Music: the best bits

craner

Beast of Burden

3.38-3.58 (or, 3.38-end on the album version) - where the stuttering groove disintegrates into filtered glitch and for a few moments r&b sounds like more than the future

This is a great track, but every time I heard it coming out of a radio my head would turn because I always mistakenly thought she was singing "What about Oliver?"
 

Corpsey

call me big papa

DJ Rashad - Cause I Know How U Feel (2015)

1 minute in


Juke, like hardcore, early hip-hop, etc. is a sample-heavy genre that is basically comprised of stitched together bits. And that involves bits coming together but also bits breaking apart and shattering each other. Like the Brandy choon just posted by Boxedjoy, this bit is about the surface breaking into fractals - in this case, the sampled singer (who up to this point has been singing in full phrases) is broken down to one high pitched, stuttering "feel" and the bass pounds right through the bottom like a pneumatic geyser jet. And the upward trajectory of the notes makes this feel like LIFT OFF. It's when this track really elevates into something much stranger (unless you're well-versed in juke) than you would have expected.

It reminds me of a special weapon pack you can get in call of duty which pixellates people who you kill. It's like this old soulful emotion ("I've travelled many miles just to find someone like you..." "I wanna feel the same way too") has been shattered into a cloud of bright pixels.

 
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Corpsey

call me big papa

Juicy J - Who Da Neighbors

58 seconds


Lex Luger was (Is?) a master of dynamics, and there are various examples of that within this track alone, but this is the bit which always makes me figuratively jump out of my seat and makes this one of Luger's best efforts AFAIC.

Verse 1 is in progress, Juicy raps "Whole real estate came with a lot of zeros..."

And here the thunderous Lex Luger beat drops out for about half a bar, except for the hi-hats, which double in speed, rattling and mimicking (to my ears anyway) the long line of zeros Juicy J's estate cost, the sound of coins piling up or notes being put through a counter, the sound of success (and excess) itself. Juicy's "zeros" echoes and "screws" down in pitch, and the ad-lib (in a higher pitched voice than Juicy's, though I assume it is Juicy) cartoonishly squawks "How you do that mayne?"

And Juicy (with almost Biblical authority) booms "Sold to a lot of people!" as the bass and kick and everything else slams back in.

Commence the turn up.
 

Corpsey

call me big papa
I feel like Trap (of the Luger type) was basically rap metal, but coming from the rap side rather than the metal side.
 

Benny B

Well-known member

Todd Edwards - Shut The Door

1 minute 28 seconds


I'd consider this the bridge to the chorus (sue me if I'm wrong, howard goodall). There's that amazing intake of breath sound he's created before she sings "I know you don't like what I'm saying" and the strings(?) go up a notch, sounding intricate, seasick and divine all at once.

Again, doesn't hit as hard unless you listen to the bit before it. It's that change in chord structure as well that really stamps this home and makes me feel weepy with joy.
I'll bet you've heard this before, but if not....

 

WashYourHands

Well-known member
Coil again, The Last Rites of Spring from a live show

Firstly, if ever malevolence was cast into sound it’s in this track’s bass gurgling attack from the off. Yet the wonder, the section where it peaks, is a short segment where JB starts a live sample loop of his voice over the backing track. “William Burroughs is hallucinating space“ and “William Burroughs is hallucinating in space” (I think), all while a split screen projection behind the stage shows a gibbon eating a millipede. Peak is 4:42 approximately


It dies on its erse a bit from there - animals hallucinating time for us - and yet the previous build up and the golden section’s alchemy is all that’s needed to push it towards greatness
 

WashYourHands

Well-known member
This may well be verboten but it's a micro slant inward at an improvised lead-guitar soloist nailing harmonics. A cathedral in architecture (rather than religious brainwashing), keep finding mesen re-e-winding for the simple, shimmering counterpoints in the flow of its scales. Mesmerising for one sublime minute, with Saunders accompanying light, warm, keyboard brush strokes. Loop ad infinitum

 
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