Neon Screams!

Murphy

Murphy

cat malogen
0bleak said:
not that this is related to autotune, but I think what "broke me" (that phrase is a bit over the top, but I can't think of a better way to put it right now) was when @Murphy asked me to do this "remix"

so I ended up having to listen to that Kendrick Lamar composition several times in order to make the "remix", and I just became so disappointed with where we are with music in terms of range of sounds.
Even those little samples from Milton Higgins don't seem to be affected in any interesting way, just sped up.
I guess the fact that "everyone" is satisfied enough with a track that was "produced in about 30 minutes" and sounds like it, and that it became such a huge hit, well, I guess I'm just asking too much for music in the 2020s!
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apologies for KL travel sickness

occasionally I’m honour-bound to float a tune your way ie the Eagles anthem in this instance, having been caught in superbowl communication crossfire with cousins
 
version

version

Well-known member
mvuent said:
#2-3 whether or not the vocals in 2010s rap and dancehall sound weirder than previous stuff, they do sound different. you can argue that 80s drum machine hip hop was more mind blowing than jungle, but either way, jungle did establish a different sound world. i mean you can still hear older sounds in jungle, but you wouldn't mistake a few seconds of 95 dillinja with 85 davy dmx (or 75 the meters). the same holds true with this stuff. and beyond that, if you compare the turn of the decade vybz kartel the book covers to the dancehall it covers from a few years later, you can hear this decidedly 2010s sound-world evolving, expanding. but maybe i can come back to this w/ some examples later.

#4 i think the book's case that you can achieve a lot of different perceptual effects with autotune (and autotune, ofc, just being a convenient shorthand for everything going on with the vocals) is quite convincing. again, there are examples, but i need to finally get to sleep rn.
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Yeah, the mumbling and moaning and adlibs and strange noises. It's a different way of rapping/singing. There's a feedback loop going on where the instrument/tech encourages experimentation with the vocals sent through it.
 
T

thirdform

pass the sick bucket
mvuent said:
seems like pretty much all music is built on a bedrock of accepted wisdom about what's musically satisfying. along a lot of parameters. and the farther away from pop music you get, the less bedrock you tend to get. so do i get sick of trap drum sounds, or c major? absolutely, i think they've been used to death at this point, like those huge gated reverbs in the 80s. but yeah, i don't think their use is damning or disqualifies music from being good or interesting.
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not true

 
T

thirdform

pass the sick bucket
pattycakes_ said:
Things were totally futuristic and new and unheard due to the new technologies that brought them to be, but by somewhere in the latter end of the 90s most of the avenues and possibilities had already been trawled by the inevitable competitiveness of artists trying to outdo each other and make new things. The possibilities of music tech are finite as much as we would like to believe they are not. Being in modern times does not guarantee modern or futuristic sounds. Cut to today and all of that is basically non existent. Everything is a version of what came before it, as opposed to going from analog to digital where the were no real comparisons. So when a little bit of tech comes out that makes you sound like a digital goat, those who are looking for things to get excited about will jump at the chance. The writing may have been good, but that's beside the point. It's the same shit as music journalists who can't wait to coin a new genre nowadays etc. We're at the bottom of the barrel phase right now.

#barrellife
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Don't think you could have this in the 90s, it needed the accumulated knowledge of 90s electronic music production techniques, of genres/scenes/clubs to be realised in the 2010s. It also (more importantly) becomes defined in portraying the limit of 12tet tuning. which again is the problem with Mark k-punks' approach, it fails to see the multilateral connections embedded within the sonics of music. this is what happens when you abandon the dialectic in favour of Deleuze



There is no intermediate stage between pure-being and pure-nothingness. Hence all types of being and nothingness are in their parts determinate being and determinate nothingness.
 
T

thirdform

pass the sick bucket
pattycakes_ said:
idk, coil for one were doing pretty similar stuff in the 90s
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That's not the point though. I'm not saying this music is some great futuristic breakthrough. I'm saying it could have only been made in the 2010s. That seems incontrovertible.

This great futuristic breakthrough stuff works as a sonic imaginary, a fiction. as art objects neither jungle nor electroacoustic nor coil contain particles called futurism.

again, the dialectic is the enemy of sentimentalism!
 
T

thirdform

pass the sick bucket
there were retro tendancies in jungle (as there are in all pop musics.) the difference is they were mediated by the negative of the manipulation of breakbeats.

Breakbeat science was a kind of determinate negation as affirmation. that's what neon screams music isn't.
 
0

0bleak

Well-known member
Basically, do any of the tracks covered in Neon Screams constantly and consistently sound as wild as the moment at ~2:45 where her vocals are autotuned into sounding like an electric guitar?
If not, there's no excuse for all of the lazy production/boring sound pallettes elsewhere in the music as far as I am concerned:


and since Sophie was brought up earlier in the thread, she was someone that was messing with her vocals, but didn't ignore the rest of the production:
 
Corpsey

Corpsey

bandz ahoy
To me the auto tune rap stuff is (or was) more interesting in the context of rap, it was a significant development within that genre, and liking it kind of hinges on liking rap beats, even if they're using stock sounds, in the same way you might be more appreciative of variations within jungle if you don't mind them using the amen and think break all the time

It also interested me (granted in a potentially cringeworthy white English voyeur sort of way) because of how the technology interfaced with rappers personas, drug use, etc.

And also the way that technology was used, this technology that's supposed to correct pitch and help people sing being deliberately misused and the grating effect that comes from people applying it to atonal rapping--and again, how that suggestively plays off the emotionally blunted or repressed or traumatised personas that the rappers have

So you can say yeah roger Troutman or whatever but it wasn't quite the same thing when someone like young thug or future or lil durk are using it

I dunno if this accords with the neon screams argument like I said it's been a while since I looked at it
 
luka

luka

Well-known member
0bleak said:
Basically, do any of the tracks covered in Neon Screams constantly and consistently sound as wild as the moment at ~2:45 where her vocals are autotuned into sounding like an electric guitar?
If not, there's no excuse for all of the lazy production/boring sound pallettes elsewhere in the music as far as I am concerned:


and since Sophie was brought up earlier in the thread, she was someone that was messing with her vocals, but didn't ignore the rest of the production:
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🤣😂🤣😂🤣😂🤣😂🤣😂🤣😂🤣😂
 
Benny Bunter

Benny Bunter

Well-known member
I liked how he wasn't afraid to talk about the music in mythical terms, raise it up to that level - the whole thing with the gully gaza wars and all that. I mean, he really goes for it.

All this is making me want to read it again actually.
 
shakahislop

shakahislop

Well-known member
one way of understanding all kinds of art in the 2010s is the adaptation to an audience of screen-people. everything that stuck was the stuff that catered to that altered state. in films especially you can see across the decade people struggling to keep the old ways alive and a sort of bemusement about why the old formulas no longer work.
 
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