Cartoon Physics/The Revenge of the Tangible

luka

luka

Well-known member

The video here is good at pointing up these confusions of scale in which extreme magnification can create off world vistas from skin cells, galaxies from a drop of pond water, bone deserts. Prynne plays with these extremities of scale a lot too.
 
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mvuent

Void Dweller
luka said:
One of the things I'm really enjoying about this thread, and it's a great thread, is that it is foregrounding precisely that element of 80s hip hop and allowing me to really enjoy it again. Framing the records chosen in this way is allowing me to enjoy all sorts of things in fact. It's a great device.

We've talked a bit about this framing before, in relation to words like Balearic or psychedelic. The context you place a record in is fundamentally important.
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yeah I really think reframing can make all the difference. your questions here here are always very helpful in that respect. for example "what motions does it describe" naturally leads to this topic.
 
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mvuent

Void Dweller
I tend to think of this way of listening (loony tunes/tactile thinking) as being the thing that "proper musician" music theory types are often missing when they say that if dance music is so rhythmically interesting why is it always in 4/4, lacking 15/425 polyrhythms, etc.
 
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version

Well-known member
That 'seasick synths' phase of UK stuff was very much in this vein, everything sounded like being on a tilting pirate ship in Super Mario and purple and green goo.

Enough of sea sick synths

what's the point in these tracks? surely there's little different between rusko constructing his tracks around a stupid bassdrop and some fact/joe muggs approved producer making something that sounds like you've still got water in your ears from when you had a shower earlier that day here are...
www.dissensus.com

 
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luka

luka

Well-known member
mvuent said:
I tend to think of this way of listening (loony tunes/tactile thinking) as being the thing that "proper musician" music theory types are often missing when they say that if dance music is so rhythmically interesting why is it always in 4/4, lacking 15/425 polyrhythms, etc.
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They have a tendency to abstract out far too quickly which means they can't see the trees for the wood.
 
luka

luka

Well-known member
mvuent said:
yeah I really think reframing can make all the difference. your questions here here are always very helpful in that respect. for example "what motions does it describe" naturally leads to this topic.
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Yeah this is definitely a continuation of that work, picking up where we left off.
 
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mvuent

Void Dweller
version said:
I can't remember why he initially did it, but it ended up being published in some journal.
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a lot of modernist painters (e.g. rothko) pointed to how children see and make art as evidence/justification of what they themselves were doing, right? maybe you could do something similar with music.
 
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version

Well-known member
Something I've noticed with the EVOL stuff is that it's almost like an aural magic eye. You listen and start to either pick up on or create your own variations in it, also if you listen all the way through then your head feels like rubber once it stops, like the way everything still moves like the fretboard in Guitar Hero after you stop playing.

 
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version

Well-known member
version said:
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Something that strikes me about this one is it was initially a response to mvuent's comment about scratching, but the entire thing sounds cartoony. The nasal vocals jumping in from all over the place, the 'teenage idiot energy', the rubbery reversed beats, the raucous samples. It's all crash, bang, wallop, like three kids eating cereal and watching cartoons before school got hold of a mic and a sampler.
 
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