It certainly sounds bunk if presented incorrectly, but it's sort of just the opposite of nails on a chalkboard. It's the pleasant version of that reaction you have. There're definitely certain sounds that elicit a response in me (cacophonic or harmonious). The tone, cadence, pitch... like the sound of a book's crisp pages turned in a cold, silent room, an open room with little or nothing to diffuse the subtle reverberation off the walls. Tip-tep-tapping on a loud, plastic keyboard in a stuffy little apartment. A woman's whisper panned to one ear. Or panned to-and-fro. This stuff is electric when it's used right. But even with those sounds, the environment has to be right, and most of the "asmr" stuff out there misses it completely for me.
In any event, I'm much more interested in the application than the theory. Holly Herndon's Platform expresses a nice gamut between extreme theory nonsense and glorious compositional integration. And while I'm not so fond of listening through the more extreme examples, I'm glad she explored it to its limits. If you're making electronic music today, and you're not taking notes on this ASMR phenomenon, I think you're missing out on some really cool creative opportunities. Like, say you want to create a harsh, distopian environment for your listeners - nails on a chalkboard would be a welcome sound in your little mix. But if you're going for that warm, soft cuddled in the fuzzy pink womb expression, a clear, hushed voice whispering crisp consonants in one ear just might help you create the atmosphere you're looking for. _________________ follow me on the bandcamp.
while that's the most blatant example, i would argue that a huge chunk of the samples and lyrics she chooses (see: Locker Leak) are based on ASMR as well, though on a much more practical level.
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