sadmanbarty
Well-known member
I’m going to start complaining about people taking crudely literal readings of me being cheeky
you guys are forever complaining about people taking crudely literal readings of things
I don't think it's much of a tune either but come on those are like the laziest hot takes possible
if it sucks let's engage with it
surenot my cup of tea
now this is how you take the pissPadraigs American so he doesn’t understand bitterness. He’s got beautiful white teeth. All his friends look like they’re from a coke advert. They sit around and get up to hi jinks with occasional good-natured joshing chucked in. They’re like Big Bang theory or friends.
He’s the Rachel of his group by the way.
Hypothesising on the idea of the ’Semioblitz’, in his own words: “the aggressive onslaught of visual & sonic stimuli of contemporary cities and virtual spaces”; the London-based Brummie offers a closer, yet more diffuse examination of the causes behind his ‘Mnestic Pressure’ album, which itself dealt more broadly with the hypermodern condition of sensory bombardment that anyone living in urbanised areas have felt and experienced, whether explicitly, or unknowingly and subconsciously.
Partly echoing Mark Fisher’s notions about the adverse links between capitalist realism and mental health, in concept and effect Lee’s 7 concise tracks feel to limn the exoteric soundsphere of life in dense city areas, shared spaces where we’re ubiquitously hammered with slogans, “seductive” advertising and even subliminal messaging such as the hyper directional speakers attached to billboards described in Steve Goodman’s essential ‘Sonic Warfare’ tome.
If those commonly accepted facets of everyday life can be considered as exerting a sort of sferic, psychic damage upon their recipients, Lee’s music can be heard to simultaneously diagnose and offers a sort of therapy for the condition. Using language of cinematic sound design, the dynamic of the street (the doppler effect, overheard conversations), and the reverberations of club music, the EP moves quick and slow, patiently yet swiftly flowing the gaseous olfactory/visual sonic synaesthetia of ‘Fata Morgana’ to the polytheistic ambient hyperrealism of ‘Many Gods, Many Angels’ via bittersweetly anxious arps of ‘Folding’, somehow soothingly brutal psychoacoustics in ‘BMW Shuanghuan X5’, and the paradoxical state of static flight in the rapid-eye electro flux of ‘In The Wreck Room’.
that's one actually pretty accurate, besides the hi fives + hugs (it's the Midwest, we're too emotionally reserved for that)They’re genuinely pleased for one another’s successes rather than seething my passive aggressive.
“Dude! That’s awesome” they’ll say before exchanging a hi five and a bro-hug.
that was one of the strongest cases I've had of wanting to like something more than I actually didDiversions 1994-1996
ya for me it's like, the music is incredibly uninteresting, why would I go to more effort to reveal the overarching conceptthe overarching concept doesn't really reveal itself