version

Who loves ya, baby?
This has come up a few times now, most recently in the cartoon physics thread, and it's something that really hit me after reading third and mvuent's comments on Autechre, particularly mvuent's suggestion when listening to Untilted...
pretend kurtis mantronik didn't release anything after music madness and then after 20 years came out with this.
I was always aware of their background with that 80s stuff, but for whatever reason just didn't view the tunes through that particular lens once they became more abstract. Once I did it was like a lightbulb flicking on, Kurtz's diamond bullet. It's still not my favourite of theirs, but I found a way in.

Anyone had a similar experience?
 
Last edited:

version

Who loves ya, baby?
One of the things I'm really enjoying about this thread, and it's a great thread, is that it is foregrounding precisely that element of 80s hip hop and allowing me to really enjoy it again. Framing the records chosen in this way is allowing me to enjoy all sorts of things in fact. It's a great device.

We've talked a bit about this framing before, in relation to words like Balearic or psychedelic. The context you place a record in is fundamentally important.
 
Last edited:

sadmanbarty

Well-known member
my shimmering pentecostalism thread came out of a reframing.

a lot of dancehall these days borrows from the "tropical" sound-worlds of pop producers like kygo.

it's something i really don't approve of. for starters i came of age when dancehall was at it's most bellicose and apocalyptic (sonically and lyrically), so seeing a music i love tamed and castrated wasn't a pleasant experience. also to me this newr style paints a very lilt advert idea of jamaica; "these sill coconut people with their funny voices" type thing which is uncomfortable too.

but then i came across these stonelove mixes. all they did was pitch it up a bit and the whole music was reframed. the pitch-shifted vocals were now not only heavily auto-tuned but also chipmunked making them sound completely alien and strange. once the music sounds alien (rather than like a thomas cook advert) you can start to hear its merits.

all of a sudden i was visualising the rippling, seraphic gold. marimba plucks were suddenly angelic, sentient light beings. all the positivity and aspiration i'd been disgusted by was all of a sudden being expressed through this regal synesthesia.

hence shimmering pentacostalism.
 

sadmanbarty

Well-known member
i've had negative reframings too.

i used to like all of miles davis fusion stuff, but these days any pre-wah wah fusion miles just sounds ridiculous; like you've got this great swamp of psychedlia- this audio w(b)itches brew- and then you've gone and added herb albert in the middle of it.
 

sadmanbarty

Well-known member
seeing this helped contribute to a reframing. it sowed the seed in my mind which i'd later go on to articulate as the todd edwardsification of rap (rappers are now rapping in a way reminicent of edwards vocal sample cut up techniques).

that on the one hand made me really, really fall in love with this hyper-fragmented style of rap, but also has put me off any new rap that isn't doing that; it makes it all sound antiquated.

https://www.youtube.com/watch?v=fAME6YUm0I8
 

version

Who loves ya, baby?
Jaki Liebezeit's drumming reframed a lot of stuff for me, particularly old jungle tunes and the rhythm section on James Brown's records. I can't quite put my finger on how, but I'm just much more aware of the tension and how space is being used.
 

version

Who loves ya, baby?
Musique concrète via hip-hop and vice versa continues to be an interesting one for me and feeds into the Autechre thing.
 

sadmanbarty

Well-known member
playing drums has reframed my listening. my dad showed me keith moon when i was 10 and i was immediately indoctrinated by the idea that normal 2 and 4 backbeats are to be avoided at all costs. to me it sounds so dead and lifeless.

my love for dancehall, jungle and drill all stem from this; they're all genres that avoid normal backbeats.

https://www.youtube.com/watch?v=i--fw5FP8Dw
 

version

Who loves ya, baby?
playing drums has reframed my listening. my dad showed me keith moon when i was 10 and i was immediately indoctrinated by the idea that normal 2 and 4 backbeats are to be avoided at all costs. to me it sounds so dead and lifeless.

my love for dancehall, jungle and drill all stem from this; they're all genres that avoid normal backbeats.

I dunno if it's still online, but there was a clip of some American guy in a Kangol cap explaining the difference between how Moon would play something and how most people would play it and it really made an impression. I dunno enough about drumming to know if he was right, but I could hear it. They used this clip of Can't Explain as an example at one point.

 
Last edited:

version

Who loves ya, baby?
That's putting me in mind of the spider-like limbs and morphosis thread again, the band as a single organism with many appendages rather than a group of individuals.
 

sadmanbarty

Well-known member
That's putting me in mind of the spider-like limbs and morphosis thread again, the band as a single organism with many appendages rather than a group of individuals.
this week i've been thinking we need to give that one another go at some point.

just need to reframe it to get people interested.
 

version

Who loves ya, baby?
I think if I'd come up with the spider-like limbs thing first and talked specifically about communicating online rather than the internet itself as an organism it might have gained a bit more traction. It was perhaps a bit too vague a starting point, although that does sometimes work.
 

version

Who loves ya, baby?
third's good at reframing stuff, has a real knack for shining light on tunes from angles that never occurred to you.
 

pattycakes_

Well-known member
george clinton as frank zappa has been a devastating reframing.
Both were the suns of their own galaxies. Both curated bands that took their own genres to unforseen heights. Both had incredible musical ideas mixed with silly lyrics in order to make those musical ideas less alienating and thus have more mainstream people listen to 'deep' music. Both were visionaries. World creators.

P. S. Keith Moon is the worst.
 
Top