Oi I wrote this on the toilette with my huge bulky laptop positioning it so the battery wasn't soaked by my willie please respond.
Conceptronica
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Oi I wrote this on the toilette with my huge bulky laptop positioning it so the battery wasn't soaked by my willie please respond.
version
Well-known member
He did some good interviews around R Plus Seven,
The Quietus | News | INTERVIEW: Oneohtrix Point Never
Daniel Lopatin talks us through his latest album, R Plus Seven
01 Meredith Monk “Cluster 2” (ECM New Series) > Mark Leckey “Fiorucci Made Me Hardcore (Edit)” (Death of Rave) > GZA “Shadowboxin'” (Geffen)
02 Paul Lansky “Notjustmoreidlechatter”
03 Jefferson Airplane “Today” (RCA Victor)
04 Kenji Kawai “Virtual Crime” (BMG Victor)
05 Aksak Maboul “Scratch Holiday” (Made to Measure)
06 The Game “See No Evil” (Interscope) > Ben Frost “Untitled Transient (Edit)” (Bedroom Community)
07 Taylor Deupree “Snow/Sand (Edit)” (12K) > Julia Holter “Running Through My Eyes (Edit)” (Domino) > Three 6 Mafia “Charging These Hoes” (Relativity)
08 Forgemasters “Track With No Name” (Warp)
09 NY House’n Authority “Apt 2A” (Nu Groove)
10 Kraftwerk “Sex Object” (EMI)
11 Scott Johnson “Involuntary Song #2” (Nonesuch)
12 F.U.S.E. “Nitedrive” (Wax Trax!) > Coil “Rosa Decidua” (Eskaton) > Global Communication “12 18” (Dedicated) > Mark Leckey “3 Minute Wonder (Channel 4 video excerpt)” > Lazy Smoke “Under Skys” (Jackpot)
13 Robert Hood “Minus” (Tresor)
14 Yasuaki Shimizu “Bridgestone 2” (Crammed Discs)
15 Ariel Pink “Mature Themes” (4AD)
16 Koopsta Knicca “Now I’m Hi (Pt. 2)” (D.Evil)
17 Judee Sill “Abracadabra” (Asylum)
18 Morton Feldman “Rothko Chapel 3” (Hänssler Classic) > Severed Heads “Hemet” (Sevcom) > Wendy Carlos “Title Music From A Clockwork Orange (from Henry Purcell’s ‘Music for the Funeral of Queen Mary, Z. 860’)” (Columbia)
19 Benjamin Lew “Les Traces d’Un Pont” (Crammed Discs) > SND “00018 Old End Ng” (Mille Plateaux) > Cocteau Twins “Cherry-Coloured Funk” (4AD)
20 Geinoh Yamashirogumi “Catastrophe” (Invitation)
21 Ayhun “OAR003-B” (Oni Ayhun) > Future Sound of London “Bird Wings” (Virgin)
22 Autechre “Piezo” (Warp)
23 Kanye West “Bound 2 (Edit)” (Def Jam) > Mark Leckey “Fiorucci Made Me Hardcore (Edit)” (Death of Rave)
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version
Well-known member
Isn't speed a bit of a dead end in the same sense as loudness or 'the drop'? Fruitless intensification.
let me flip that question on its head. isn't fruitless restraint a dead end?
speed is relative, I mean you can go 260 bpm at 130, it's just about fragmenting the sounds relative to intervals. I don't mean a 4x4 kickdrum at 300 bpm that's done to death. I mean literally concrete sound sculpture that overloads the nervous system. so instead of harsh noise its speed noise.
I kept telling you to check that la peste set to understand what i mean but check this atomhead instead, it's more representative.
other_life
bioconfused
"Quote Originally Posted by yyaldrin View Post
is james ferraro also considered to be conceptronica? i remember liking far side virtual."
in some sense it's all his fault which is why i Rocked The Chillwave Hobbyhorse
inspired by third's post to stop making such slow tunes. fuck around w that tempo range, get closer up. not feasible w current live project but def gonna make some sketches.
edit: meant to make a new post and fucked up
the fsv 2011 FACT thing feels like a watershed of ridiculous, stupid, new generation cutting their teeth on this. simon's article itself felt like major dejavu of adam harper's 'vaporwave' in a bad way. but from the perspective of being 21, not 14.
is james ferraro also considered to be conceptronica? i remember liking far side virtual."
in some sense it's all his fault which is why i Rocked The Chillwave Hobbyhorse
inspired by third's post to stop making such slow tunes. fuck around w that tempo range, get closer up. not feasible w current live project but def gonna make some sketches.
edit: meant to make a new post and fucked up
the fsv 2011 FACT thing feels like a watershed of ridiculous, stupid, new generation cutting their teeth on this. simon's article itself felt like major dejavu of adam harper's 'vaporwave' in a bad way. but from the perspective of being 21, not 14.
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other_life
bioconfused
the relativity of speed.
we can flex between overload and restraint. we can wave between long arcs and the microscopic.
the slinky.
cartoon physics is easier to do starting at fast tempos in the workstation because, again. the speed is relative...
we can flex between overload and restraint. we can wave between long arcs and the microscopic.
the slinky.
cartoon physics is easier to do starting at fast tempos in the workstation because, again. the speed is relative...
other_life
bioconfused
and btw the fact that i tried to sketch out
the hypnagogic delusion > transformers toyset
chillwave > conceptronica
feels validated by 0pn being brought more explicitly into the conv.
getting deep into him was such a good immersion but i've felt like i've grown out of it. like his entire discog up to the newest was an illusion i've finally been disabused of.
but this is a good thing.
fruitless restraint...
the hypnagogic delusion > transformers toyset
chillwave > conceptronica
feels validated by 0pn being brought more explicitly into the conv.
getting deep into him was such a good immersion but i've felt like i've grown out of it. like his entire discog up to the newest was an illusion i've finally been disabused of.
but this is a good thing.
fruitless restraint...
treelethargy
many doors yes?
simon reynolds is old and cannot read
in retrospect its obvious that trying to discern some kind of "dialogue" with my recent hobbyhorse electroacoustic was the wrong angle of approach. as corpsey said this music has way more to do with pop--and even with movie fx and IDM. if I/we find a way to appreciate it its going to be through those associations.
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other_life
bioconfused
im just sick of its bloated subcultural dominance and dont really want it to last into the 2020s as a broader trend
version
Well-known member
I enjoyed Nick Scavo's review of Piteous Gate via cinema a few years ago:
www.tinymixtapes.com
When is the future? The hopeful answer would be now, because it demands the present to be revolutionary in scope. Perhaps that’s the utopian dream of science fiction and much of cinema in general. Glowing screens could frame a technological transition of the social ego into a more revolutionary whole, a digital regime, a force that pushes individual feelings of sublime escape, total annihilation, or unbelievable spectacle into the public sphere, where the alienated are carried away on the backs of dinosaurs, where deus ex machina is a laser-storm.
Unfortunately, barriers prevent many from marveling at a behemoth, genetically modified lizard ripping the flesh of its torturers into tiny bits. We absent-mindedly anticipate a differentiation of the real in order to take back what the fiction took from us — we meditate on the shortcomings of plot, the politics of Hollywood, or the grotesque nature of capital itself and end up holding on to opinions that should have been suspended within the cinematic moment to begin with. We blame the industry’s inflationary tactics on the million dollar lizard on screen and forget its conception as a massive reptilian beast, a vision of pre-history: powerful, noble, imperial. This is the cinematic history we’ve inherited: hatred of the potentially sublime. The “cinematic” is not necessarily the instrument for social change dreamt by philosophers and the artier auteur filmmakers amongst them, but an unreal force that should rouse feelings of power synonymous with big-budget means of production, gladiatorial in its breadth. And this cinema has dreams. And it has hope.
[...]
Yet, it’s obvious that Piteous Gate’s use of the Machinic impulse isn’t anything new, and some might ask for more in regards to its conceptual “agenda.” A demanding listener could insist it to be more dialectical in motion as forging a new territory for the futuristic discourse to swallow and consume. And yes, this comes back to why utopia is often a bad concept and why the future can’t be “now” when described in terms of the culture machine’s ability to falsify and recapitulate the notion that there will forever be a sense of aesthetic “newness” to be owned, bought, and sold. M.E.S.H. described this as “fighting for scraps” or the often undeniable urge to joke within art-making, defense mechanisms left over from that dialectical machine’s demand for the new, that “Machinic Eros” that places capable artists like M.E.S.H. at the alter of the Piteous Gate. You can tell that the guy pays attention — not just as an artist, but as a consumer of culture, as a designer, as a creative person living in the world. As such, having multiple roles within a complex culture obscures the simple will to create. Given this, the primary triumph of Piteous Gate is its awareness that the pursuit of the cinematic isn’t the desire to turn the artist into a superhero to be marveled at. Rather, the pursuit can be as simple as internalizing the action of creating “something beautiful” that sits at the intersection of culture, but outside of the assumption that the product must be different rather than just important to its maker and the few (or many) that are moved by the work. With Piteous Gate, you hear an artist becoming strong to themselves, not as a strong icon or representation, but as a capable force across industrialized identities, one who extracts dances from the cosmos, like the always amazing qualities of the cinema, like the giant genetically-modified dinosaur ripping human dialectics and negative commentary away from culture through its sheer presence on the screen: powerful, noble, imperial.
Music Review: M.E.S.H. - Piteous Gate
When is the future? The hopeful answer would be now, because it demands the present to be revolutionary in scope. Perhaps that’s the utopian dream of science fiction and much of cinema in general. Glowing screens could frame a technological transition of the social ego into a more revolutionary...
www.tinymixtapes.com
Unfortunately, barriers prevent many from marveling at a behemoth, genetically modified lizard ripping the flesh of its torturers into tiny bits. We absent-mindedly anticipate a differentiation of the real in order to take back what the fiction took from us — we meditate on the shortcomings of plot, the politics of Hollywood, or the grotesque nature of capital itself and end up holding on to opinions that should have been suspended within the cinematic moment to begin with. We blame the industry’s inflationary tactics on the million dollar lizard on screen and forget its conception as a massive reptilian beast, a vision of pre-history: powerful, noble, imperial. This is the cinematic history we’ve inherited: hatred of the potentially sublime. The “cinematic” is not necessarily the instrument for social change dreamt by philosophers and the artier auteur filmmakers amongst them, but an unreal force that should rouse feelings of power synonymous with big-budget means of production, gladiatorial in its breadth. And this cinema has dreams. And it has hope.
[...]
Yet, it’s obvious that Piteous Gate’s use of the Machinic impulse isn’t anything new, and some might ask for more in regards to its conceptual “agenda.” A demanding listener could insist it to be more dialectical in motion as forging a new territory for the futuristic discourse to swallow and consume. And yes, this comes back to why utopia is often a bad concept and why the future can’t be “now” when described in terms of the culture machine’s ability to falsify and recapitulate the notion that there will forever be a sense of aesthetic “newness” to be owned, bought, and sold. M.E.S.H. described this as “fighting for scraps” or the often undeniable urge to joke within art-making, defense mechanisms left over from that dialectical machine’s demand for the new, that “Machinic Eros” that places capable artists like M.E.S.H. at the alter of the Piteous Gate. You can tell that the guy pays attention — not just as an artist, but as a consumer of culture, as a designer, as a creative person living in the world. As such, having multiple roles within a complex culture obscures the simple will to create. Given this, the primary triumph of Piteous Gate is its awareness that the pursuit of the cinematic isn’t the desire to turn the artist into a superhero to be marveled at. Rather, the pursuit can be as simple as internalizing the action of creating “something beautiful” that sits at the intersection of culture, but outside of the assumption that the product must be different rather than just important to its maker and the few (or many) that are moved by the work. With Piteous Gate, you hear an artist becoming strong to themselves, not as a strong icon or representation, but as a capable force across industrialized identities, one who extracts dances from the cosmos, like the always amazing qualities of the cinema, like the giant genetically-modified dinosaur ripping human dialectics and negative commentary away from culture through its sheer presence on the screen: powerful, noble, imperial.
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for sure. same with everything that was popular in the 2010s. but have 0 faith in my ability to catch on when anything different starts to gain momentum. to use a phrase that I believe luka first coined, a watched kettle never boils.
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version
Well-known member
That's an old saying, although it's usually a pot and not a kettle.
