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Thread: artifacts / fog of war

  1. #46
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    I assumed "The Future".
    Quote Originally Posted by Corpsey View Post
    I was more or less pissing cum.

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  3. #47

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    the future is our contested ground
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    It says bless the lads and it means bless the lads.
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    i don't know, probably some marxist cultural theory or something
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    gabber terrorism is fun but not all the time, sometimes you gotta be sophisticated or sulky for the ladies.
    https://manifestacionesoterica.bandcamp.com/

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  5. #48
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    weird coincidence that I stumbled on this immediately after making this thread yesterday.

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  7. #49
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    in the same unsettling vein as version's enya link.

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  9. #50
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    on this album tape distortion doesn't create a sense of oldness so much as it creates a sense of "living" dynamic atmosphere. the movement of air.




    who knows how this would sound without distortion. probably not nearly as good.




    I don't care how much you like folk music, no way you could listen to this and keep your attention fully on the guitar playing and singing.




    consciously or not, I think fahey's imitating the quality of those old recordings on his last few albums. he's not recreating the same recording quality, but using it as inspiration for the weird drone sounds that accompany his guitar. evoking "Destroyed buildings, the remains, the silence" as someone in the comments says. not evoking the old recordings themselves, but some imagined world suggested by them.




    imitating "unintentional" tape / distortion sounds and using them very deliberately in a futuristic way.

  10. #51
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    Quote Originally Posted by mvuent View Post


    on this album tape distortion doesn't create a sense of oldness so much as it creates a sense of "living" dynamic atmosphere. the movement of air.
    compare with this, where he's clearly going for a SAW I vibe and uses a lot of reverb, but without fog of war.



    to me there's a lot less atmosphere; it sounds like a studio recording not a world.
    Last edited by mvuent; 01-12-2019 at 06:57 PM.

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  12. #52
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    from rereading this thread, it seems like the three ways of approaching this topic I started off with have aligned pretty well with the directions we've taken the topic in. for example, Leo's saying that the samples in Burial sound "lost" supports the idea of fog of war conveying distance or removal.

    but there is one idea that came up on the first page that maybe doesn't fit with any of those categories: the idea of using it as a resistance tactic against dematerialization. like that old apple commerical where they throw a sledgehammer through the screen.



    I don't know if I'd be on board with that idea. would any of you? does that approach made you a luddite?

    an alternative route involves accepting the airtight, frictionless digital qualities of modern music while still taking fog of war phenomena as inspiration.
    Last edited by mvuent; 01-12-2019 at 08:51 PM.

  13. #53
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    Quote Originally Posted by mvuent View Post
    .

    but there is one idea that came up on the first page that maybe doesn't fit with any of those categories: the idea of using it as a resistance tactic against dematerialization. like that old apple commerical where they throw a sledgehammer through the screen.
    .
    On chino of the day the other week I talked about footwork’s dichotomy. On the one hand it was ”new” insofar as there wasn’t anything quite like that (at least not a whole genre of it), but it failed to be the future because it inhabited an antiquated soundworld (sample-based, soul, funk, etc.).

    Dubstep was a similar thing of trying to hold on to and reinvigorate a bygone soundworld (reconfiguring the timbral language of the nuum) and didn’t really muster anything in that incarnation.

    Reconfiguring the past won’t get anyone anywhere.

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  15. #54
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    is that last part in response just to what you quoted or to the thread in general?

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    Haven’t had a chance to read the thread in full yet. Just the bit I quoted

  17. #56
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    it doesn't seem too promising to me either.

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    I liked the latest Jon Hassell thing that went for this effect. Sketched out the concept as sonic pentimento. It’s about memory, how they become altered by time. Manipulating layers to get this temporally displaced, anachronistic effect. Sounds like streams of memories passing by each other in the circuits of the mind.


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  20. #58
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    Quote Originally Posted by version View Post
    Something I like about crackles, snatches and fragments of radio and so on is the idea of an intrusion of another world into this one. It feels like a point where several paths converge for a few minutes, seeing a ghost. That Deleuze quote about a musician being someone who appropriates something from a continuous acoustic flow is something I think about a fair bit.

    »One can conceive of a continuous acoustic flow that traverses the world and that even encompasses silence. A musician is someone who appropriates something from this flow: notes? Aggregates of notes? No? What will we call the new sound from a musician?«

    Like catching and surfing a wave, the turtles in Finding Nemo riding the East Australian Current.

    Quote Originally Posted by entertainment View Post
    I liked the latest Jon Hassell thing that went for this effect. Sketched out the concept as sonic pentimento. It’s about memory, how they become altered by time. Manipulating layers to get this temporally displaced, anachronistic effect. Sounds like streams of memories passing by each other in the circuits of the mind.

    Contrails.jpg

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  22. #59
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    important connection there i think

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    Chemtrails.

    Where is version anyway? He's been the life and soul recently now hes been swallowed up by the pitiless void. Someone go and save him.

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