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Psyche
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Post Post #350  (ISO)  » Sat Sep 08, 2018 7:30 am

https://youtu.be/cwQgjq0mCdE

you know, im pretty sure the "statues" in this video are real women wrapped up in some kind of plastic as you can see them breathe; its grotesque visualization of the objectification of women really reminds me of Kanye's Monster video
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Post Post #351  (ISO)  » Sat Sep 08, 2018 9:03 am

In post 347, UC Voyager wrote:Rob Zombie killed it and wasn't ever highly disturbing. I mean, there was the moment when he started playing hentai on the big screen, but i wouldnt really consider that disturbing.

He did enter sandman hella good, and he kept really good energy throughout the entire concert. i would have to say rob did better.

Oh, man. I came across this trailer the other day and had a "!!!!" moment. (8 seconds in)

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Post Post #352  (ISO)  » Sat Sep 08, 2018 3:21 pm

In post 350, Psyche wrote:https://youtu.be/cwQgjq0mCdE

you know, im pretty sure the "statues" in this video are real women wrapped up in some kind of plastic as you can see them breathe; its grotesque visualization of the objectification of women really reminds me of Kanye's Monster video

this song is trash
so...i don't get enough sleep

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Post Post #353  (ISO)  » Sat Sep 08, 2018 3:22 pm

i was listening to emenim then switched to listen to that and immediately regretted.
so...i don't get enough sleep

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Post Post #354  (ISO)  » Sun Sep 09, 2018 12:00 pm

Omg. Finally got around to making an xxxtenation playlist on spotify. I'm so happy. Goes so well when your playing D3 or overwatch. Gives great momentum.

Someone told me I had to get into 21 savage so I listened onto a few of their songs and they all sounded rather bland.
so...i don't get enough sleep

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Post Post #355  (ISO)  » Tue Sep 11, 2018 5:29 am

The last song (starts 14:22) in this is pretty good



Here's the studio version

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Post Post #356  (ISO)  » Tue Oct 02, 2018 10:02 am

did anyone remember to wake up green day yesterday?
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Post Post #357  (ISO)  » Tue Oct 02, 2018 11:18 am

Oh shit no I hope Billie Joe is okay
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Post Post #358  (ISO)  » Fri Oct 12, 2018 10:12 am

I might post a song here every week or something, with a short paragraph description, just for fun.
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Post Post #359  (ISO)  » Mon Oct 15, 2018 6:41 pm

That's a good idea
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Post Post #360  (ISO)  » Mon Oct 15, 2018 11:38 pm


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Post Post #361  (ISO)  » Sun Oct 21, 2018 3:44 am

1. ABSRDST -- Imaginary Friend


Music video
I don't think the music video is particularly interesting (it does contextualize the carnival sound at the end of the song and by extension the 3/4 beat in general), but there are both links.

Check this out if:
You're a fan of distortion-heavy, high impact electronic music. If you aren't and your reasoning is a dislike of overwhelming noise and clutter, I'd still say give this a try. It's pretty sparse in sound and it works really well in my opinion.

Things to look out for:
This song really relishes in its pacing, which I like a lot. Certain moments ("you are the only one I truly *HIT* miss *HIT*") are a lot more impactful because of the silence afforded to it by how slow it is. Each line is a bigger time investment (the word narcissistic in "that's just your narcissistic point of view" feels a lot longer than it is). The breakdown near the end is really cohesive with the rest of the song, doesn't go over the top, really solid.

--

Spoiler: EXTRANEOUS DIGRESSION ABOUT POLYRHYTHM
A part that grabs my attention at 0:43. I was really curious to figure this out, it seemed to me the vocals are in 3 and the backing hits are in 4 and it's hard to pin down because of how weirdly syncopated it is. Here's what I think is going on, notated so no musical knowledge is necessary.

Image

To put it simply, the vocals are dividing the beat of the song into thirds: (and even // if you don't // really ex // ist)
But the hits are dividing the beat of the song into eighths. Each group of three syllables corresponds to a group of eight units of time, because the backing hits are operating on a different rhythm. In the first bar ("can") we hear a hit on the third, fifth, and eighth subdivision. In the second bar ("and even") we hear a hit on the second, fourth, and seventh subdivision.

Each group of 16 repeats, so the whole line, repeated four times overall, goes like this:
ta-ka TA-ka TA-ka-ta TA-ka TA-ka TA-ka-ta TA-ka

If you can say those 16 syllables, perfectly evenly and with emphasis on the capitalized syllables, you'd be following the same rhythm as the hits. And this is all happening in the same amount of time that the words ("can - - and even") are dividing the same amount of time into six. Polyrhythms are crazy.

But of course all this theory BS is useless without a reason to include it in the song, whether it be consciously or not. I'm of the opinion that it feels like the music gets slower and more "dramatic" without actually getting slower. The syncopated beats and polyrhythm give it a stuttering feeling that lags behind the vocals. It's a nice buildup to the first big hit/drop/whatever you wanna call it.
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Post Post #362  (ISO)  » Sun Oct 21, 2018 7:00 am

I'm glad I didn't steal your idea cause you're a music genius and I'm a pleb.
Sometimes a sandwich is just a sandwich.

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Post Post #363  (ISO)  » Wed Oct 31, 2018 1:35 pm

In post 362, Panzerjager wrote:I'm glad I didn't steal your idea cause you're a music genius and I'm a pleb.

No one says you can't do it too!
Today's modern mafia consumer demands dozens, nay, hundreds of roles that are vanilla cops. --implosion

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Post Post #364  (ISO)  » Wed Oct 31, 2018 1:56 pm

2. Lemon Demon -- You're at the Party



Keeping with the Halloween spirit, I wanted to share this underappreciated bonus track from Neil Cicierega's fantastic album Spirit Phone.

Check this out if:
You like intense, lyrically driven electronic rock music.
This song rests on an insistent half step movement (think like the notes in the Jaws motif). You can hear it in the constant guitar line, the synth part, and the notes of the repeated "too late." The singer's strained, layered vocals and heavy distortion work especially well for the creepy atmosphere.

Things to look out for:
- "Eyes shut tight, never open up" seems to lead into a new melodic section but actually switches back and doesn't fully change until later
- The refrain (too late, wake up) leads seamlessly into the second verse, which has some really great lines
- The ending of the first verse "takes your hand // You don't understand, you don't understand it" is melodically same as the ending of the second "in your ear // Only you can hear, only you can hear it" but the second time the pauses are twice as long which catches listeners off guard
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Post Post #365  (ISO)  » Wed Oct 31, 2018 3:10 pm

Lemon Demon is the shit. He takes Oingo Boingo's weirdness and melodic nuance and applies it to Tally Hall's progpop sound
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Post Post #366  (ISO)  » Thu Nov 08, 2018 4:02 am

3. Mitski -- Nobody



I saw Mitski on Saturday and it was an absolutely amazing performance. Here is, in my opinion, the best introduction to her material.

Check this out if:
You like light indie rock with tasteful punchiness and floaty vocals, but also just check it out. Check out the following as well, which are my favorite of Mitski: Geyser, Why Didn't You Stop Me, Pink in the Night, First Love / Late Spring, Dan the Dancer, Once More To See You.

Things to look out for:
THE MODULATION. It made me gasp the first time I listened to it. The chord structure is really ambiguous at times which is quite cool and adds to the airy feel of the music. Listen for the synth that soars above the chorus.

Here's a long digression about theory babble that I didn't want to delete. Honestly just skip this.

Spoiler: Verse
Listen for the ambiguity of the beginning of the verse, it really takes a while for the key center to settle in. (Key center is a way of saying, where can we build our chords around, what place makes us feel the most resolved?) You might say that it solidifies somewhere in the descending motion at the beginning, but I don't think it really settles down until the guitar noodle comes in at about 0:40.

Even then it's actually hard to pin down and in my opinion it has to do with musical modes. Modes are patterns that dictate different ways we can get from one key center to the next (the same note but higher). For example Major and minor are two different modes, because C major and C minor describe two different ways to get from C to C.

It seems to me that the key is C major (C D E F G A B C) because the descending motion pivots at C, but an argument can be made for G Mixolydian, which is Major (G A B C D E F# G) with a lowered 7th note (G A B C D E F G, the F# is lowered to F), because of how it starts. At the end of the day, they use all the same notes and the only difference lies in what chords are being played under it, and I'm settling the ambiguity by saying C major makes more sense with the prechorus (which is something like Am G6 Fmaj7 C) because of the change to A minor -> C major, which is pretty unambiguous. The concrete conclusion to be made about this is really just that wow, open sounding chords are cool and the movement is floaty and fluid, which is supported by the descending motion of the whole thing.

Spoiler: Chorus
Let's talk about the chorus (nobody, nobody, nobody). So we're in C, and the first chorus is something like Dm(add9) F(over G) Cmaj7 Fmaj7.... or something like that. The takeaway is that it's a 2-5-1-4 motion (D G C F, which are the 2nd, 5th, 1st, and 4th notes in our key of C major). It's really uncentered, there's no strong sense of resolution-- I mean, the 2-5-1 is basically the most famous "turning" progression in music: it has a strong sense of movement, and adding on the 4 means the pattern kind of swings into the root and away from it again. I think that's unresolved ending is why Mitski kind of has to add a little section at the end to get back to the verse.

Also, the notes that Mitski is actually singing: she first repeats E A F, and then moves up to F B G. I think the most straightforward way to look at this is Mitski is running down a Fmaj7 and then a G7 (dominant chord). Another way to analyse it is to say that Mitski is singing the notes of a Dm(add9) and then a G7, which fits better with the chord accompaniment.

Spoiler: Modulation
Basically what's happening at 2:20 is that Mitski sings the first note of the F B G pattern, and uses that F to launch herself into the key of F major (a simple modulation done really suddenly), and then A D Bb, and then Bb E C. In that modulation, she's closing the original 2-5-1-4 motion in what I think is a really really satisfying and strong way which is what I think makes it so impactful.

In the original chorus, the piano progression is D G C F (2-5-1-4 in the key of C), and Mitski sings in a progression of D G.
In the modulated chorus, the piano progression is G C F Bb (2-5-1-4 in the key of F), and Mitski sings in a progression of G C.

The unresolved 4 note (F in C major) suddenly becomes the resolved 1 note (F in F major). It's like everything is shifted forward, which is great if you want to increase the intensity. And we're not done, because the Bb launches Mitski a half step up into the key of Gb, and she actually sings a slightly different pattern. Mitski fades away, hitting us with a solid, satisfying resolution, taking it away just as quickly, and leaving us in airy ambiguity.
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Post Post #367  (ISO)  » Thu Nov 08, 2018 4:03 am

In post 363, Errantparabola wrote:
In post 362, Panzerjager wrote:I'm glad I didn't steal your idea cause you're a music genius and I'm a pleb.

No one says you can't do it too!


Absolutely not. Poor imitation isn't my bag.
Sometimes a sandwich is just a sandwich.

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Post Post #368  (ISO)  » Thu Nov 08, 2018 4:52 am

https://youtu.be/_2quiyHfJQw

this is a really pretty and yet also danceable song
sufjan's gonna write a song about me

Psyche
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Post Post #369  (ISO)  » Fri Feb 01, 2019 6:29 pm

im still a big fan of humanz
sufjan's gonna write a song about me

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Post Post #370  (ISO)  » Mon Feb 04, 2019 3:16 pm

https://soundcloud.com/mesiuepiescha/ju ... d-down-800
just sort of pick a minute somewhere in the middle and bask in it for a bit
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Post Post #371  (ISO)  » Mon Feb 04, 2019 4:17 pm

it’s that easy to make an m83 song
sufjan's gonna write a song about me

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Post Post #372  (ISO)  » Sun Feb 10, 2019 4:25 pm

In post 366, Errantparabola wrote:THE MODULATION. It made me gasp the first time I listened to it. The chord structure is really ambiguous at times which is quite cool and adds to the airy feel of the music. Listen for the synth that soars above the chorus.

thought of a good way to think about this: key changes are cool when a single note is used as pivot. for example, in Celine Dion's All By Myself cover she sings the flat 6 at 2:40, so it's like, oh, what's gonna happen? Then that note is held as the music comes back in and the pivot is now the 3rd of the new key.

In mitski the "No" at 2:12 is the 4 of C major and she uses it to pivot to F major, with the new note being the root.

Another fun example of this is in the barney theme song, where the second verse is thrust into Bb major by the pivot (G), the root note in the original key and the 6th in the new key (with additional ambiguity because the first chord played in the new key is an Eb chord). i do not know if this is also done in the original yankee doodle song but you can decide which version is more integral in the American zeitgeist
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Post Post #373  (ISO)  » Mon Feb 11, 2019 1:00 am

https://www.youtube.com/watch?v=xhEq3qDdWE0

someone made sleep by GYBE in 8-bit
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Post Post #374  (ISO)  » Mon Jul 08, 2019 3:51 am

https://soundcloud.com/sera-ryu-6600793 ... useralover
It has a nice, soft calming beat. :>
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