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uziq
Member
+399|2446
it's so wild that people can name-drop CMYK. that was THE house party tune for years. good stuff!
uziq
Member
+399|2446


1969! what a trip
uziq
Member
+399|2446
perfect sunny weekend album. late 90s paris, what a special sound.



uziq
Member
+399|2446


1983!

Last edited by uziq (2020-07-16 08:50:23)

RTHKI
mmmf mmmf mmmf
+1,713|5731|Oxferd Ohire
https://i.imgur.com/tMvdWFG.png
KEN-JENNINGS
I am all that is MOD!
+2,915|5626|949

this album gets better every listen. This is the top track from what i think is an early favorite for album of the year



such an infectious song. I recommend listening to the whole album
KEN-JENNINGS
I am all that is MOD!
+2,915|5626|949

I'm not sure if its the era but I get such Superman 2 vibes from this video. Waiting for Zod to show up
KEN-JENNINGS
I am all that is MOD!
+2,915|5626|949

I like Andrew Bird. I think he is a musical genius, but often he has very new-agey songs.

I want to buy this record and put a hip hop beat behind it. It's got a few different melodies I think would work well in a rap song.



Kinda reminds me of Citizen Cope
uziq
Member
+399|2446
Shahter
Zee Ruskie
+295|5769|Moscow, Russia
if you open your mind too much your brain will fall out.
uziq
Member
+399|2446
Dilbert_X
The X stands for
+1,739|5100|eXtreme to the maX
Is that what an aneurysm ported to a synthesiser via a midi interface sounds like?
#FreeBritney
uziq
Member
+399|2446
it's the 75th anniversary of hiroshima today. what do you expect out of a threnody dedicated to hiroshima, a pastoral suite? pan-pipes? lady gaga's voice? there's no synthesizer or MIDI involved, by the way. are we even listening to the same thing?

penderecki was one of the most significant composers of the 20th century. he won several grammys, too, so it's not just for sniffy modernists.

sorry you are an ingrate. can't help ya!

Last edited by uziq (2020-08-06 02:25:27)

uziq
Member
+399|2446
Shahter
Zee Ruskie
+295|5769|Moscow, Russia

Dilbert_X wrote:

Is that what an aneurysm ported to a synthesiser via a midi interface sounds like?
- that design is total shit.
- but it's supposed to be a design of shit, you know.
- really? not bad then.
if you open your mind too much your brain will fall out.
uziq
Member
+399|2446
what design are you talking about?
Shahter
Zee Ruskie
+295|5769|Moscow, Russia
well... looks like myself mistranslating a joke.
nvm.
if you open your mind too much your brain will fall out.
uziq
Member
+399|2446
surely you are familiar with the idea that not all art is about pleasure or entertainment? much russian art isn’t very pleasing to the ear or eye.
Larssen
Member
+69|882


I do recommend this docu
uziq
Member
+399|2446
i've seen it. the composition/music is nowhere near as good. it's generic pastiche of classical -- soundtrack music. it could be from the climax of a hollywood action movie. i don't think that's the best treatment, musicologically, of something as vast and cosmically horrifying as hiroshima.

the thing with penderecki, like other modernists such as part, gorecki, ligeti, scelsi ... hell, even messiaen ... is that they are very 'modern' in their compositions. that means atonality, serialism, chromaticism, etc. for reasons i cannot be bothered to explain i just think it's far more suited to hiroshima, and does away with the melodrama/sentimentalism that dogs much 'soundtrack' music. the music sounds completely alienating and inhuman at times, which is much closer to the mark of an atomic holocaust than chanting men and 1812 overture cannonade.

david lynch used the penderecki piece, i discovered today. it's heavily edited and cut, and i don't think very good. the original piece is meant to put you in mind of people scarpering up stairs, hiding in spaces, the frantic human movement and panic, etc etc.

Last edited by uziq (2020-08-06 11:28:33)

Larssen
Member
+69|882
intellectually I would agree. But out of all of them there's only a tiny handful of pieces of Messiaen which I can actually enjoy, most of them very early works which were still less out there (o sacrum convivium comes to mind).

At some point it all evolved into the absurd, where you end up with composers like stockhausen. Personally I like the road philip glass took and it shows as he's been in high demand for decades.

Still it's very hard to capture especially these sorts of shocking tragedies in a musical style of sorts. What I know about music is very limited but it's only sometimes that I listen to soundtracks in films/movies/documentaries that make me go 'oh that's fantastic'. Think jóhann jóhannsson, vangelis...

well I just found out johannsson died 2 years ago, that's a loss.

Last edited by Larssen (2020-08-06 11:54:02)

uziq
Member
+399|2446
stockhausen was very important for all sorts of later, more 'palatable' genres, though, especially the computer stuff and minimalism. but yes, i take your point. for the sheerly unlistenable stuff, you don't really have to look much further than the foundational 'moderns' like schoenberg and webern. that stuff is alienating enough, the aural equivalent of an artaud play or a dadaist performance.

Johann johannsson killed himself. he was good, yes. sort of responsible for that cinematic 'contemporary classical' whose fate was to end up soundtracking lots of tv documentaries. look into helios/goldmund, olafar arnalds, max richter, nils frahm, etc. i don't really like much of that stuff, it tips over too much into wool-cardigan indie music or very sappy sentimentalism. johann was very good, though.
uziq
Member
+399|2446
(very) late messiaen is just as good as early messiaen, by the way. bigger in scale and ambition, sure, but still incredible.

this is from the last thing he ever composed. it's incredible.

Larssen
Member
+69|882
I always feel like he's writing a huge soundtrack to a horror movie, it's just so unsettling after a minute or two. How can you call that lumiere du paradis, jesus (no pun intended). But it's very good yes, didn't know this piece.
uziq
Member
+399|2446
for the romantics the sublime was always near to terror. same with christians and the divine/angels.

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