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I can't stop laughing at the cold mixtape website, the idea that James Ferraro is doing a MIXTAPE COUNTDOWN after years of tossing off releases on mediafire is just absurd.sadfly posted:By the way, I'm surprised to see no mention of MACINTOSH PLUS - FLORAL SHOPPE here either, which was pretty much the defining "vaporwave" album back when it first started. Beer on the Rug puts out a lot of good releases. https://www.youtube.com/watch?v=NFha9WphiI4 the black husserl fucked around with this message at 05:30 on Mar 2, 2013 |
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Mar 2, 2013 01:33
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the black husserl posted:I can't stop laughing at the cold mixtape website, the idea that James Ferraro is doing a MIXTAPE COUNTDOWN after years of tossing off releases on mediafire is just absurd. COLD COLD 03/05/2013 COLD COLD COLD COLD 03/05/2013 COLD 03/05/2013 03/05/2013 COLD COLD COLD COLD COLD 03/05/2013 COLD
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Mar 2, 2013 03:32
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How did I forget to post Triad God? quote:Vinh Ngan在倫敦東南部的New Cross長大。 https://www.youtube.com/watch?v=ZSKGfPjdjEI Dropping Rare Verse in Chinatown https://www.youtube.com/watch?v=vn4mJjnrkSs
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Mar 2, 2013 05:38
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Is James Ferraro his real name?sadfly posted:Overall though Last American Hero is probably his best, and I always like to keep my vinyl copy in plain sight just to confuse people with the cover art. I just had a long conversation with a buddy about James Ferraro, Hype Williams, the aesthetic of that DIS Magazine stock issue, etc. and why I find that stuff so hysterical or otherwise appealing. We both loving lost it when I showed him that cover art.   As for vaporwave, even if there is a signal to noise problem there its still cool that people have been inspired to follow up on the concepts behind Far Side Virtual and Oneohtrix Point Never's Replica. In my opinion the best artists related to that whole thing are Vektroid and Fatima Al Quadiri.
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Mar 2, 2013 08:54
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Cool thread. I haven't listened to much Ferraro but I heard a couple tracks off of FSV and it was strangely nauseating
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Mar 2, 2013 11:44
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Lord Krangdar posted:Is James Ferraro his real name? Weird to see Fatima Al Qadiri mentioned with this. I always associated her with the UK Bass scene. Anyways, all her releases are great, especially her most recent one on Fade To Mind.
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Mar 2, 2013 12:13
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Mike_V posted:Weird to see Fatima Al Qadiri mentioned with this. I always associated her with the UK Bass scene. Anyways, all her releases are great, especially her most recent one on Fade To Mind. Did you not watch her videos posted in this thread? "Vatican Vibes" and "Hip Hop Spa" are like the definition of this aesthetic. Anyway I'm posting too much in this thread but we gotta get some D'eon in here. https://www.youtube.com/watch?v=K5vGumjUOqw Worship at the church of Rihanna. The power and beauty. the black husserl fucked around with this message at 21:52 on Mar 2, 2013 |
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Mar 2, 2013 21:27
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While Fatima's music lies closer to Fade to Mind/Night Slugs, the hyper-contemporary themes she explores are definitely in the same vein as FSV. None of her label mates are anywhere near as concept-driven as she is. Maybe Girl Unit broke some new ground with his latest EP, but Fatima is definitely coming from a totally different direction. Her interview with FACT about Desert Strike is really illuminating/depressing
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Mar 2, 2013 21:32
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Just want to echo the thanks for the op, spent the last four hours reading and listening to various links posted in this thread. Had Ferraro's Night Dolls sitting around a long while ago, but had never spent the time getting to grips with what I was listening to until now, much appreciated.
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Mar 2, 2013 22:15
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Mikhail Gorbachev posted:While Fatima's music lies closer to Fade to Mind/Night Slugs, the hyper-contemporary themes she explores are definitely in the same vein as FSV. None of her label mates are anywhere near as concept-driven as she is. Maybe Girl Unit broke some new ground with his latest EP, but Fatima is definitely coming from a totally different direction. Holy poo poo you aren't kidding: quote:There’s so many Iraq War videogames. I think the First Gulf War was the first one. And it’s something to glamorize war and make [people] desensitized [to it]. It was thinly veiled. [With the one I played], they didn’t go so far as to call the videogame “Desert Storm,” which is the name of the operation. They called it “Desert Strike.” And the intro of the videogame is basically the invasion of Kuwait by Iraq and there is a scene where the soldier is lowering a man into a boiling cauldron. Mind you, this is in really bad, 16bit. It’s just so loving disturbing. I mean, I was old enough. I was ten, and I had just lived through an apocalypse. At the end of the invasion, at the end of the liberation, Kuwait was leveled. It was flattened. It was charred. It was raped. That’s what happened to my country. They completely destroyed the poo poo out of it, and it took a long time to rebuild it. It’s really dark, but at the same time, I wanted there to be this innocence, or the sound of innocence—like [on] the track “War Games.” It really makes me feel like I’m playing a game of strategy with my sister while there’s area bombing happening outside, which happened several times.
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Mar 2, 2013 23:21
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Lord Krangdar posted:Is James Ferraro his real name? I'm particularly fond of the cover art for Left Behind: Postremo Mundus Techno-Symposium myself:  Have you heard Chuck Person's Eccojams? It's a tape that Dan Lopatin of Oneohtrix Point Never put out and it's definitely worth a listen. I've heard the term "proto-vaporwave" used to describe it, and from my understanding it was pretty influential in the early days of vaporwave, especially when Vektroid was putting together the New Dreams Ltd. tapes.
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Mar 3, 2013 01:24
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The desert strike EP should be embededded in the forums so that it plays whenever you click on a Goons in Platoons thread.
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Mar 3, 2013 01:25
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That's a great read, I've been enjoying her music for a while but never really picked up on the message like I did with Ferarro. Although it should have been pretty obvious considering her song and album names.
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Mar 3, 2013 01:33
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sadfly posted:Have you heard Chuck Person's Eccojams? It's a tape that Dan Lopatin of Oneohtrix Point Never put out and it's definitely worth a listen. I've heard the term "proto-vaporwave" used to describe it, and from my understanding it was pretty influential in the early days of vaporwave, especially when Vektroid was putting together the New Dreams Ltd. tapes. These things? I didn't know there was an actual tape of them, I really like this video. https://www.youtube.com/watch?v=sR7eADGQYg8
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Mar 3, 2013 02:58
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One thing a lot of the artist mentioned in this thread have in common, for me, is they conjure up a strong sense of setting with their music- like soundtracks to imagined virtual or hyper-real spaces.sadfly posted:I'm particularly fond of the cover art for Left Behind: Postremo Mundus Techno-Symposium myself: I hadn't seen that, that's glorious. Is the album worth a listen? quote:Have you heard Chuck Person's Eccojams? It's a tape that Dan Lopatin of Oneohtrix Point Never put out and it's definitely worth a listen. I've heard the term "proto-vaporwave" used to describe it, and from my understanding it was pretty influential in the early days of vaporwave, especially when Vektroid was putting together the New Dreams Ltd. tapes. Yeah, Oneohtrix is my favorite musician so I've tried to track down all his releases. I also have the other Chuck Person's release he did for Record Store Day, which is a bunch of "eccojams" in locked grooves so they play infinitely (or until the record wears out, I guess). acephalousuniverse posted:These things? I didn't know there was an actual tape of them, I really like this video. Yup, there's two releases (one tape and one LP) and I think that song is actually on both of them. That video is from a movie he made of music videos called "Memory Vague", its on Vimeo: http://vimeo.com/6074021
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Mar 3, 2013 07:59
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That Fatima Al-Qadiri quote is amazing and so are the contributions to this thread so thank you all for sharing. You can't quite pigeonhole Legowelt it but it sure as hell slams the pit So you're maybe familiar with Wolfers main project as Legowelt who has quite a way with words when discussing his aesthetic: "Raw as gently caress autistic Star Trek 1987- Misty Forests- X-FILES,- DETROIT unicorn futurism made on cheap rear end digital & analog crap synthesizers recorded in a ragtag bedroom studio on a TEAC VHX cassettedeck in DOLBY C with an unintelligible yet soulfull vivacity." His website is a treasure trove of forgotten memories, techno jams and explorations into the paranormal/occult and is well worth a visit. But he has a glut of ambient/drone side projects that are usually although not explicitly styled as soundtracks to imaginary films. Certainly not a new concept, but his execution is so flawless and original that it elevates the listening experience to a new plateau, exploring themes of Cold War paranoia, UFOs/cryptozoology and weird/obscure Americana. There is also a comforting warmth to a lot of the music, which serves as an excellent background music to whatever endeavour you're getting up to in the heat and safety of your own home in the dead of winter. Since the mid-2000 he's put out these releases under various monikers so it's hard to get an idea of how many are out there, but they seem to be released exclusively on his self-run STRANGE LIFE records which is an apt nomenclature if ever there was one. Franz Falckenhaus - Secret Microcassettes https://www.youtube.com/watch?v=V27lxIf_S4Q This is basically the best thing ever. A limited edition (one copy only which sold on a radio show for 225 Euros), "Secret Microcassettes" came in a black dossier containing a CD-R album of haunted Cold War-era ambient excursions. Most notably, it also came with a microcassette containing field recordings from secret locations around the world, and an interactive-fiction Commodore 64 game called "Trident Crisis", totally playable and specially made for the release, replete with instruction manual. Look at the box art. Look at it. The word "inspired" is a severe understatement   Phalangius - The Cambridge Library Murders https://www.youtube.com/watch?v=DoVB8OJplGw Taken from dusty cassette tapes this is an album about Infocom text adventures, mathematical theorems, ZX Spectrums and murder mysteries. Melancholic Juno-6 jams from the heart of winter that are as beautiful as they are haunting, this could be the soundtrack to an early 80's detective show set in England. Track titles: "Theme From Andrew Wiles", "Scotland Yard Tea Break" and references to antiquated fighter jets, interactive fiction and the Falklands War have a distinctly British vibe; in a similar way to Ferraro, Danny Wolfers has captured a particular cultural space and time with alarming veracity. Anyone who had a BBC Micro will totally vibe the album art too. Smackos - UFO Onderzoek 1983 https://www.youtube.com/watch?v=hW35V0fyjlg Another totally absorbing cinematic reality, this time revolving around an imagined Euro-horror film about UFOs that gives off a particularly Lovecraftian vibe to boot. The narrative is revealed through the amazing tracklist, that tells the story of a group of paranormal detectives who begin to investigate strange UFO-related phenomena, leading them on a dark quest into the frozen snows of Scandinavia. Finally they must confront some supernatural force that is presumably the cause of all the happenings, uncovering terrible secrets and alternate vistas of reality in the process. Take the journey. quote:1. UFO Onderzoek main theme Smackos - Pacific Northwest Sasquatch Research https://www.youtube.com/watch?v=0u7RAic7sNM Another timeless alt-soundtrack, this time focused around cryptozooid-hunting field scientists in the dark and mysterious pine forests of the Pacific Northwest of America, circa 1978. Track titles like "Leading Experts In The Field Of Cryptozoology" and "Something Moved In The Treeline" again give you a pretty good idea of the thematic content of this album, which combines mysterious synth pulses and creepy leads with field recordings and other captured phenomena. The transportative power of this music is something to be in awe of. Satomi Taniyama - Portopia https://www.youtube.com/watch?v=Qmp-PyIa4Z8 Another stunner on the album art front. This time Danny Wolfers takes us to the streets of urban Japan, where a string of brutal murders has occurred down-town and it's up to our protagonist, far from home, to follow the clues and make the connections in this tale of love, hate, betrayal and lust. There's a free form, improvisatory vibe tinged with a distinctly Asiatic pentatonic flavour. The Psychic Stewardess - Spiritual Foundation https://www.youtube.com/watch?v=-iNX1rpTkz4 Essential paperback 80s pulp reading from the forgotten airports of the world. An air hostess from Palm Springs begins to develop profound psychic abilities at 30,000 feet. This is her story. o.m. 94 fucked around with this message at 20:02 on Mar 3, 2013 |
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Mar 3, 2013 19:34
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If you want to get an idea of how effective a lot of this music is in transmitting the creepy, otherworldly Euro-horror vibe, see it applied to "The Best Horror Movies" by YouTube user csnc82, who has an amazing collection of "best ofs" like "BEST FILMS ABOUT ANCIENT EVIL/FORCES" and so on.
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Mar 3, 2013 19:37
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Woah, I've never heard of that guy. microcassettes are the best. One thing I'm wondering is: how does this music function in relation to harsh noise / hnw? That's my main interest and I mainly think of it with reference to concepts like the "formless" etc. and in that sense it's interesting to contrast with this music which is pure hyper-real / homogeneous pleasure-field of postmodern capitalism. I guess what I'm saying is it's interesting to contrast the two approaches as nihilistic reflection of being as meaningless noise vs. accelerationist exemplifying postmodernity, and the fact that most people working on experimental electronic music today are doing one of two things.
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Mar 3, 2013 23:28
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"Homogeneous pleasure-field of postmodern capitalism" is an excellent way of putting it. I think that this is aligned with noise in the sense the music is difficult and confrontational, it's just being difficult and confrontational in a different way. There's still the worship of junk in the traditional Merzbow way; but the objects of attention are the mundane and banal byproducts of a late capitalist ideology - daytime TV, shopping malls, tribal tattoos, cheap deodorant, whatever - not traditional "junk" worship but conceptual "junk" worship, perhaps. The music of Fatima Al-Qadiri has a clear political agenda, but it's got that noise element of confronting the listener with uncomfortable aspects of their reality, particularly the white Westerners ambivalence to the struggles of Gulf Arabs and the Arab / Muslim world. The music is inherently paradoxical because it's like a bizarro mirror land where the Middle East never fell into disarray and initiated the Industrial / Capitalist age. Another widespread trend is experimental/avant-garde musicians having a sincere reverence for Pop music (see the black husserl's reference to Rhihanna in the d'Eon post, these artists genuinely love that poo poo). Grimes is probably the most high-profile artist who in equal parts loves Beyonce as she does, say, a noise outfit. Music is driven by developments in technology (think harpischord->piano->synthesizer and what it's meant for music for instance) and we're currently in a kind of "saturation point" where we've kind of explored the limits of our current technology so until the next revolution / evolution occurs we are making up for lack of sonic ideas by increasing our palette of influences and conceptualizing the music in new ways. Right now there isn't much interest in creating new and interesting timbres, but reappropriating existing timbres within the context of a track, or album, or concept (a good example being JF's love of the synthesizer gamelan/pitched drum for instance) Maybe. Bedtime That d'Eon track is amazing, it's like a pre-apocalyptic rave before the sirens go off for real and the networks die one by one o.m. 94 fucked around with this message at 00:15 on Mar 4, 2013 |
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Mar 4, 2013 00:06
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I woke up this morning and realized that Boards of Canada were making this music a decade before anyone else. I mean, it's all there. "Jet Skis and Sushi" sounds like a Boards track. https://www.youtube.com/watch?v=yT0gRc2c2wQ The images in this (fan made) video are just so lazer sharp. Check out the line drawing of the guy animating as "real" when he moves into the TV frame. HD before HD. the black husserl fucked around with this message at 01:02 on Mar 4, 2013 |
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Mar 4, 2013 01:00
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I use Legowelt's awesome free sample packs all the time for my music but I never actually listened to his stuff, that Franz Falckenhaus release is a genius idea. Here is a music video I made (out of a happy VLC accident) for YYU, one of the artists on the Beer on the Rug label mentioned earlier. Didn't know what to do with it until this thread. the black husserl posted:I woke up this morning and realized that Boards of Canada were making this music a decade before anyone else. I mean, it's all there. "Jet Skis and Sushi" sounds like a Boards track. You could probably link BoC to most of the artists mentioned in this thread so far, but I think they were exploring quite different territory in some ways. BoC's music conjures up the mixture of confusion, horror, and nostalgia of hazy childhood memories, whereas Far Side Virtual and Sushi have a glossy, luxurious sheen that paints a "still-life" of the present rather than focusing on any real or imagined nostalgia-tinted past. That said, Vektroid's "Prism Corp" umbrella for her releases reminds me of BoC's Kaini Industries, and http://www.youtube.com/watch?v=3soucm9emO4this Oneohtrix song[/url] sounds like a lost BoC song with more abrasive elements overtop. quote:Music is driven by developments in technology (think harpischord->piano->synthesizer and what it's meant for music for instance) and we're currently in a kind of "saturation point" where we've kind of explored the limits of our current technology so until the next revolution / evolution occurs we are making up for lack of sonic ideas by increasing our palette of influences and conceptualizing the music in new ways. Right now there isn't much interest in creating new and interesting timbres, but reappropriating existing timbres within the context of a track, or album, or concept (a good example being JF's love of the synthesizer gamelan/pitched drum for instance) Maybe. Bedtime Reminds me of an interesting quote, I forget where I read it so I'll have to paraphrase, saying that many musicians now compose by stringing together signifiers rather than notes. That applies to a lot of the artists in this thread.
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Mar 4, 2013 01:24
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Lord Krangdar posted:I hadn't seen that, that's glorious. Is the album worth a listen? Definitely. It's deliriously harsh and lo-fi but a lot of interesting ideas and motifs emerge from the fog when you listen close enough. Edit: Y'all should also check out a track Ferraro put out under the pseudonym Avatar Salad called Urban Jogger: https://www.youtube.com/watch?v=KhNN0zVoZq8 It's one of my favorites of his yet I've never seen it mentioned anywhere. sadfly fucked around with this message at 01:40 on Mar 4, 2013 |
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Mar 4, 2013 01:28
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oiseaux morts 1994 posted:"Homogeneous pleasure-field of postmodern capitalism" is an excellent way of putting it. I think that this is aligned with noise in the sense the music is difficult and confrontational, it's just being difficult and confrontational in a different way. There's still the worship of junk in the traditional Merzbow way; but the objects of attention are the mundane and banal byproducts of a late capitalist ideology - daytime TV, shopping malls, tribal tattoos, cheap deodorant, whatever - not traditional "junk" worship but conceptual "junk" worship, perhaps. The music of Fatima Al-Qadiri has a clear political agenda, but it's got that noise element of confronting the listener with uncomfortable aspects of their reality, particularly the white Westerners ambivalence to the struggles of Gulf Arabs and the Arab / Muslim world. The music is inherently paradoxical because it's like a bizarro mirror land where the Middle East never fell into disarray and initiated the Industrial / Capitalist age. Another widespread trend is experimental/avant-garde musicians having a sincere reverence for Pop music (see the black husserl's reference to Rhihanna in the d'Eon post, these artists genuinely love that poo poo). Grimes is probably the most high-profile artist who in equal parts loves Beyonce as she does, say, a noise outfit. Music is driven by developments in technology (think harpischord->piano->synthesizer and what it's meant for music for instance) and we're currently in a kind of "saturation point" where we've kind of explored the limits of our current technology so until the next revolution / evolution occurs we are making up for lack of sonic ideas by increasing our palette of influences and conceptualizing the music in new ways. Right now there isn't much interest in creating new and interesting timbres, but reappropriating existing timbres within the context of a track, or album, or concept (a good example being JF's love of the synthesizer gamelan/pitched drum for instance) Maybe. Bedtime One thing that's interesting is the shift in the "junk landscape." The dada or industrial junk focus was on irl grime, noise, and dirt, whereas the "vaporwave" thing is ultra-clean plastic, muzak, and technology that's only RECENTLY out of date, like past 10 or 20 years. I guess that leaves harsh noise as a kind of noise of the Real whereas vaporwave is the noise of the Virtual? (idk any Lacan so I don't know how it'd be figured that way haha.)
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Mar 4, 2013 04:24
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Lord Krangdar posted:You could probably link BoC to most of the artists mentioned in this thread so far, but I think they were exploring quite different territory in some ways. BoC's music conjures up the mixture of confusion, horror, and nostalgia of hazy childhood memories, whereas Far Side Virtual and Sushi have a glossy, luxurious sheen that paints a "still-life" of the present rather than focusing on any real or imagined nostalgia-tinted past. I agree that they do in concept but the use of early 90s computer sounds all over FSV definitely inspires nostalgia and there's too much cheese in "Sushi" to really reflect the hyper seriousness of modern pop music. I think the BebeTune$ project is much more about the present than Sushi, and 'serious' titles like INHALE C-4 reflect that. And anyway, Ferraro's other work is absolutely pointed at that weird intersection between watching science films in elementary school and accidentally glimpsing 30 minutes of a late night horror movie as a six year old...which is very Boards. edit: I also did not know until today that BOC possibly have many more albums that are floating around as cassette releases or under aliases. How familiar! Lord Krangdar posted:Reminds me of an interesting quote, I forget where I read it so I'll have to paraphrase, saying that many musicians now compose by stringing together signifiers rather than notes. That applies to a lot of the artists in this thread. Surely this is nothing new? I would say that early 1900s folk singers composed more with "signifiers" than modern musicians do. They certainly didn't care much about notes. the black husserl fucked around with this message at 06:10 on Mar 4, 2013 |
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Mar 4, 2013 05:00
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Well I'd say it's new in "serious" music which is significant. Not vaporwave new but post 60s you could apply it to academic music too. And certainly it's at an extreme in this thread.
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Mar 4, 2013 06:54
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the black husserl posted:
Early, "non-official" Boards is a lot more raw, experimental (with techno roots exposed more clearly) with a kind of mischevious playfulness you also see in Ferraro. In my original post somewhere I link to "Clear, Light, Hair" off one of the Old Tunes comps which is a perfect example of this. acephalousuniverse posted:One thing that's interesting is the shift in the "junk landscape." The dada or industrial junk focus was on irl grime, noise, and dirt, whereas the "vaporwave" thing is ultra-clean plastic, muzak, and technology that's only RECENTLY out of date, like past 10 or 20 years. I guess that leaves harsh noise as a kind of noise of the Real whereas vaporwave is the noise of the Virtual? (idk any Lacan so I don't know how it'd be figured that way haha.) Yeah, "noise of the Virtual" is what I was thinking whereas Merzbow et. al is totally about real, tangible phenomena of a pre-digital age. Even Merzbow's political ideology is old-world and "new-agey" (omg dont hurt the animals please~)
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Mar 4, 2013 10:11
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I wouldn't even say old world or pre-digital; incomprehensible and filthy reality is still out there and exists concurrently with the plastic virtual, I actually think it's cool that they exist concurrently and have similar roots. Vaporwave is the dude in a white muzak control room controlling a drone on an ipad and harsh noise is the impact of the missile itself and the collapsed buildind, corpses, etc (to use a fake and silly metaphor)
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Mar 4, 2013 11:18
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On another note forums user slowdave pointed out to me yet another Legowelt side project: Sammy Osmo - De Originele Filmmuziek Van Schaduw Horizon ("The Original Soundtrack To: Shadow Horizon") quote:1987 - In an abandoned zoo, a NATO military para-physicist is researching the I was so convinced this was actually an 80's dutch B-Movie. The release includes a free abandoned Zoo map, Shadow Horizon sticker, secret code document (for you to decipher and unlock the secret) and booklet with track information.
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Mar 4, 2013 14:04
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The Real in the sense you were using it earlier doesn't really have to do with material reality and, looked at that way, it seems like James Ferraro's work approaches (although obviously does not enter) the Real (although I like the idea of the Real of the Virtual).
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Mar 4, 2013 20:39
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before this thread I only knew that james ferraro existed and I was too intimidated by the size of his discography to look further. but this thread has changed all that  thank you oiseaux, I wish I had something else to add to this thread
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Mar 4, 2013 23:36
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This is an amazing primer for something I knew nothing about. This stuff is cool and interesting as heck. Thanks for posting it.
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Mar 5, 2013 00:51
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In case y'all didn't know, Ferraro is releasing the COLD mixtape tonight at midnight. https://www.coldmixtape.com Can't wait. I honestly have no idea what it's going to sound like.
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Mar 5, 2013 04:37
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Unfortunately he's delayed it, although I'm not even remotely surprised. He did put up a preview track on Soundcloud and it sounds exactly like I expected - Sushi: Midnight Purple Edition. I also found this video interview with him, which is probably the only one where he's talking on camera for any period of time, and despite finding it hard to articulate himself, I enjoy his inclusive and historic views on music.
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Mar 5, 2013 09:48
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Best OPN interview I've seen.
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Mar 8, 2013 22:13
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oiseaux morts 1994 posted:Unfortunately he's delayed it, although I'm not even remotely surprised. He did put up a preview track on Soundcloud and it sounds exactly like I expected - Sushi: Midnight Purple Edition. Thanks for that interview!
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Mar 9, 2013 06:04
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That Psychic Stewardess album is fantastic, thanks! If we're talking Oneohtrix I'll re-post this little guide to his main albums from the vanilla ambient thread: Oneohtrix Point Never, or OPN, is Dan Lopatin, a New-Agey ambient musician from Brookyln who plays a vintage synthesizer called the Juno 60 (nicknamed Judy). He is also a co-founder and curator of the label Software, which consistently puts out great stuff. He has three main albums, each very different from the last all playing with the listeners sense of time and place in different ways: 1. Rifts   A compilation collecting songs from various self-released CDRs, cassettes, etc. he had previously put out. The songs on these discs vary from relaxed, nostalgic synth soundscapes reminiscent of Boards of Canada, to bouncy arpeggio build-ups, and finally to long droning nightmare pieces. Throughout the whole album there is a sense of deep, abstract unease, as if the listener is trapped in a timeless digital purgatory. This tension periodically erupts into abrasive arpeggio explosions, before subsiding back into droning noise, as on highlight track "Learning To Control Myself". Rifts explores timelessness; it suspends the listener in soundscapes that seem endless and outside of time or space. Take note of song titles like "Months" or "Zones Without People". Also of note is the subversion of familiar 'retro' or 'new age' sounds; Lopatin borrows the signifiers of relaxation and spirituality from those genres (ie. the rushing water and birds on "Format and Journey North", but tends to twist them around to be ominous, threatening, or overwhelming. This goes back to oiseaux's explanation of the two approaches to representing the psychedelic experience in music (see the OP), and Rifts blends both together. This compilation was recently re-issued with an added third part collecting 13 of Lopatin's other songs from his rare cassette and CDR releases. Definitely worth diving into. Example song 1: "Russian Mind" on YouTube (this unofficial music video is worth watching for the way it perfectly captures the aesthetic of this album, IMO) Example song 2: "Betrayed in the Octagon" on YouTube 2. Returnal  This is OPN's most relaxing and purely ambient work, once you get past the abrasive first track; a car wreck of crunchy noise, lasers, and horrific samples pummeling your eardrums for 5 minutes before melting away into gentle ambiance. Unlike the intimidating Rifts, this album is best experienced as a whole. Each track flows nicely into the next, and afterward you feel as if you've been taken on a beautiful journey. I often put on this album when I have a really bad headache, and feel the tension in my head drift away. Returnal is using a similar sonic palette as Rifts, but the main difference is that the sense of timelessness is gone, and indeed more elements are added to mark the passing of time. Instead the album seems to be, again, taking the listener on a journey, and the song titles match this shift in theme ("Where Does Time Go", "Pelham Island Road"). This album's title track is Lopatin's first to incorporate his vocals, in a bizarre ode to the internet as a "self-atomizing machine". There is also a separate Returnal EP with a gorgeous piano and vocal cover of that song. Example song: "Ouroboros" on YouTube Stream the entire album: http://www.xlr8r.com/news/2010/06/stream-new-oneohtrix-point-never (don't say I didn't warn you about that first track) 3. Replica  This album is a huge departure from the last two, emphasizing beats and samples for the first time and de-emphasizing the role of the Juno 60 synth. As a result this is his least ambient album, but it has the most range of the three. The stoner sci-fi concept behind this album was to imagine what the sounds of our era, especially the disposable stuff like advertising jingles or "muzak", would sound like if it was pieced together by curious anthropologists in the far future. Hence the title "Replica". To this end, much of the album was created using samples from old commercials; little-sound bites like the satisfied "aaah" of someone acting in a soda commercial, taken out of context and cut up in often jarring ways. Once again, Lopatin is playing with the listener's sense of time and place, but in a very different manner than before; here he removes us from our current time and culture and asks us to look back on them from a distance. This album is at times haunting, silly, relaxing, caustic, and melancholy. Truly a unique listen. Example song 1: "Power of Persuasion" on Vimeo Example song 2: "Replica" on YouTube (official music video) Example song 3: "Sleep Dealer" on Vimeo (official music video by Hype Williams / Dean Blunt & Inga Copeland) BONUS Check out this horrific remix Oneohtrix did of a Gonjasufi track: http://www.youtube.com/watch?v=JWAtAIDJH0Q Lord Krangdar fucked around with this message at 18:23 on Apr 15, 2013 |
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Mar 10, 2013 03:57
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This thread feels like education, because poo poo, I am getting schooled by the posts in here. Seriously, this thread is so good. My musical borders have expanded more in the past three or so weeks than they have for half a year. So much more stuff to listen to, so many more perspectives on things I already listen to, some imperialistic expansionism going on in my music library here. I mean, I already listen to loads of different things that people don't expect me to, but for months I had just been puttering around musically, but this thread has really pushed me. If I can say I have learned something then I hope it carries my meaning as intended, that is probably the greatest respect that I think I can give to someone. I'm exploring nooks and crannies I never expected to, finding bits of music that are really touching sometimes, really distant at others. Thanks oiseaux morts 1994 and the others posters who know their poo poo in this thread, I've enjoyed it so far. You also reignited my fear of Scientology, so thanks for that too.
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Mar 11, 2013 02:08
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No worries dude, I'm glad you enjoyed it. There's a hidden world of cool experimental and avant-garde music out there and it's even easier these days to find it, and get it. Reading albums like you would films, or literature is the best thing. Lord Krangdar I linked to your OPN overview in the OP, so thanks for that too.
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Mar 11, 2013 13:24
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In the next day or two I'll type up a post on Hype Williams/Dean Blunt & Inga Copeland, I feel like their whole net-prankster aesthetic fits in well with Ferraro's. Until then, here's their remix of Drake's Over: https://www.youtube.com/watch?v=BCH7bLOmJ9c
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Mar 11, 2013 20:21
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Just don't post their cover of baby because it's honestly pretty weak compared to the original. The real thing is already as mysterious and dreamy as a song can get. https://www.youtube.com/watch?v=ONIJXHvoynw edit: You know what, I'll post it so people can see what I mean. get ready for the remix. Ariel pink also covered it making the briefest cultural zeitgeist ever. https://www.youtube.com/watch?v=7FAKb2KG3es the black husserl fucked around with this message at 22:06 on Mar 11, 2013 |
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Mar 11, 2013 20:44
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