/daily/ - fuck macedonia fuck bosni Edition

RONALDO..SOCER

The point of these threads is to encourage people to look for new and interesting music. We do this by listening to and ideally discussing albums we've never heard before. Many of us already listen to new music daily, these people are in it to venture "out of their comfort zone" by listening to albums they otherwise wouldn't have, or just to have a good time.

neverendingchartrendering.org/
>come here to make charts

plug.dj/sdc-room-3-the-sequel
>come here to endlessly circlejerk over meme videos and maybe sometimes hopefully music

dailymu-sic.weebly.com/
>come here for op pics, charts, listenalongs, misc. stuff

Previously, on /daily/:

Other urls found in this thread:

youtube.com/watch?v=aewkfudQB0c
batterystanley.bandcamp.com
twitter.com/SFWRedditGifs

Part 2 Coming Soon

is this poseurcore?

is this posercore

N-no bully

whats the point of this thou

what's he thinking about, Sup Forumsros?

how he's gonna die young

Does it need one?

oh-oh-oh-oh-ohowow!

>this train smells
>tfw I no one will give a shit about me until 2014 on some internet forum
>I have a lot of ideas for my album after Uchu Nippon Setagaya! Can't wait to record them!
>I wish I were at home listening to dub

this photo looks like it was taken in the mid/late-90s so you're probably not wrong

lmao

gud trips

nah but it'd be nice
i mean spiritual isnt much of a tangible quality so it's just a mess, well maybe
"stuff i enjoyed but not like because it was catchy" or
"stuff i did lsd to"

hahaha goddamnit transgod

do you follow Triple H on insta? He uploaded a video on his story with a big-ass compound bow.

i dont have insta so no
usually he posts the same stuff on facebook
good to know though

Goodnight bump

so long and sorry for all the fishposting

The fis must be stope

is this the circlejerking general?
why don't you idiots talk about music or fuck off from this board

What albums have you enjoyed recently friend

because we can (...subvert chan culture from within, fuck your shit, kill yourself, anonymous internet is actual cancer)

I honestly thought this was the poseurcore chart

Why would anyone want to talk about music :^/

I forgot to check the last thread before it closed.

Thanks to ImposterTuco, and Darklands for helping me identify Nation Time. Also thanks to co for trying.

What's up people. I have an itching for more music. I'm still very busy, which is why I dropped off the face of the earth for so long, but I want to get more conversations started and music rec'd. Get at me.

This is very nice. You could definitely put even more Coil on there though. Also who /Coil/ in here? I used to be obsessed with them.

I heard my first coil yesterday, ape of naples, but wasn't particularly impressed...

here's a rec.

Who's up to be reminded by the fact that Back Beat is the best Fishmans song?

>Also who /Coil/ in here?
Coil was, like, part of Phase 3 of Torts musical development, along with C93, NWW, PTV and that whole 80s British industrial movement. I used to be pretty into them.

>I want to get more conversations started and music rec'd.
Recently I'm growing more and more convinced that City Pop was the absolute height of music so also here's a rec I guess :0

>国分友里恵 - Relief 72 Hours

i had black metal and yung lean so i never needed coil and that
what kinda rec you want senpai, tho last few bands i really loved were A Wilhelm Scream, Unexpect, Bats, Knocked Loose, Brutus

I will listen to this if you give pick related a try. (Black Antlers)
Nice, it got me going a lot with my taste too. Did you ever listen to Test Department, and if so what did you think? Also I happen to know the guy who owns a large portion of Steve Stapleton's 80's-90's catalog, in the form of the master tapes. He prints all the new cassette tapes of his early stuff that goes on Discogs if I remember correctly. I've gotten very into NWW since being able to buy all that stuff so easily.
I will check that out. I've never gotten on the bandwagon for an smooth jazz related scene but in this case I will try for you. :^) What is it about it that's so appealing to you?

sure. do you prefer the later stuff then?

>Did you ever listen to Test Department
Ye
>if so what did you think?
Meh

>What is it about it that's so appealing to you?
It is very (~￣▽￣)~ a e s t h e t i c ~(￣▽￣~)

boi, have you heard Sugar Babe's Songs yet

city pop memesterpiece imfo

ye that shit is [fire emoji][okay hand emoji][crying laughing emoji][crying laughing emoji]

Yeah, no doubt. I love most of their discography but the later stuff is king, pretty much Black Light District onward (that is also a great album by the way). Once Jhonn got vocal lessons, their music became far more interesting. Also technology improved so Peter Christopherson and Thighpaulsandra got better toys to play with, so to speak.
I can't get into this :/ sorry. It might work for homework music at some point though, so I'll keep it in mind

>I can't get into this :/ sorry. It might work for homework music at some point though, so I'll keep it in mind
The gist of it is that I've gone so far into horrible, experimental meme music that I've emerged from the other side and now all I enjoy is well produced pop full of positive energy and optimism.

how long til your scene phaze what do you think

...soon.

lmao I wonder if one day I'll be there too. Also that makes sense you wouldn't enjoy test department. But just in case, here's a link to a pretty good video art thingy they did if you or anyone else cares to check it.

youtube.com/watch?v=aewkfudQB0c

I'm enjoying this a lot. Parts of it are hit and miss, but the hits are boss af. I'm loving Saved My Life (Original). It tickles some of my timbral musical fetishes.

great! it's so fun, right? the last couple of tracks are such a bomb ending too.
>Saved My Life (Original)
ah, that's one of todd's productions - defo check out his own stuff then, it's gold.

Rec pls. I'll write a review

...

Heard it once. Thought the concept was intriguing and wanted to like it more than I did

dark side of the moon

Nearly flawless for what it is and if you subscribe to the tenets of dad rock (you prob don't), but damn, Great Gig in the Sky is waaay too much.

How about something I haven't heard? ~echandl2

Stormzy - Gang Signs & Prayer

new Suicide Silence meme thing

Nice, I'll do this.

Rec =/= here's something you'll hate

i was thinking it's probably fun to hate and write an ramble-y review of, if you're that kinda guy but i'd be underestimating you and you're probably the kinda guy who thinks that's too easy and lame. last time co and torts did something like that was mildly entertaining though so ykno

I'll review it if you do

i already kinda did that on my sputnik profile but i'll probably find more things to say, i can feel it. maybe i'll use it to put a few general points out there, even if it's not worth that

>dad rock
come on now

Pink Floyd? I mean, I like dad rock and that label doesn't hurt, but is this even remotely controversial?

PF might be the most dad-rock band in existence

No sweat

S'what I'm sayin, they're canon

Stormzy - Gang Signs & Prayer

I don't know grime well, so this will be a limited review. I can't understand the vocals too clearly, but I don't really care what he's rapping about either way (something about bad boys?), so naturally the beats are most interesting to me...at least in theory. The beats teeter dangerously on cheap GarageBand preset synth patches--the choral backing on "Bad Boys", for instance. I might say some of these are indeed good ideas ("Big For Your Boots") that are weakened by this really sterilized feel--I wished they'd avoided the stock bass and maracas, etc. sounds. Seems to be a pattern here--some good production acumen (eg. the layered pitch-shifted accents on "Big For Your Boots" and "Velvet") that is just utilized with patches that wouldn't be out of place as bumper music on Keeping Up with the Kardashians. "Mr. Skeng" might be most guilty of all this cheap midi-fication.

Again, I don't know grime, so it may be pointless to criticize a naturally formulaic genre as being generic.

4-/10

I have a hunch but I still plead ignorance, so tell me why I'm wrong and it's actually good.

i relate to this album on a personal level because it sounds like a guy who worships liturgy and played guitar and drums for like a week tops

good comments. I'd say you're taking it at face value - both the production and the lyrics are playful rather than for real. he's making fun of those putative 'bad boys' you mention, not claiming to be one. until quite recently it was common to have that 'cheap' production sound in grime. I can't tell you exactly why that is but you would have to understand it as a response to mainstream pop and rap in the same way that lofi, pc music, or 'outsider house' might be - grime is (was) an underground current. so it comes with the territory, but it's not meant to be taken seriously. if anything, the bigger the banger the cheesier the backing.

I'm still working out my thoughts on this one, but I do think the first six tracks are one of the most impressive opening runs I've heard for a while.

Ahhh, see, I was onto something w/ production but didn't know. Good to know

listening to grime for the beats is pointless, it's why I don't like it too much. There's some great rappers but the beats are really generic 9/10 times.

I still can't decide which weekend to attend for this festival. I'd be interested in Jace Clayton, Moor Mother, Gnod, Brötzmann and Einstürzende Neubauten (the last two I've already seen live once) and Silver Apples, Girl Band, This Heat (!!!) and Pharmakon on the second, probably would see Deafheaven and Ben Frost as well. Any input? What would you recommend?

that's starting to change though, if you know where to look

but that is not This Heat, can't you read!?
first weekend looks better imo, Horse Lords should be cool

i'd say the 2nd weekend but I don't know any of the artists at the 1st so can't really say

might check this out, it's about time it started changing, I know grime's only broken the mainstream recently but it's been similar shit for years

I think I'd go the first weekend, just for Neubauten
But it'd be annoying to miss Girl band and Silver Apples

absolutely do if you've any interest in grime, it's the most visionary and successful manifesto I've heard for the genre.

I'll take that as a rec
Still bump garageskankfreestyle so I trust you

thanks

I also finished most of my 2016 backlog (still haven't listened to anything from 2017 lol). I know I'm a bit late but AOTY of that year is still Melt, followed by We Be All Africans and Atrocity Exhibition.

will definitely listen to it sometime then thanks for the rec

shit i need to listen to We Be All Africans already, another album that I've been putting off for no reason

hahaha nice, that's more oldskool though
whiteboywasted

Yeah it's p cool, Rhapsody in Berlin is an amazing track

Heya /daily/!

I was bored today so I wrote a long review of The Downward Spiral. It turned 23 yesterday so why not?

I don't think i was any help :/

no worries, I'll probably just choose the weekend where I can find someone to come with me anyway.

o-ok?

>NIN – The Downward Spiral

Trent Reznor was a very edgy guy in 1993 who won a Grammy for saying “fistfuck”, started FBI investigations based off his “snuff” music videos and decided to record his second full-length release in his “Le Pig” studio at the Tate house. He was also drugged up and spent after a conflict-full concert tour. Instead of breaking down, he broke down every single thing that was bothering him and threw it on the record, practically living through every single sound you can find on his second album, The Downward Spiral.

Moreso than his previous efforts, this record amplifies Trent Reznor’s love for the 80s industrial. When I say amplifies, I don’t just mean the strengthening of the influence. I’m talking about cranking those simple crashes and noises from the industrial heyday and making it all sound much harsher, much more aggressive. Starting from the opening Mr.Self-Destruct, you can clearly hear that the record ventures out to the border of sample chaos with incredibly metallic-sounding guitars and doomed synths. The chorus sound brings out anger that is only channeled by the self-reflection in the very quiet interlude, in which the track’s protagonist reminds himself that all this chaos occurs only because he let it happen. The closing tape harks with Belew’s guitar fit together nicely to create a demented loop. What I find so surprising is that Flood, Reznor and Moulder managed to capture the grittiness of the sound on here (and on the rest of the album for that matter) so well that it still manages to sound very fresh.

Reznor balances the rough with angry on the second track, Piggy. A small message to his high-school sweetheart, the track is so much simpler than the opener in terms of instrumentation. You can still hear the contortionist samples playing in the back, but the backbone of the track consists of the drumming and the bass guitar. Reznor actually gives off a very passionate drum performance on this with an eccentric closing section. This is also the first track with the downward spiral theme, performed on the piano right there at the end before transitioning into Heresy.

Borrowing some Nietzsche themes and bestowing anger onto the religious imagery, Reznor writes a song that was apparently a tribute to his paranoia, related to the widespread of AIDS. I still see it more of a song that negates all the blind positivity forced onto people at times, but I can see where Trent is coming from. Once again, there is a clutter of very metallic-sounding guitars and percussion on here + another occurrence of the Downward Spiral theme.

March Of The Pigs is one of the biggest bursts on the album. This one works as an evolution of Wish from Broken EP but I am a huge fan of the quiet bridge, especially in the contrast of the explosiveness during the verses. Interesting note is that Peter Christopherson of Coil directed the one-take shot music video for this track.

ok

Closer was the main single of the album, structured around a kick drum sample from Iggy Pop’s Nightclubbing (that was covered by Reznor eventually, it’s nice maybe check it out sometime?). Very aggressive and sexual lyrically, it ends up feeling masochistic and used up. The key moments for me are the bass line entrance during the chorus and yet another Downward Spiral theme episode at the end. The closing section of the song features more meshed up vocal loops in the back that always fascinate me on this record.

Ruiner emerges from the last keyboard note and launches into an energetic drum machine frenzy. This is my favorite track on the album. Even if you disregard the lyrical content (lots of male genitalia talk, don’t you think?) on here, the moment when the synths launch into the chorus for me is the true power of Reznor’s industrial war machine. It is loud, bombast and unforgiving. To add onto this all, I have to say that the solo from this track is fucking nuts. The lo-fi tone of the guitar is a perfect fit for its melodic simplicity. As it disintegrates, Reznor gives way to a final march before cutting it off abruptly with the next track.

The transformation does continue on The Becoming. Throwing out all the senses and letting the paranoia settle in, the protagonist is going through a metamorphosis. From what I know, most bash this song for its lyrics but I think they fit the general theme of the downward spiral well, illustrating a stage of an attempted emotional abandonment. While the main driving force is this piano riff that is painted against slowed-down screams in the back, what I love the most is the moment of clarity the protagonist has in the form of an acoustic interlude right before it all goes back to hell. The ending features a reprise of this soft section, but it doesn’t last for too long because it fades into the next track.

Title of the track expresses protagonist’s disappointment with everything that surrounds him in life. I Do Not Want This, upon reflection, is an expression of concealed anger that gets more and more open as the song progresses. It starts off with quiet singing, goes through moments of internal contemplation (presented with the radio-like distortion) and a final explosion of anger regarding everything the subject of the piece wants to do. Most importantly, “something that matters”.

The anger explodes into the angriest and most primal part of the album. “Big Man With A Gun” is just a very short blast of pure “manliness” and frustration. The imagery is self-explanatory with the track getting noisier and noisier. The fast synth riff gets replaced by Reznor’s shouting about his “gun” and loud growls from the guitar. It collapses upon itself and gives way to a major shift of the album.

A Warm Place is the pivotal moment where anger towards the outer pathogens is replaced with a depressive state of self-loathing. An ambient piece (that’s basically a Bowie rip-off, but never mind that) is the fresh breath this album really needed up until this point.

The depression I mentioned above lets loose on Eraser. A creeping introductory passage that sounds like moans is broken by drums, synths and a very sinister set of string bends. The abrupt switch from the overloading chaos that is formed by these components to a ticking sound of a metronome with Reznor’s calm vocals is sublime. Track ends in another industrial war machine attack of synths, distorted guitar, uneasy percussion and Reznor’s proclamations of self-hatred.

The theme continues on the following Reptile. Another set of quiet threats during the introduction is blasted open with a powerful shot of a drum machine. Some backwards screams are thrown in for the measure as well. I guess this track has a place to pinpoint the self-hatred – sexual frustration. Works interestingly enough a couple of tracks after the braggadocious “Big Man With A Gun”. The track doesn’t try to amplify the setting too much and remains at a fairly same level of menace throughout its entirety.

The title track is born out of a broken loop, right before the main theme of the album is performed on an acoustic guitar. It appears as a front-center instrument very rarely on this album. When it does though, it sounds incredibly fragile. The small refrain after the theme sounds incredibly out of tune, as it should be at this stage of the album. The section ends with a set of looped screams from Reznor while he goes through suicidal contemplations over the main theme reprise. This is the peak of the album’s self-hatred, as the soundscapes appears to be blurring into noise until all is silent and nothing but a wind reverberation remains.

The suicide leaves the listener on the final note of Reznor’s industrial opera. “Hurt” is possibly Trent’s most well-known song, even though it was popularized through Johnny Cash. I’d say that the emotional state of the track is so powerful, honest and relatable that I am not surprised by how it was easily adopted for a slightly different strain of an overall theme. This track is quiet, with the little F note thrown in that perfects the note progression. The final note is really depressing. The protagonist realizes that no matter what would happen in a “different live”, he would still be himself and it would take numerous efforts to reach some sort of balance in his life. One could see it as a self-reflection after a botched suicide attempt, but I personally don’t think that is the case

Considering the fact that the production hasn’t aged a bit and that it was all conceived/brought to life by Reznor with little assistance (I mean having Flood/Moulder is huge, but Trent is the core of the whole thing), this has to be one of the biggest successes in industrial music. It also managed to grasp a huge crowd of listeners thanks to all the live shows and publicity preceding the release. If there ever was an album that deserves all the fanboying and hype, I would definitely say that this one has good reasons to be surrounded by both.

10/10

Good review, wew-tier score. Should really get around to listening to NIN at some point

alright cunts rocky put out a new record and imma review it for u simpletons

1999 - What Is Loved Will Never Die

track one is a nice single piano track, typical intro-style, but it's peaceful and nice. called january i'm assuming because it was written then and also because it's the first track. i don't like the abrupt cutting off of the track at the end though, it's too loud, makes me jump every time. chicago - new york (track 2) i don't like very much. mostly because the mixing is fucked, the vocals are too loud and the guitar track is too quiet, although it's somewhat resolved in the end when whatever fuckin instrument comes in (keyboard i'm assuming). i probably would have done two guitar tracks so it sounds less muddy when you turn it up. i like the sirens in track three, and it also debuts rocky's falsetto which reads as a grills voice (not a bad thing at all desu, although it is a little squeaky). lyrically it kinda echoes california song, at least in the feel of i'm in love with my best friend and they don't feel the same way. "you set ablaze the room with what you planned to be; i swore I’d tell no one the things that you told me" like that feel when you're exhausted but you can't fall asleep because everything is all too funny in the dark at 4am. reminds me of being a kid, and caffeine. oh but it's also one of the most catchy songs on the album imo, i dig the vocal melody, almost reminds me of the avett bros for some reason. into the sun is a track i could do without, although it does have some cool noises near the end. kinda the format of NMH, make a simple base for a song and then put some noise on that bitch when you get bored. anyways so track 5 california song is my second favorite on the album. it's also the longest, and (i think) one of the more serious ones (but then again maybe i just don't fully understand the other's lyrics). the tempo is perfect, the progressions (as far as layering) is perfect, it's chill and you forget it's three minutes real quick. lyrically it hurts and that's all i'm gonna say.

february follows the steez of january, guess rocky decided intros and interludes were kewl but outros were ghey, and i kinda agree. oh but yo you should've strung together the songs better, california song ends real abruptly and it would've taken just a minute to string it into february. vocally you're falling into the habit of jumping up to notes on the scale (usually one octave up from what you're singing), like if it were a continues representation it would be a line of the solid note and then a quick little quarter pipe jump up at the end, then back to the solid note. you do it with the low end somewhat as well, but more subtly. like you fall slightly below the root note (not a half step by any means, just a slightly lower freq) when you start a new bar with the same metre, and THAT i can't even complain about, it's a nice way to keep the song fresh line-to-line (although others might just say your voice is whiney, but i've heard your chest voice and it surely is not) (jesus that run on sentence tho). track seven is another one i could do without, it just feels too easy to me musically. lyrically i love it and have a few questions. like edelweiss as in the plant? or the showtune? and it kinda resonantes this feel of hermitage, with imagery that reflects the changing of seasons (probably vamping up for march--december thematically). what is loved will never die cunts. track eight is real catchy and nice but what can i say about a thirty second song anyways? track nine is nice to hear rocky throat voicing some slower melodies, and idk what fuckin effects you ran that keyboard through but i dig it a lot, reminds me of sleep party people or something (timbre at least). lyrically it sounds like ya boi finally got over the three cunts from the first half of the album, in a learning to hate you as a defense mechanism type way.

track ten is a further progression of this, like the bitterness backed off slightly and was replaced with THERE'S NOTHING WRONG WITH ME THERE'S SOMETHING WRONG WITH YOU. what did you mean by cotton in my mouth though? isn't that some southern reference i should get? anyways so the final track is my favorite on the album. i'd like to hear the story behind the track's title too, all i know is that brendan is the producerbro. lyrically it reminds me of hinduism with the almond milk and the spittle lip mixed with a nice touch of high school angst in the final lines. musically it REALLY reminds me of the stars fell on alabama, with a return of the sirens lul. incidentally cb asked why i was blasting the mountain goats while reviewing this so it's not too inaccurate i guess. it's just that vocal timbre on the falsetto man, sounds like it was recorded on an answering machine, i love it.

overall it's nothing incredibly special, but that's the point. this isn't the opus magnum rocky's been working on for the past year or so, it was just some new material he wanted to flex on for the time being. sure it has a few tracks i could skip but hey they're all under 2 mins so i just let the whole thing play most times. indiefags if you're a fan of lofi folk-inspired shit then def give it a listen, even if you hate it it clocks in at like 20 mins. i can honestly say it doesn't drag at all, which i usually say about everything, so it's a success in my eyes.

side note put the fucking title to the album on the cover what were you thinking. also side note sorry if i go from speaking to the reader to speaking directly to rocky i know i flip flopped a few times here.

actually it ENDS in a suicide, that last loud fucking noise is supposed to represent a gunshot. v nice review of muh waifu album tho

Jesus bog

I appreciate it mang

hey I'm back. I've got a freeform chart this time. I hope to fill it with Good Stuff.

"The year is 1970; two people set out to create a record that deserves to be heard. Ana Maria Bahiana and Jose Mauro."

So go the first minutes of Jose Mauro's Obnóxius, an album that rivals the infectious and introspective jazzy/orchestral folk stylings of Five Leaves Left and Scott 3. Perhaps a Brazilian answer to these records, Obnóxius stands both as a monolith album on its own.
The production, courtesy of label boss Roberto Quartin; and arrangements, courtesy of Lindolfo Gaya (most famous for helping arrange Nara Leão's 1964 eponymous album as well as MPB4's debut album), remain as stellar as ever, not just leaving room enough for Mauro's beautiful voice, which is the bare minimum a good folk rock arrangement should do, but also elevating the music to another, higher plane of existence. I loved the vintage, sepia-tinted production but also liked how it still looked towards the future with bright eyes.
The lyrical content of this album I cannot comment on, despite (or maybe because) me having rudimentary knowledge of the Portuguese language. I know that the lyrics were fairly controversial, but even if they were, the music itself does not betray anything but faint uneasiness.

8/10, perhaps 9/10 on a good day

>pricing an album at 1000 buckaroos
wew

Listened to some bits and pieces of the album, a bit too lo-fi for my taste but I might listen to it next morning.
still feel like Hurt is more of a suicide note. Maybe he offs himself after finishing writing, that's also true. Thanks m8 btw.
>wew-tier score
Is it though? I think it is widely considered to be one of the best albums of the 90s at least.

ja my reviews are either two sentences or two pages

so uhhhh while i'm here anybody got any hip hop for me

i hate to rain on the parade bog but except for get disowned the female vox are, in fact, female vox. when we were talking about falsetto initially it was just about get disowned, the others are by this person right here: batterystanley.bandcamp.com

the 1000 dollar record is priced as such because no one should even get the option to spend money on or download it.

inb4 big spender buys it anyways

songs cutting abruptly is entirely on purpose, if i'd done the transitions the record would drag.

stars fell on alabama yesssssss

no

at that point i think i'd be willing to compromise my principles

btw don't listen to that record

naaaahhh

I'm saving up for a guitar.
>btw don't listen to that record
DON'T TELL ME WAT TO DO!

I'll listen to the new one though.

doggy