The effect on music of headphones is possibly underestimated. I mean that there's a lot more people with headphones than there was before smartphones (mp3 players even were much less ubiquitous).
Some of this stuff seems made for noise cancelling headphones.
So much dissensus chat is basically I've already said this and articulated it better!
There I was thinking about sound denoting an operation, a movement, and how a point is reached at which that movement, that operation, is rationalised into engineering, away from the exigencies of an individual human body, abstracted into an energy equation.
To hit a drum becomes a mechanised procedure of downward pressure, rationalised, a piston, without the complex rotational, hinged architecture of shoulder, elbow wrist, bicep, tricep, hand etc
Bodies are abstracted into machines but then the machines themselves are abstracted out of existence. The stage we are at now.
Yes but the use of space is different with the weirdest stuff in that it feels lke rather than listening to a certain time and space, or interaction of musical elements, rhythm texture etc .... all the spaces is sucked out and it’s this serving up of these gross tacky and thrilling fetish objects. Extremely defined things contrasted against a void in a very knowing precise camp way
speeding up, stretching, cutting, pitching up and down, if you slow it down you get this giant stoned jazz drummer, a golem perhapswhat do you mean by mistreating exactly?
this gives me the same feeling. the time medium itself has slowed downspeeding up, stretching, cutting, pitching up and down, if you slow it down you get this giant stoned jazz drummer, a golem perhaps
music writers sometimes mistakenly assume that having a lot of drum layers or rich spectral complexity is just a matter of being a showoff, flexing technical capability--when it's actually a matter of achieving more vivid, beautiful animation.makes me think about how if you loop 2+ simple synthesised sounds in any sort of configuration they do start to resemble a movement of some sort, more elements the more complex the movement, you can even somehow differentiate what's back/forth and so on
also that is a very fair point, among the people I know (some who claim to be into boo hoo genres such as harsh noise, industrial gaba, generally sounds overdriven to hell and back) still feel extremely put off by pure sine tones.
so you're having a wank over how supposedly heavy this terrorcore record is, but you cannot handle a little bit of the cute japanese lady jamming on a sampler?
ok mate
pure and digital is the new heavy
just realized why do I dislike some of the hyperpop newschool stuff so much.makes me think about how if you loop 2+ simple synthesised sounds in any sort of configuration they do start to resemble a movement of some sort, more elements the more complex the movement, you can even somehow differentiate what's back/forth and so on
there's an interview with Thomas Bangalter where he talks about how if there were two songs that were just a kick and a hi-hat for four minutes, you would still have one you would prefer based on tone and timbreguess that's where (european) hardcore came from, man this kick sounds masssive, why would the tune need anything else?
still awaiting for purely kickdrum 4/4 based music that would only change the timbre of the kick slightly every 16 bars
no obnoxious fx
just realized why do I dislike some of the hyperpop newschool stuff so much.
the sound design might be good but it simply does not make sense.
ie why in the fuck is this giant morphing blob opening a can of soda now?