mvuent
Void Dweller
you don't understand anything.
Jungle
woops
is not like other people
he's not even autistic
mvuent
Void Dweller
obviously dj hype was god tier too, didn't think anyone would take that post as a declaration of war
but no one in that era (let alone since) was quite like gerald. he just had a really unique yet effective twist on the era's sound. shambolic and colorful. sounds circling the stereo field like debris caught in a telekinetically controlled tornado. basically his grasp of audio animation was better than any other producer from that era, and unlike the later metalheadz/source direct school of audio animators he had a sense of humor (he was obsessed with sampling robocop).
but no one in that era (let alone since) was quite like gerald. he just had a really unique yet effective twist on the era's sound. shambolic and colorful. sounds circling the stereo field like debris caught in a telekinetically controlled tornado. basically his grasp of audio animation was better than any other producer from that era, and unlike the later metalheadz/source direct school of audio animators he had a sense of humor (he was obsessed with sampling robocop).
This is like what bliss said in other thread innit
Dean blunt said in an interview somewhere about how poverty of choice is so useful, cos it forces creativity.
hmg
Victory lap
Is the MC going through an fx box? He sounds distorted but the rest is fine.
line b
Well-known member
those ghostly toms coming in around 2:15 are too good
I wouldn't say it ruined so much as the avant-garde became a victim of its own success. Remember that a lot of these composers are/were in a tradition we all here have cursory knowledge of. Parmegiani and co. were engaging with European high art music, especially the variations from the romantic period to the modern. So for them the binary between acoustic and electronic is not so sharply demarcated.
Uh, that's not what I'm saying at all.
I'm saying we need melodic content, but without kitsch harmonies. the new Low record is a good demonstration, it's megopop/MoMPop for the masses. Albeit from aging (once) indie rockers, so go figure.
Yes exactly. Sound design is very powerful, but not as an end in and of itself, which is where deconstructed club fails. One needs architecture and geometry.
If Peter Reberg isn't seen as the greatest pop innovator after the beatles and Stockhausen I have failed in my mission and I deserve to be hung, drawn and quartered.
Oh no I think a lot of sound design music is compositionally too simple. The revenge of the posh trustafarian punks, where the consumption of the product, not its interpretation matters.
"Architecture and geometry" that's like deep and wide huh.
I think deconstructed club failed cos none of the "original" tunes were as good as thd remixes/refixes. At some point you have to outgrow your influences and it just hasn't happened. As soon as these people try to make their own proper tunes, and you compare them to stuff from 20 years ago, they've no chance
I'm not talking about music production but recording yes. I.E: that Chino Amobi and Rabit record, it sounds like the sound fx for a film or a visual art product. As composition it doesn't stand.
What Im talking about is endless tracks on a time line that can be tweaked all sorts of ways so that if you are in a nice posh studio with good speakers you can hear all sorts of sounds coming in and out from everywhere but it's got no zip to it as an mp3 in the car
A lot of the sketches are really good, but there's no bigger project, or if there is, it's a bit hollow, so nothing goes anywhere
These beautiful sound machines were built and a few people mastered them and now you've all these emulators of them in a screen based environment so it's like they're doing endless triangles inside a circle. You keep scratching about but you never get out the circle.
The paradigm needs to change somewhere
The paradigm needs to change somewhere