look I don't mind vaporwave (I think Infinity Frequencies are vv dope), and it annoys the piss out of me when people hear stuff like this and go "oh hell I could've made that", but in this particular case, honestly yeah buddy you probably could've. Hell I probably could've made this. You know what fuck it brb I'm gonna go make a macintosh plus song
...
alright here I just made a fucking macintosh plus song
I call it 4ちゃんに戻ります
look I don't mind vaporwave (I think Infinity Frequencies are vv dope), and it annoys the piss out of me when people hear stuff like this and go "oh hell I could've made that", but in this particular case, honestly yeah buddy you probably could've. Hell I probably could've made this. You know what fuck it brb I'm gonna go make a macintosh plus song
...
alright here I just made a fucking macintosh plus song
I call it 4ちゃんに戻ります
...we done here?
That..... is one of the best singles BEAcore has ever produced. Wonderful job, Gabe.
though i don't buy the argument that something taking minimal artistic skill disqualifies it from being quality, I do agree that Floral Shoppe is more style than substance and fades into nothing before the first track even ends.
holy fuck what is this a capella Penderecki? Bloody terrifying. Would make a great addition to this chart I reckon
will write more on this when I'm done shuddering
*shudder*
*begins to jot down random thoughts while in fetal position*
While the Penderecki comparison above still feels apt when assessing the moods here, Diamanda Galás strikes me stylistically as almost more in line with jazz improvisation a la Borbetomagus. Her vocal exclamations here are fucking terrifying for sure, but behind the fact that they are essentially banshee hell screeches, there's a really raw primal human element to the whole ordeal. Penderecki's music always feels to me like it's coming from some otherworldly force, but these shrieks of terror feel distinctly down to (or rather "below" if we're keeping with the hell metaphor) Earth, while still maintaining a kind of sonic perversion seemingly reflective of absolute fucking insanity of the most emotionally, mentally, (and quite possibly physically) damaging variety. Where Penderecki makes us know what it feels to give into encroaching terror, Diamanda Galás shows us how that must make us look to the outside world, and it is fucking terrifying, but almost kind of.. beautiful, in its own desperately perverted way
Outside of my Hellfyre darlings, Akua Naru is probably the underground hip-hop voice I'm following with the most excitement. Her delivery is outwardly passionate with some forays into jazz-poetry recitation (you can tell she damn well believes every word she's saying), and her lyrics are conscious but of the least cheesy variety, focusing just as much on the personal effects and implications of social issues rather than just issuing a vague feel-good subdued polemic against them (something a lot of conscious hip-hop tends to do that just leaves me cold). The instrumentation is jazz-rap, but tends to explore the intensity of post-bop over a more smooth approach, though it's still soulful as hell and pretty smooth in it's own way.
She's an artist with a unique voice and something to say, and she fucking knows how to say it.
(This album is the live sessions from her debut The Journey Aflame..., but honestly I far prefer this to the studio album. It flows a lot better and I think the accompanying jazz band sounds far more at home and at ease in the live context)
Was staying at my girlfriend's all weekend. In between blasting various Wonder Years tracks (whom I have learned to genuinely enjoy via relationship osmosis), it was mostly just one continuous dance party to this
Frankie Knuckles Live at the Ministry of Sound, 1991
Were this not a bootleg it would make top 10 on my chart easy
Essentially in the early 90s the brits stole the great Frankie Knuckles from us briefly so he could mix a live show that any lucky ducks in '91 would've been able to tune in and hear for over an hour, and it's absolutely the best dance music mix ever crafted, and Knuckles' best work, which is saying a lot.
The live mix itself is a combination of some original Knuckles tracks, some known house gems here or there that I can recognize, but the vast majority consists of hidden nuggets of all sorts clearly assembled with the utmost care by a man who obviously loves what he's doing and knows how to get people to move. He could've so easily used this opportunity to indulge in some shameless self-advertising and it probably still would've been incredible, but I think it's safe to say Frankie's just doin it for the music, and honestly it shows. His mix flows with the most perfect energetic ebb & flow from the immediate outset with that sublime piano loop and honestly I fucking dare you to listen to this without feeling the need to move at some point. Knuckles is a master of playing the audience, of feeling the mood in the room and knowing what track needs to go when and where and at what levels to the point where you start to realize that he knows what you want to listen (and dance) to next better than you ever could, and his deep (DEEP) and personal knowledge of the inner-workings, culture, and myriad should-have-been-classics of the wide world of house makes him just the man for the job. For the hour that this thing plays, I feel completely immersed in that wild crowd over which Frankie is working his magic, and it's one of the happiest listening experiences I've known.
About half way through he throws down the Satoshi Tomiie track "Loop 7" 3 years before it was officially released which is only possible because Knuckles actually worked as something of a mentor for Tomiie for a little while, and his work from the late 80s certainly sounds like it has it's foundation in Frankie Knuckles' unique take on house, but by his debut in 1999 he's definitely crafted his own take on the genre
Which transitions nicely into
dividesbyzero wrote:
Thumbnail. Click to enlarge.
Satoshi Tomiie - New Day (2015)
Satoshi Tomiie did start out as something of a Frankie Knuckles lite, but he soon started to pull together some outside influences, namely he became obsessed with acid beats and keyboards. By the time his debut dropped he was almost more Mr. Fingers than he was Frankie Knuckles, and his newest (his first since his '99 debut) is largely more in the same direction, but this is in no way a bad thing. Right now the trend (and trend which I love btw) seems to be in a realm of this kind of subdued, introspective, "outsider house"; I suppose the biggest complaint you could lob at Tomiie here is he kinda sounds like he's stuck in the 80s, but I'd argue the fact that Tomiie seems totally unaware of the development of the genre over the past decade in a half almost makes it a better experience once you just resign to it being largely a throwback, because Tomiie is just doing what he knows, and he's damn good at it. Sure it's no replacement for any of the classics upon which it is largely built, nor am I likely to listen to it more than the aforementioned recent more left-field releases from the likes of Kassem Mosse, Perfume Advert, OOBE, Michael DeMaio, etc., but it's still a way fun experience of just straight up classic acid-flavored deep house and it's probably gonna get several more spins from me by year's end if not more, and I'll be damned if I can't groove to it each time
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