2020'S ARE THE DECADE OF BUUM MUSIC

[other_life]

Max Romeo - Melt Away

that thar es et

 

[william_kent]

@other_life

I really appreciate your posting the stuff about DayLife Army - a warning to all!

 

[other_life]

it might not all be true [is the thing i'm paranoid about sometimes [but it's so fucked up it May As Well be]

 

[other_life]

all that shit happening tracks with the wiz el i knew. it's too baroque to make up for a bit

 

[william_kent]

older dudes exploiting younger people, it's going to be fucked up for sure

 

[thirdform]

i love those mf's and hurt them that's why i need to make a mix w people i do hate/could hate and leave the other alone. go harder

Oh well in that case I can't help you. the level of sexual jealousy in US hardcore punk derived scenes is off the roof. They invented cancel culture cos they couldn't shag all of their mates, after all. I mostly avoid music from people I know, with a few exceptions.

 

[thirdform]

send this to buum.

 

[catalog]

I've got this buum mix on now and there's some good songs on it, but it's got a lot of helium.



Is this what bartys book is about? Squeaky voices?

 

[luka]

neon screams is all about squeaky voices, yes.

 

[catalog]

What are the squeaky voices about. I've heard them as well in Manchester, where they pitched things up so a dread vocal becomes a small pre-pubescent child.

 

[luka]

he thinks its becasue squeaky voices work better with autotune

 

[catalog]

Oh I see. Yeah that makes sense I suppose. Cos once you get past the squeak, you do have a melody. Which is probably important in terms of being able to actually listen for mored than 10 seconds. And it's a way of remixing that is sufficiently different from the older stuff maybe. So it's got a differential element.

 

[catalog]

In the club the squeaky voices are not so problematic cos there is usually a decent amount of sub.

Sophie for example sounds really fucking good in the club.

 

[Benny Bunter]

This isn't really my thing, but I think Kieran Reynolds's work on all the autotuned squeaky voiced alien internet rap is more relevant to this thread than the stuff championed in Neon Screams, which is more localised scenes.

 

[luka]

This isn't really my thing, but I think Kieran Reynolds's work on all the autotuned squeaky voiced alien internet rap is more relevant to this thread than the stuff championed in Neon Screams, which is more localised scenes.

the former is parasitic on the latter though

 

[version]

the former is parasitic on the latter though

The tech itself is. It has to latch onto a human voice, like the Venom symbiote.

 

[catalog]

I'm sure there's a lot of nuance bug that's the standout thing to me, and I like it sometimes. What I like about the buum mix is that it's a good variety of tunes. That in itself is an achievement.

 

[Benny Bunter]

the former is parasitic on the latter though

Oh yeah totally, and a big part of the reason why I dont listen to the former. Like I said the other day, Playboi Carti seems to straddle the two.

This conversation was really good on this I thought

 

[luka]

what does this mean?

I'm sure there's a lot of nuance bug that's the standout thing to me

 

[catalog]

what does this mean?

I'm sure there's a lot of nuance bug that's the standout thing to me

I meant the standout thing is the high pitch. So I mean there's probably differences that I don't knos about, but the principal thing is what I said before. Dread man becomes feminine child.