Saturday, November 28, 2015
Monday, November 23, 2015
Friday, November 20, 2015
Wednesday, November 18, 2015
mouth music (digital abject)
Oneohtrix Point Never – Ezra from guy_do_or_die on Vimeo.
Interesting "review" of Garden of Delete over at Quietus by Ryan Alexander Diduck, which treats Dan Lopatin as an "overproducer" in three senses: super-prolific; micro-intensive in terms of sound-design; and extensive as regards as the macro-context assembled around the release.
(I say "review" with quote marks because the piece stops short of actually judging the record or saying anything definitive about it as artifact, source of pleasure, etc).
In digi-maximalist terms, Oneohtrix Point Never has a simultaneously implosive-explosive thing going on it and around it. Implosive, in terms of the production process, processing, editing, range of sources brought into play and into friction. Explosive, in the sense of erecting this enormous carapace of what Diduck calls "para-text" - "the video clips, the fake tribute band the MIDI file release" so that others can make their own versions of the tracks, fake genres hypergrunge and cyberdrone, etc etc - around GoD.... blurring the distinctions between conceptual-framing, social-media, and promotion.... and causing the notion of album-as-event to be stretched to the limit.... such that consuming GoD adequately would take an enormous investment of one's time and energy.
Digi-max also in the sense of prog echoes - concepts, the elaboration of a sub-world (Rush coming up as a reference point)
(Bit of a digi-max month with the return of Rustie and Grimes).
Spiel from the creator himself addressing the issue of fans getting "the payoff of all the idiosyncratic detail I put into it"
Weird, I subtitled this post "digital abject" , based on the processed vocal-goo, before I even saw the Verge interview where Dan says "The theme is pus. It's things that leak that can't be contained", then connects that to both Kristeva's Powers of Horror and puberty, and then discusses how his intent with GoD was: "how do I kind of vaguely represent things that leak or things that are kind of disgusting but still seductive? But then there's this other part of it which is like, leaks or things that can't be encrypted or things that aren't secure"
Grunge, in itself, is a synonym for the abject - originally, meaning grot, dirt ... then noise/distortion... then the socially abject (wasted youth, burn-outs) albeit as a self-chosen identity as much imposed....
Interesting "review" of Garden of Delete over at Quietus by Ryan Alexander Diduck, which treats Dan Lopatin as an "overproducer" in three senses: super-prolific; micro-intensive in terms of sound-design; and extensive as regards as the macro-context assembled around the release.
(I say "review" with quote marks because the piece stops short of actually judging the record or saying anything definitive about it as artifact, source of pleasure, etc).
In digi-maximalist terms, Oneohtrix Point Never has a simultaneously implosive-explosive thing going on it and around it. Implosive, in terms of the production process, processing, editing, range of sources brought into play and into friction. Explosive, in the sense of erecting this enormous carapace of what Diduck calls "para-text" - "the video clips, the fake tribute band the MIDI file release" so that others can make their own versions of the tracks, fake genres hypergrunge and cyberdrone, etc etc - around GoD.... blurring the distinctions between conceptual-framing, social-media, and promotion.... and causing the notion of album-as-event to be stretched to the limit.... such that consuming GoD adequately would take an enormous investment of one's time and energy.
Digi-max also in the sense of prog echoes - concepts, the elaboration of a sub-world (Rush coming up as a reference point)
(Bit of a digi-max month with the return of Rustie and Grimes).
Spiel from the creator himself addressing the issue of fans getting "the payoff of all the idiosyncratic detail I put into it"
Weird, I subtitled this post "digital abject" , based on the processed vocal-goo, before I even saw the Verge interview where Dan says "The theme is pus. It's things that leak that can't be contained", then connects that to both Kristeva's Powers of Horror and puberty, and then discusses how his intent with GoD was: "how do I kind of vaguely represent things that leak or things that are kind of disgusting but still seductive? But then there's this other part of it which is like, leaks or things that can't be encrypted or things that aren't secure"
Grunge, in itself, is a synonym for the abject - originally, meaning grot, dirt ... then noise/distortion... then the socially abject (wasted youth, burn-outs) albeit as a self-chosen identity as much imposed....
Friday, November 13, 2015
Thursday, November 12, 2015
Wednesday, November 11, 2015
(mush)mouth music
selection filched from this polemic by William Hutson about questionable aspects to Screw's embrace by an avant-outside listenership (there's a touch of the me-no-curator protests-too-much about the piece.... but an interesting read and certainly correct about the sudden untimely / unseeemly interest taken by hypnogogic types in the genre once the likes of Oneohtrix started repping for it)
Screw 'n' chop influenced track by Hutson's group Clipping
