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Satie
  • #31
  • Posted: 11/12/2015 04:56
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Yeah, all three of those songs have pretty simple production that doesn't really pull me in, and the lyrics that I can make out are kind of annoying. "Can't You Tell I'm a Sociopath" has that cool hook, though, and the album it's on isn't a million years long like Temporary Forever, so I might check that out in full at some point. In any case, pretty impressed you managed to tell the truth about his music and still suck me in with your enthusiasm and writeup.
undefined
  • #32
  • Posted: 11/12/2015 05:06
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Satie wrote:
Yeah, all three of those songs have pretty simple production that doesn't really pull me in, and the lyrics that I can make out are kind of annoying. "Can't You Tell I'm a Sociopath" has that cool hook, though, and the album it's on isn't a million years long like Temporary Forever, so I might check that out in full at some point. In any case, pretty impressed you managed to tell the truth about his music and still suck me in with your enthusiasm and writeup.

Cheers. Would definitely be interested in your thoughts should you decide to go through a whole album. I'll readily admit he's not for everyone, though I might argue he's something of an acquired taste maybe? IDK. (This new one might be the most up your alley tbh)
undefined
  • #33
  • Posted: 11/12/2015 06:15
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next on the list we have

Palmbomen II by Palmbomen II

Hypnotic outsider house in which every track is named after an X-Files character. I don't feel like I should really have to say anything beyond that


BUT I'm gonna do it all the same.

I LOVE the direction house music has been going lately. I don't know how long this trend has been going on exactly (I first started to notice it early last year with Kassem Mosse's Workshop 19), but lately a lot of house producers been pushing the boundaries of the genre by doing progressively more with less. You've got artists like OOBE, Perfume Advert, Michael DeMaio, and the aforementioned Kassem Mosse making house music that still functions as dance-friendly and stays true many of the genre's more traditional compositional elements, but is more subdued, more atmospheric, features more warped and distorted textures, and is unafraid to sometimes just be weird. It's the kind of music that if you were to play it in a club, everyone would look moderately confused for a few minutes before they all started grooving, eager for more. It's a slow-burn type of house, that doesn't sucker-punch you with killer keyboard loops, erratic 808s, or thundering synths, but which really works to subtly flesh out a unique kind of atmosphere. (It's a trend I've also noticed in grime, with producers like Logos really exploring the potential of instrumental grime to function well beyond the dance floor.)

The general structure of the music within Palmbomen II is fairly reflective of the overarching aesthetic of this new (at least I think it's new) trend. The tracks tend to be centrally focused on a basic set rhythm (which may or may not involve heavy syncopation), but stack atop that a couple ambient loops and slightly but perfectly "off" beeps and boops of all kinds which can develop in all sorts of different directions while always being centered on this initial rhythmic pattern; the base rhythm remains repetitive but everything beyond that maintains a kind of unpredictability rare in dance music (although I would argue that this style of house is just as much headphone listening material as it is dance music)

Another interesting aspect here is the way in which the various layers of audio complement and build off of each other without there being any kind of sonic spotlight on a particular loop or sample. Everything is very carefully layered and leveled so as to make each track feel like full entity rather than a series of loops and sounds being stacked upon each other; everything melds together in delicate synthesis to the point that one song can have completely sonically reformed itself by the end of the track but the adding and subtracting of loops and sounds and the general morphing of the track is subtle enough that you don't even really notice the transition; you might find yourself having danced to what is essentially two separate songs without even realizing it. This kind of careful handling of changing sonics makes the whole experience very easy to digest even when the sounds are at their oddest, and sure it starts to feel a little samey by the end but even at its worst its hardly less than pleasant. As far as this style of introspective sounding house goes, I think I still prefer this year's respective releases from the abovementioned Perfume Advert, Michael DeMaio, and OOBE, but I can still safely say that if I ever walk into a nightclub where Palmbomen II is coming out the system, I'm grabbing a drink and sticking around for awhile



Also I'll just say it again EVERY TRACK IS NAMED AFTER AN X-FILES CHARACTER and tbh that should be reason enough to check this shit out
Satie
  • #34
  • Posted: 11/12/2015 06:18
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Judging by your description (which has earned Palmbomen II a download), I think you'd also be wise to check out


Person Of Interest by Person Of Interest
undefined
  • #35
  • Posted: 11/12/2015 06:50
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Satie wrote:
Judging by your description (which has earned Palmbomen II a download), I think you'd also be wise to check out


Person Of Interest by Person Of Interest

Wishlisted Smile Will be sure to post thoughts

Alright so I'm way late on this little gift from Brandon

Fuckmorgue - Dead, I Will Not Be Forgotten

DAMN this hit on so many of my musical pleasure centers. The vocals (which are FANTASTIC) sound like something of a mid-point between classic hardcore punk passion and black metal anguish, and the overwhelmingly lo-fi production makes the entire record feel increasingly otherworldly and archaic in the best of ways.

If I had to classify this as something it would probably fall into the realm of post-hardcore, though heavily influenced by the darker side of 2000s screamo. There's also some black metal stylings which show up at the most deliciously unexpected points. Guitars could be swirling in a pool of atmospheric dread and tortured vocals only for the whole track to get FUCKED by some blast beats, turning it into a whole new beast with a whole buncha new stuff to offer.

The vocal work is an obvious highlight, with her untamed growls and screeches coming across as equal parts impassioned and tormented, but the instrumentalists here are not to be overlooked. Playing is sloppy (in a good way), which is why I was surprised at how deftly they handled some interesting dynamics (particularly during "After Herbie Died", where I was floored by that slightly out-of-tune bass). I feel like the album is more or less just in expedience in exploring myriad approaches to expressing feelings of dread, and 99% of the time it does a damn good job of it

The second half with the demos tacked on at the end didn't do as much for me mostly because it took very little time for me to seriously miss the vocals, (though After Herbie Died still sounds badass as an instrumental), but I kinda just see that as a nice little bonus so I won't hold it against them. Those first 7 tracks (which I just realized = their LP) are seriously stellar. Gracias Brandon!
BrandonMiaow
  • #36
  • Posted: 11/12/2015 07:02
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awesome write up. Very Happy Yeah if I'm honest I haven't even listened to those instrumental demos (I might order the record though so then naturally I'd hear them), I just gave you that bandcamp link since it was easier. Razz

will get to your rec soon!
undefined
  • #37
  • Posted: 11/12/2015 07:55
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BrandonMiaow wrote:
awesome write up. Very Happy Yeah if I'm honest I haven't even listened to those instrumental demos (I might order the record though so then naturally I'd hear them), I just gave you that bandcamp link since it was easier. Razz

will get to your rec soon!

Cool! Excited to know what you think. Where you find this stuff btw? I wanna adopt whatever method of finding music that lets you stumble upon stuff like Fuckmorgue and Orion Rigel Dommisse

Anyway I think that's it for tonight. Gonna be kinda busy tomorrow but I should still have time to jot some thoughts down on some stuff

Oh and
Satie wrote:
I've found the bulk of abstract qualities, conscious hip hop to be pretty uninspiring in the past couple of years

Almost forgot, idk if you'll find anything worth keeping but if you're interested I do have a chart for that, (albeit one in desperate need of an update)
BrandonMiaow
  • #38
  • Posted: 11/12/2015 08:06
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dividesbyzero wrote:
BrandonMiaow wrote:
awesome write up. Very Happy Yeah if I'm honest I haven't even listened to those instrumental demos (I might order the record though so then naturally I'd hear them), I just gave you that bandcamp link since it was easier. Razz

will get to your rec soon!

Cool! Excited to know what you think. Where you find this stuff btw? I wanna adopt whatever method of finding music that lets you stumble upon stuff like Fuckmorgue and Orion Rigel Dommisse


Don't remember how I found Fuckmorgue, it must have been RYM (possibly this list: https://rateyourmusic.com/list/jackboblamont/g_beat/ ). Orion Rigel Dommisse was, I think, Pandora (or something similar), which I only used like once and it gave me her. But mostly RYM! Trust me, you find music faster than I do. I'm rather slow. Oh and since you liked Fuckmorgue, I found this band and demo at about the same time and they are sick as well: http://wearestranger.bandcamp.com/album/demo
I might like their vocalist even more than Fuckmorgue's!

edit: lol the silliness of repeatedly saying "fuckmorgue"
undefined
  • #39
  • Posted: 11/12/2015 21:24
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just yanked this from Geevy's 2015 chart

Geo Fi by CC Not

At first I thought I was in for some more of this newfangled low-key house I keep going on about, but this is far more in the realm of ambient techno, but with a heavy focus on low-frequency plodding and high-frequency clicking that bookends a mid-section that seems to consist almost entirely of floaty ambience, with tracks rapidly alternating between relaxing and energetic with surprising fluidity. I'm sure this would fly pretty well in a club setting, but there's something very alien going on here and I can't quite put my finger on it. The album almost evokes some kind of uncanny valley sensation and I don't really know if I wanna move or just intently sit there and try and sort out what's going on, which is especially interesting because compositionally this is fairly minimal, with only a few layers of audio that exhibit some mild transformation throughout the track but stay mostly focused on a central motif or sonic structure of some kind. It seems like pretty basic stuff so why does it make me feel so weird?

That's the best thing about the album honestly, this alien feeling, this mild discomfort underneath quite a bit of what more or less amounts to "ho damn this is some cool shit" that just throws everything a tiny bit out of whack, just enough to really highlight all the meticulous melodic subtlety atop the thumping bass and speedy click-clacks. It evokes the feeling of being lost in an alien world that a lot of similarly toned electronic music tends to touch upon, but where plenty of third rate ambient Warp clones attempt for a kind of "aimless floating" in this world, CC Not work at keeping you on a steady rhythmic glide through the whole thing where any surprises are all part of the plan, and it's one dizzying hell of a ride like some kind of slow-motion cyber-roller-coaster, and I'm already ready to get back in line and ride the whole damn thing again. I've a feeling the experience isn't gonna be quite the same the second or third time around, and that seriously excites me.

Geevy wins again
undefined
  • #40
  • Posted: 11/13/2015 07:29
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(satie quick to the punch with this adding albums to the db thing)

Agitations by Lotic
will write some actual shit later when I'm done digesting but atm I'm essentially just
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