root there, and I find myself liking them the more I listen. In particular, "Make Fire" transmutes the album's cartoonish goth-ness into something genuinely creepy.
i've been dinking around with like playing one note with a synth, exporting it with as low quality as possible and then loading that into a granular synth
i listened to Behemoth's Evangellion gor the furst time in a while yesterday
i really appreciate their consistently memorable songwriting and the way they fit in orchestral flourishes with a fair amount of subtlety and restraint
but the mixing/mastering/whatever is definitely too hot
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and the runner up is eprom with only 141
Goliath, by Steve Taylor & The Perfect Foil, came out last week or so. It’s interesting that Taylor's promotional material is mentioning his prior albums from the 80s and 90s as little as possible. (That ties in with why they're "Steve Taylor & The Perfect Foil", not just Steve Taylor.) Not because he’s embarrassed by his old work, as far as I know, but because he wants to attract new listeners who might be put off by "new album from music dude from the 80s who you should already be listening to!"
Well, that strategy worked for me. Every Steve Taylor fan I've interacted with has mainly praised the guy's witty and satirical lyrics, but that's always turned me off because the lyrics are the part of the song I'm LEAST interested in. So I've been reluctant to really dig into his back catalogue. Then the promotion for THIS album made it clear that it's a good jumping-in point for newbies AND had a witty concept parodying U2's recent marketing gimmick. That got me to look up the music videos, and from there the music hooked me.
it is very strange
Much of the first half was more icy and mechanical than I generally like my music, but it gets a bit more organic as it goes on so I think I like the second half better.
As stated elsewhere I want to hear someone rap over "Dogma".
that's not to say that it's bad, but he kinda built his reputation around putting out a couple of absolutely perfect singles every year and obviously putting that much time into every track on the album would make it take forever but yeah
Handel - Oboe Concerto #1 (melodic, Baroque)
(just listened to this on the radio, I really like it)
Max Bruch - Symphony #3 in E major (late Romantic, may be somewhat more dramatic)
(a perennial favorite of mine)
(now thinking with the intent of doing homework in mind)
Chopin - various Mazurkas (Romantic period, smaller pieces, may or may not be less distracting?)
Mozart - various piano Sonatas (Classical period, again has relatively consistent texture so might be less distracting)
Haydn - various piano Sonatas (same as above)
The "less distracting" bit doesn't apply if you're me, though, or someone else who automatically pays more attention to things like harmony, melody, and tonality, rather than texture.
in case anyone hasn't heard this yet?
i really appreciate their consistently memorable songwriting and the way they fit in orchestral flourishes with a fair amount of subtlety and restraint
but the mixing/mastering/whatever is definitely too hot