Neon Screams!

luka

luka

Well-known member
he also said he had no idea who he was when he made a mix for his podcast. it was only last week i told him it was a turner prize winner and now he regrets having missed a potential diamond networking opportunity.
 
C

catalog

Well-known member
I think leckwy is good so I was surprised. Also if you go to the twitter, he's pinned a post from Bobby Gillespie, who I also like, bug I'm pretty sure yoh were all saying how shit primal scream were
 
Corpsey

Corpsey

bandz ahoy
I suppose autotune is still huge but my latest cursory examinations of rap playlists suggest that the drakeo flow (i.e. Half bored sounding talking flow) is also huge

When the production is mad but the rapper sounds unbothered in the centre, is that a new form of transhumanism?
 
0

0bleak

Well-known member
mvuent said:
a weird thing about barty or mackintosh, whichever of those two totally distinct people wrote this, is that he never seems to get the same feeling a lot of us sometimes get listing to popular music, which is "this is cool, but it doesn't go far enough". he seems to think that pop music contains the entire spectrum of experience, which is both interesting and frustrating.
Click to expand...

For some reason, I read this whole thread last night.
First, I want to say that I get the impression that the writer is somehow either from this board, and that this written under a pseudonym, or there is something else about the writer that somehow, in some way, kind of makes them part of this board in some way.
Secondly, I should state that I haven't read the book, so keep that in mind with what I have to say because I'm basing what I'm going to say from having read this thread.
Sincere congrats on getting published, but, my apologies, I feel like this is very much a case of the emperor having no clothes
#1 The fact that so much of the premise rests on the idea of music having vocals is a big negative. It's basically like saying the instrumental music has nothing to offer.
#2 I haven't listened to every track, but the few tracks that I listened to, they weren't NEAR as wild and extraordinary, psychedelic and otherworldly as claimed.
#3 How is autotune superior to other techniques of altering vocals? How is it so much so otherworldly than other methods of affecting vocals?
I'm just an amateur tinkerer that has only really been properly investigating what I can do for just a few months, but I don't hear what is so "far out" than what I've done with just a bit of messing around:
vocoder:


or cut-ups:


or with a chain of affects applied to a sample to actually produce something that really does sound psychedelic and otherworldly:


#4 Every example I've heard still just sounds just like vocals through autotune, and it's a rather trite sound at that at this time in popular music, while the author tries to earlier claim that "Techy timbres are trite." - is this a pre-emptive excuse for the rest of the music being discussed having such "stock" cliched sounds? Is autotune really all that most of this music has going for it as far as sounds?
#5 With so much focus on vocals, I get the impression that the rest of the music is allowed to be uninteresting when it comes to timbre and texture to the degree that, I guess what was supposed to be provocative statements like "Synthesisers and samplers have been sucked dry and now they’re completely depleted, they have nothing left to give you." just seem really funny since all of his hype about autotune has, to my ears, significantly failed to deliver on its promise and also make up for the use of "stock" sounds elsewhere in the music.
 
luka

luka

Well-known member
i llike weird shit too but i also like music. what dissensus likes is music that functions as music while also being objectively weird. neon screams argues that migos and dancehall fit into that cateory. not everyone was convinced but that was the poisition the book took. it wasnt saying this is the most abstract soundworld conceivable
 
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