Very detailed renders that you could tell took ages unless someone had a NASA supercomputer at hand.when pc music was starting to blow up i engaged with it from a point of envy + resentment because -i do not know how this kind of sound design is done-. it all sounds very -expensive-, in its depth and its intensity.
not sure as i got through his whole discography once without paying much attention to specific releases, but would say his glitchy releases would resemble something of that 80s image of a rich kid in snow white sneakers who's got the very first edition of a personal computer and now fucks around with it while stonedwhich lopatin records are you talking about. i can talk lopatin. i know very few things and it's pathetic but i know lopatin
Im saying MBV is doing the opposite. You take a general ambiguous ethos- the physicality sound- and realize it into something with clear intent and meaning. MBV doing something like a synthesis of the physical qualities of weight and viscosity with the emotional quality of angst into some crystalline 90's artifact. CGI music might still be in that ambiguous phaseso what’s that the collapse of meaning and symbols into some disintegrated haze?
Right yes that's the very odd thing that's why I called it an R&D phase. It can't be an end in itself can it.Its very unclear what CGI music wants you to do with it, or it to you. Thats part of the appeal. There's perfect transparency in technique and complete opacity in intent. Are you supposed to dance to SOPHIE? And its ostensibly emotional music but the thought of having an emotional experience to it is almost laughable