Friday, February 04, 2005
This is the thread where we anticipate and then flip out over how great M.I.A.'s 'Arular' is
And why this thread? Because it's new and now to be sure, but also because along the way it turns into one of the most interesting and moving political discussions I've read in a long while, about a conflict many might know little about. Highly recommended.
Friday, September 10, 2004
A debate on formalist criticism
And a very good one it is -- while much of the discussion could be seen as going over old ground, the participation of newer voices helping in reframing certain questions, and in general you get an example of ILM at its considerable best in terms of seriously grappling with issues of what writing about music can be and involves, the more so because there's a fair range of opinions often being discussed without the dread flames. And where there are exceptions the results can be fine humor, thus this comment from Tim Finney (who is shining on this thread):
This is like some complex computer game where you've gotten to the final level and you're battling some big evil firebreathing monster, and then suddenly a henchman from level one appears and shoots a flower seed at you.
This is like some complex computer game where you've gotten to the final level and you're battling some big evil firebreathing monster, and then suddenly a henchman from level one appears and shoots a flower seed at you.
Wednesday, September 08, 2004
Amusing Thread Alert
OK I Know Pasting Old Dave Q Posts Is Cheating But...
Poster: Tarden
Thread: here
[on The Stranglers] "Yes! An object lesson in how while "rebellion" and "anger" are constantly celebrated, when genuine malice (i.e. stripped of youthful angst and idealism) comes along, the culture arbiters can't handle it - perhaps one of the few cases in which the record-buying public (who noticed their way with a tune and a sneer) were RIGHT!
I'd actually go even further than Alex and say that their drift into Ultravox-lite only CEMENTED their nasty-outsider status - if they'd continued the astonishing Seeds-meet-Beefheart grind that was 'Black and White' they would've become as respectable and respected as PiL and the Fall (Stranglers - the Dr Hook of the new wave? I mean that as a compliment.)The only other band I can think of that embodied 'mindless thuggery' as well would be the Happy Mondays."
Thread: here
[on The Stranglers] "Yes! An object lesson in how while "rebellion" and "anger" are constantly celebrated, when genuine malice (i.e. stripped of youthful angst and idealism) comes along, the culture arbiters can't handle it - perhaps one of the few cases in which the record-buying public (who noticed their way with a tune and a sneer) were RIGHT!
I'd actually go even further than Alex and say that their drift into Ultravox-lite only CEMENTED their nasty-outsider status - if they'd continued the astonishing Seeds-meet-Beefheart grind that was 'Black and White' they would've become as respectable and respected as PiL and the Fall (Stranglers - the Dr Hook of the new wave? I mean that as a compliment.)The only other band I can think of that embodied 'mindless thuggery' as well would be the Happy Mondays."
Tuesday, September 07, 2004
Good Thread Alert
Friday, September 03, 2004
Sense Of Magic
Poster: david acid
Thread from: here
"[Pete Doherty's version of "Breathe"] is poor because the best parts of the cantrell track are the aznavour loop and the gfunky whistle sound from, er, i forget,, and, of course they are missing from this version.
covers by rock bands are often poor, especially if they are of non-rock records, whether that be pop, r&b, hiphop, soundtracks, jazz, or anything else where the production is important or prominent, or where instrumentation is unusual, because it removes the earths things, makes them become apparent through a more standard instrumentation.
ie, when covering a song, many say, the song should be strong enough to support different takes on it. i am less sure of this, for me, the sound, atmosphere and instrumentation are equally, if not more, important than the song itself.
that is why i am as unable to conceive of good rock covers of ennio morricone as i am of the beach boys as i am of dillinja as i am of beenie man, especially if it is to replay the song in a guitar-drums-bass format. the magic is more than just the song on paper.
this, also, partially explains why i don't like covers, in general. if a very good song is going to be covered, then that is a very high standard to equal. if the song is not very good in the first place, then the grim spectre of humour and "having a laugh" raises its head. i dont need to have a laugh, i have no sense of humour, only one of magic"
Thread from: here
"[Pete Doherty's version of "Breathe"] is poor because the best parts of the cantrell track are the aznavour loop and the gfunky whistle sound from, er, i forget,, and, of course they are missing from this version.
covers by rock bands are often poor, especially if they are of non-rock records, whether that be pop, r&b, hiphop, soundtracks, jazz, or anything else where the production is important or prominent, or where instrumentation is unusual, because it removes the earths things, makes them become apparent through a more standard instrumentation.
ie, when covering a song, many say, the song should be strong enough to support different takes on it. i am less sure of this, for me, the sound, atmosphere and instrumentation are equally, if not more, important than the song itself.
that is why i am as unable to conceive of good rock covers of ennio morricone as i am of the beach boys as i am of dillinja as i am of beenie man, especially if it is to replay the song in a guitar-drums-bass format. the magic is more than just the song on paper.
this, also, partially explains why i don't like covers, in general. if a very good song is going to be covered, then that is a very high standard to equal. if the song is not very good in the first place, then the grim spectre of humour and "having a laugh" raises its head. i dont need to have a laugh, i have no sense of humour, only one of magic"
Thursday, September 02, 2004
Good Thread Alert
The light show was expensive
Poster: Don
Thread: here
"Some of the Prince bootlegs did sound disco-proggy, but the proggy was a maze he tended to get lost in (at least, the tracks I'm thinking of would just stopped; he never finished them, at least not on those boots.Maybe prog fogged his mastermind, career never came out of the maze? Until now, of course.) Conspicuous consumption, both automatic and blissful (not to mention automatic bliss, technical ecstacy) something prog and disco (and metal and) had in common. If you got it flaunt it: skills, spotlight, money. The sound of money. Simon Frith reported that when Genesis finally played,late on the last night of a festival, the light show was "expensive" and this was a big part (maybe the crucial part, means[test]-wise) of its impact, and he really seemed to enjoy it. As well he might."
Thread: here
"Some of the Prince bootlegs did sound disco-proggy, but the proggy was a maze he tended to get lost in (at least, the tracks I'm thinking of would just stopped; he never finished them, at least not on those boots.Maybe prog fogged his mastermind, career never came out of the maze? Until now, of course.) Conspicuous consumption, both automatic and blissful (not to mention automatic bliss, technical ecstacy) something prog and disco (and metal and) had in common. If you got it flaunt it: skills, spotlight, money. The sound of money. Simon Frith reported that when Genesis finally played,late on the last night of a festival, the light show was "expensive" and this was a big part (maybe the crucial part, means[test]-wise) of its impact, and he really seemed to enjoy it. As well he might."
learn to love the pressure
Posted by: martin
Thread: here
"dubstep's sonic palate describes a new tempered middleground between the two extremes of d&b and house n g (surely dubsteps closest ancestors). this middle ground fits perfectly with the tension, the vibe of living in London right now. no one leaps around like a goon on dancefloors, or smiles like a misguided gurner because things dont feel like that living here. there's no oceanic 'taking you away' synths because that lushness is unrealistic when faced by these surroundings and the pressured realities of london living.
i often take friends to dubstep nights and they often ask when it's going to "go off." it won't. that's the point. sometimes though, they stick around long enough and start to get it.
what an amazing Hatcha set can do is take hold of you and drag you under, just as say d&b would. but instead of the huge releases from the d&b breakdowns or "oceanic" synths, hatcha sets just hold you there, overwhelming you with the sub bass, indefinitely. instead of the enjoyment of release, i've found to learn to love the pressure, just as i've learned to love the pressure of living in london."
Thread: here
"dubstep's sonic palate describes a new tempered middleground between the two extremes of d&b and house n g (surely dubsteps closest ancestors). this middle ground fits perfectly with the tension, the vibe of living in London right now. no one leaps around like a goon on dancefloors, or smiles like a misguided gurner because things dont feel like that living here. there's no oceanic 'taking you away' synths because that lushness is unrealistic when faced by these surroundings and the pressured realities of london living.
i often take friends to dubstep nights and they often ask when it's going to "go off." it won't. that's the point. sometimes though, they stick around long enough and start to get it.
what an amazing Hatcha set can do is take hold of you and drag you under, just as say d&b would. but instead of the huge releases from the d&b breakdowns or "oceanic" synths, hatcha sets just hold you there, overwhelming you with the sub bass, indefinitely. instead of the enjoyment of release, i've found to learn to love the pressure, just as i've learned to love the pressure of living in london."
