But it is. Or rather it can be. What you're keying in on is the fact that people have misused the autotune in order to provide a different sense of character. Subtle auto-tune, when used properly is hardly detectable and has been the bedrock of a ton of western pop-rock even in it's earlier incarnations through stuff such as 'vocal sweetening'. I can think of songs like Teena Marie's "Ooo La La La" which predate Autotune but when you pick it apart it's an unnatural sounding song for how much pitch correction is done, thus flattening any of the graces of the song. Which is of course, what non-educated folk have convinced themselves autotune is typically doing.if autotune was coded to tune according to quartertones, etc, then it would be very subtle, hardly noticeable. Ironically its strength is its very occidental supremacy.
But it is. Or rather it can be. What you're keying in on is the fact that people have misused the autotune in order to provide a different sense of character. Subtle auto-tune, when used properly is hardly detectable and has been the bedrock of a ton of western pop-rock even in it's earlier incarnations through stuff such as 'vocal sweetening'. I can think of songs like Teena Marie's "Ooo La La La" which predate Autotune but when you pick it apart it's an unnatural sounding song for how much pitch correction is done, thus flattening any of the graces of the song. Which is of course, what non-educated folk have convinced themselves autotune is typically doing.
What you're lamenting and criticizing is the western notions of composition for pop being what they are. That has nothing to do with the technology itself. If anything autotune's potential for experimentation is still valid, it's just that those initial experiments are now hitting a cul de sac.
Kanye was the best exponent in a western rnb/hip hop context I feel. Love Lockdown and Heartless. Could never get with Travi$ Scott, Quavo, etc. too cartoonish. I've never really liked overtly childish or innocent music, what I like about hardcore is it's post-edenic, moments of bliss interspersed with nasty tearout riffs from hades. But something like Eurodance is horrifying to me for this reason, it's simply edenic.
i dissent.it can be incredibly aggravating and theres not a single person here that hasnt wanted to brutally murder him but eventually
you have to learn to live with him.
Kartel’s “Kill Dem” was a pounding paramilitary parade goose-stepping its way inside your brain. Bashment was living up to its name — bludgeoning, battering and brutalising the listener with everything at its disposal.
that's precisely the thing is that it's such an oversell. and that the music he's writing about is not as much of a rupture from its antecedents as he is selling it as
citation of terence mckenna is a giveaway on this point +++ part of the dissensus consensus