Weird thought: I find myself comparing Chvrches' "Night Sky" to Katy Perry's "Firework" (?!) in my head for reasons that are obscure but make sense, and I have come to the conclusion that regardless of what one might think of them, these guys would make way better pop song ghostwriters than 90% of the people employed in that field right now, at least in the US.
Frank Ocean is decent. "Pyramids" is a very cool track and "Bad Religion" is poignant. But what is he even doing now? Haven't heard anything from him in a while now.
Frank Ocean is decent. "Pyramids" is a very cool track and "Bad Religion" is poignant. But what is he even doing now? Haven't heard anything from him in a while now.
Working on a followup to channel ORANGE if I remember right.
things have been rocky in OddFuture land for the past few months.
also if you haven't heard like, the entirety of channel ORANGE and nostalgia ULTRA, you should really look into that. I think both are on Youtube in their entirety.
"American Wedding" is among his most underrated tracks imo, it's also a half-cover of "Hotel California".
deathconsciousness: there are a few duds on the album. both of the album's two 'sides' tail off a little bit i think towards the end. maybe that is where the pillows come in. a lot of stuff could be cut and it wouldnt take away from the album
however i think the high points of the album more than make up for the low ones. im struggling to think of a better 1-2-3 of songs than the first three tracks of 'The Future'. and bloodhail is a jam
deathconsciousness: there are a few duds on the album. both of the album's two 'sides' tail off a little bit i think towards the end. maybe that is where the pillows come in. a lot of stuff could be cut and it wouldnt take away from the album
however i think the high points of the album more than make up for the low ones. im struggling to think of a better 1-2-3 of songs than the first three tracks of 'The Future'. and bloodhail is a jam
I guess I'm of the mind that tracks which a lot of people would consider "lulls" are actually really solid even if they are overshadowed by some of the stronger, more energetic tracks. "There Is No Food" and "The Future" are delectably atmospheric, "Who Would Leave Their Son Out In The Sun?" is heartbreaking, "Telepathy" has a Bark Psychosis-like smooth energy, and "I Don't Love" has one of the most amazing chorus lead-ins on the album and an absolutely godly bass/organ combo.
But the sequence from "Bloodhail" through "Hunter" and "Earthmover" are probably the best spots on the LPs.
Reminds me of that guy whose web of completely fake, self-referencing literary journal articles culminated in a fabricated account of a meeting between Charles Dickens and Fyodor Dostoevsky. Which wound up in a respectable lit journal about Dickens. And then an actual, published biography of Dickens.
That was the point where the hoax collapsed on itself.
The thing is, there is as little proof of a hoax as there is of the record. It was just there in the chart for a few weeks, then disappeared. And then there's the little record company that was listed as having released it, which advertised in some zines back in the day but vanished as quickly as it appeared.
It's almost like the whole thing was a scam of some sort, or the equivalent of a criminal front.
The thing is, there is as little proof of a hoax as there is of the record. It was just there in the chart for a few weeks, then disappeared. And then there's the little record company that was listed as having released it, which advertised in some zines back in the day but vanished as quickly as it appeared.
It's almost like the whole thing was a scam of some sort, or the equivalent of a criminal front.
that would not be unheard of in the music industry.
Duke Ellington & His Orchestra: Hot Summer Dance. A live show, recorded in July 1960. By the time I'm dead, I'll probably own a hundred different recordings of "Take the A Train", "Satin Doll" and "Jeep's Blues", and I will love every single damn one of them.
Charlie Christian: The Original Guitar Hero. Jazz musician and pioneer of the electric guitar. This collection is too short.
This is kind of odd. I bought a used copy of what I thought was a Pet Shop Boys double EP. It really is Pet Shop Boys, but a little research told me this package is actually two CDs from two, unrelated double EPs. Liberation and I Wouldn't Normally Do This Kind of Thing, specifically. (They're both songs from the album Very, which is why I thought they belonged together in the first place.) It's possible I lucked out and got the better disc from each double-EP—namely, the disc with several different songs rather than the disc with just remixes of the title track.
"Decadence" is a cool song that probably deserves to be on an album. And I like that the 7" Edit of E Smoove's "Liberation" remix is a completely distinct mix, rather than just a truncated version of the full length remix.
Mazzy Star: She Hangs Brightly. Very very nice. I like it better than So Tonight That I Might See.
So, I'm listening to USA Out of Vietnam's new album Crashing Diseases and Incurable Airplanes, and while I have mixed feelings about most of it - definitely needs another listen, but still - "Tonight, The Dead Walk" is a great track. It is seriously a beast and a great use of fourteen minutes of your time.
i finally got around to hearing Ladies and Gentlemen We Are Floating in Space because its an album i keep hearing mentioned and yet somehow i had no conception of how it was going to sound
i wasnt expecting it to sound so solidly like a 90s british rock record so some of it sounded sort of staid because of that but there were some really great tracks on it nonetheless
It is more straightforward than it could be, albeit with some weirder moments like "Cop Shoot Cop"; their début is a bit stranger overall, being a bit more like a late Spacemen 3 record.
With an upcoming album titled, Stampede of the Disco Elephants, on the rise and scheduled to be released later this year, you’d think that Fred Durst of Limp Bizkit fame would have plenty on his plate. In addition to the new album’s production, he has even found the time to direct and star in his very own short film, The Truth, that was released just a couple of weeks ago. If that isn’t enough, you’ll be pleasantly surprised to learn, then, that he is, in fact, looking to venture into the realm of mashup artists.
That’s right, you heard it here first—Fred Durst is now launching himself as a DJ. If it’s anything like how he performs live with Limp Bizkit, you can expect high energy sets with high volumes of crowd involvement. DJ Fred Durst is now available for dates, so please contact CEG for more booking information.
But when it comes to Kayo Dot, change is the only constant. And like the best pop culture chameleons of the past, Kayo Dot’s evolution is governed by an inscrutable inner-logic. Despite the accessible songwriting of Coffins on Io and the emphasis on vocal melody and electronic percussion, Kayo Dot fans will find the record’s darkness and intensity familiar and relatable. For example: the dark wave of Coffins on Io album-track “Off-ramp Cycle” might be unrecognizable to Kayo Dot’s metal fans. “The sound is kind of like a sexy combination of Type O Negative, Peter Gabriel, Sisters of Mercy,” Driver says. But the track also encompasses the brooding menace of classic Bauhaus as well as current dark wavers Cold Cave and Crystal Stilts: artists young and old who live and die in those unknowable corners where heaviness meets delicacy and sincerity meets theatricality.
as far as Röyksopp are concerned, I'm partial to Junior
I haven't checked out their new shit with Robyn yet, but if it's half as good as "The Girl and the Robot" it'll be worth a listen
All I've heard yet is Melody AM and The Understanding and I definitely prefer the latter. Even though my first instinct with electronic music is "Shut up! Stop singing and let the synths do the talking."
The last albums I listened to were Spare Time Machine and Queen of the Wave by Pepe Deluxé.
Their work contains a lot of psychedelic and garage rock ornamentations. Their primary mission, however, seems to be to try to figure out what would've happened if the 1960s electronica pioneers cared about writing pop songs.
It makes for a very cool listen. Meta and SFS were right about these guys.
The first time I listened to Queen of the Wave, I was reminded of the utter unpredictability of listening to Sufjan Stevens for the first time. (It was Illinois, for the record.) Even though Suf and PD are otherwise coming from very different backgrounds and aiming at different goals.
Really, Queen of the Wave is a fascinating collection of contradictions. It's got many of the hallmarks of musical self-indulgence, but in every case they're tempered by PD's commitment to making a pop album. It's a concept album telling a fantasy story (specifically about the fall of Atlantis), but the lyrics are deliberately vague enough that they still function without the listener understanding the plot. It juggles a ridiculous number of disparate genres (psychedelic rock, psychedelic folk, early electronic music, opera, soul, Japanese surf rock, 60s girl bands...) but PD whips each of them ruthlessly until the mash-up sounds natural. They feature bizarre instruments (viol de gamba, Tesla coil synthesizer, and the Great Stalagpipe Organ, to name a few off the top of my head) but there's no instrumental showboating. Ditto the equally bizarre production tricks—they're all subservient to the needs of the song or the album as a whole.
David Byrne: davidenryd. Very 90s alternative rock, and not a lot of Byrne's own style. One wonders if he was jumping on the bandwagon. Still has some interesting moments.
Perhaps he was just writing in an unfamiliar style as an exercise. That would be very Byrne of him.
I've given it a few more listens and revised my thoughts. Byrne's own weirdness is there (strange lyrics, a sense of dread in several of the arrangements), it's just not obvious on the first listen. He wasn't jumping on any bandwagons, not in the usual sense. He was trying to subvert 90s alternative rock to serve his own ends.
Among the most prominent Japanese composers (although I use the word 'Japanese' superfluously, as even the most well-known American composers are barely competent at best), one in particular stands out to the enlightened video game soundtrack consumer. His name: Yasunori Mitsuda. For the record, this is not to undermine the amazing works of other incredibly talented video game composers such as Uematsu-san or Sakuraba-san, but to highlight the unique, almost celto-tropic music (the word music is an understatement) that Yasunori Mitsuda has been composing for years. It would be sheer ignorance to deny that the Chrono Cross soundtrack is anything but the magnum opus of video game music; its lilting and oftentimes hauntingly peaceful guitar melodies soothe all but the most savage of breasts while its tense battle themes and mysterious donjon tunes ignite a blazing passion that can be quenched only by the video game's profound story and gameplay. It is a wonder that anyone can listen to anything besides video game musical compositions after listening to Mitsuda-san's immensely powerful soundtrack, but given that the primitive thuds of hip hop are America's current choice of 'music' (I use the term music liberally), once can see little hope in the mass appreciation of Mitsuda-san's work.
There is, perhaps, only one medium of art that matches the excellence of video games and that is (obviously) visual kei. Combining absolutely exquisite j-rock and j-pop, sprinkled with hints of video game melodies, with the pyrotechnic visual flare that the Japanese are known for, visual kei takes its viewers on a rollercoaster ride of lights, fanfare, and music that even Beethoven could tap his toes to. Would that I were Japanese, (though under careful scrutiny, it appears my geneology tree does in fact show signs of a Japanese presence) I too would participate in this art of the 21st century and even perhaps venture onto the visual kei stage myself. It is no surprise that the impotent minds of Western society cannot fully grasp the total splendor of visual kei and instead choose to squandor their time listening to rap and country "music".
Among the most prominent Japanese composers (although I use the word 'Japanese' superfluously, as even the most well-known American composers are barely competent at best), one in particular stands out to the enlightened music consumer. His name: Juntaro Yamanouchi. For the record, this is not to undermine the amazing works of other incredibly talented composers such as Akita-san or Kazuyuki-san, but to highlight the unique, almost celto-tropic music (the word music is an understatement) that Juntaro Yamanouchi has been composing for years. It would be sheer ignorance to deny that Yellow Trash Bazooka is anything but the magnum opus of music; its lilting and oftentimes haunting screaming and amplified defecation soothe all but the most savage of breasts while its tense layers of feedback and frantic drumming ignite a blazing passion that can be quenched only by the casette tape box with the dried tentacle inside. It is a wonder that anyone can listen to anything besides harsh noise compositions after listening to Juntaro-san's immensely powerful music, but given that the primitive thuds of hip hop are America's current choice of 'music' (I use the term music liberally), once can see little hope in the mass appreciation of Juntaro-san's work.
There is, perhaps, only one medium of art that matches the excellence of video games and that is (obviously) japanoise. Combining absolutely exquisite distorted, unidentifiable sounds, sprinkled with hints of free improv, with the pyrotechnic visual flare that the Japanese are known for, japanoise takes its viewers on a rollercoaster ride of lights, fanfare, and music that would make Beethoven curl up and die. Would that I were Japanese, (though under careful scrutiny, it appears my geneology tree does in fact show signs of a Japanese presence) I too would participate in this art of the 21st century and even perhaps venture onto the japanoise stage myself. It is no surprise that the impotent minds of Western society cannot fully grasp the total splendor of japanoise and instead choose to squandor their time listening to rap and country "music".
i'm disappointed that you guys don't recognize the weeaboo save point pump quotes from barkley, shut up and jam: gaiden, which is not only the best jrpg that exists, but the best jrpg that can exist
Listening to Joy Division's early singles, I'm amazed at how Martin Hannett managed to encourage the transformation of a generic punk band into a band for the ages. It's like what George Martin did with The Beatles, only more remarkable since he did it in a much shorter span of time.
Comments
all i know about John Mayer is that he owns lots of very expensive clothing
things have been rocky in OddFuture land for the past few months.
also if you haven't heard like, the entirety of channel ORANGE and nostalgia ULTRA, you should really look into that. I think both are on Youtube in their entirety.
"American Wedding" is among his most underrated tracks imo, it's also a half-cover of "Hotel California".
however i think the high points of the album more than make up for the low ones. im struggling to think of a better 1-2-3 of songs than the first three tracks of 'The Future'. and bloodhail is a jam
That was the point where the hoax collapsed on itself.
where you'll be, I'll gooooooooo
I haven't checked out their new shit with Robyn yet, but if it's half as good as "The Girl and the Robot" it'll be worth a listen
i wasnt expecting it to sound so solidly like a 90s british rock record so some of it sounded sort of staid because of that but there were some really great tracks on it nonetheless
get hype
toby is indulging his love of goth synth yessssss
it's out in october
i am hype
also that album cover is fuckin boss
Really, Queen of the Wave is a fascinating collection of contradictions. It's got many of the hallmarks of musical self-indulgence, but in every case they're tempered by PD's commitment to making a pop album. It's a concept album telling a fantasy story (specifically about the fall of Atlantis), but the lyrics are deliberately vague enough that they still function without the listener understanding the plot. It juggles a ridiculous number of disparate genres (psychedelic rock, psychedelic folk, early electronic music, opera, soul, Japanese surf rock, 60s girl bands...) but PD whips each of them ruthlessly until the mash-up sounds natural. They feature bizarre instruments (viol de gamba, Tesla coil synthesizer, and the Great Stalagpipe Organ, to name a few off the top of my head) but there's no instrumental showboating. Ditto the equally bizarre production tricks—they're all subservient to the needs of the song or the album as a whole.
the word 'Japanese' superfluously, as even the most well-known American
composers are barely competent at best), one in particular stands out to the
enlightened video game soundtrack consumer. His name: Yasunori Mitsuda. For the
record, this is not to undermine the amazing works of other incredibly talented
video game composers such as Uematsu-san or Sakuraba-san, but to highlight the
unique, almost celto-tropic music (the word music is an understatement) that
Yasunori Mitsuda has been composing for years. It would be sheer ignorance to
deny that the Chrono Cross soundtrack is anything but the magnum opus of video
game music; its lilting and oftentimes hauntingly peaceful guitar melodies
soothe all but the most savage of breasts while its tense battle themes and
mysterious donjon tunes ignite a blazing passion that can be quenched only by
the video game's profound story and gameplay. It is a wonder that anyone can
listen to anything besides video game musical compositions after listening to
Mitsuda-san's immensely powerful soundtrack, but given that the primitive thuds
of hip hop are America's current choice of 'music' (I use the term music
liberally), once can see little hope in the mass appreciation of Mitsuda-san's work.
excellence of video games and that is (obviously) visual kei. Combining
absolutely exquisite j-rock and j-pop, sprinkled with hints of video game
melodies, with the pyrotechnic visual flare that the Japanese are known for,
visual kei takes its viewers on a rollercoaster ride of lights, fanfare, and
music that even Beethoven could tap his toes to. Would that I were Japanese,
(though under careful scrutiny, it appears my geneology tree does in fact show
signs of a Japanese presence) I too would participate in this art of the 21st
century and even perhaps venture onto the visual kei stage myself. It is no
surprise that the impotent minds of Western society cannot fully grasp the
total splendor of visual kei and instead choose to squandor their time
listening to rap and country "music".
though that may be because the bad ones can't find an overseas audience
the word 'Japanese' superfluously, as even the most well-known American
composers are barely competent at best), one in particular stands out to the
enlightened music consumer. His name: Juntaro Yamanouchi. For the
record, this is not to undermine the amazing works of other incredibly talented
composers such as Akita-san or Kazuyuki-san, but to highlight the
unique, almost celto-tropic music (the word music is an understatement) that
Juntaro Yamanouchi has been composing for years. It would be sheer ignorance to
deny that Yellow Trash Bazooka is anything but the magnum opus of music; its lilting and oftentimes haunting screaming and amplified defecation soothe all but the most savage of breasts while its tense layers of feedback and frantic drumming ignite a blazing passion that can be quenched only by the casette tape box with the dried tentacle inside. It is a wonder that anyone can listen to anything besides harsh noise compositions after listening to
Juntaro-san's immensely powerful music, but given that the primitive thuds
of hip hop are America's current choice of 'music' (I use the term music
liberally), once can see little hope in the mass appreciation of Juntaro-san's work.
excellence of video games and that is (obviously) japanoise. Combining
absolutely exquisite distorted, unidentifiable sounds, sprinkled with hints of free improv, with the pyrotechnic visual flare that the Japanese are known for,
japanoise takes its viewers on a rollercoaster ride of lights, fanfare, and
music that would make Beethoven curl up and die. Would that I were Japanese,
(though under careful scrutiny, it appears my geneology tree does in fact show
signs of a Japanese presence) I too would participate in this art of the 21st
century and even perhaps venture onto the japanoise stage myself. It is no
surprise that the impotent minds of Western society cannot fully grasp the
total splendor of japanoise and instead choose to squandor their time
listening to rap and country "music".