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.
Insane. I’m tapping my feet to “Night Rider” or “No Heavy Trucking” now. Somewhat like Stan Hubbs’ Crystal.
>Kenneth Higney - Attic Demonstration (1976)
This is one of the weirdest albums I’ve listened to on repeat. There’s a chance that those who listen to this based on my review will find it the worst thing ever. It’s like there’s this fine line between genius and insanity and I keep doing the aural equivalent of a double-take trying to figure out what’s what.
Attic Demonstration is what Paul Major considers a quintessential Real People album, his concept loosly stating that one can get just as much out of a non-musician’s music, that so-called musicians’ music is an ivory tower. If psychedelia aims for transcendence, this may as well be through the threshold.
I’m still not exactly clear what the deal is; this is a collection of demos from Kenneth Higney who I think considered himself a country or folk musician, but some stuff here certainly sounds like Detroit rock or proto-no wave. It’s extremely primitive of course and it sounds like Kenneth Higney didn't even have an understanding of what a song sounds like. Why or how did he develop these semi-tonal melodies...what is the idea behind “Children of Sound” or “I’ll Cry Tomorrow”? A lot of this sounds closer Southeast Asian folk to our western ears than any other signposts. And I don’t think he’s being intentionally cute or avant nor is he doing a poor imitation of x; there’s quite a bit of honesty and the sentiment of these expressions themesleves can’t be mistaken. It’s helped by these stream-of-consciousness lyrics. It’s never less than fascinating.
So if you buy into the fact that this isn’t all just complete amateur nonsense, there’s an extreme level of intuition in this music: that Higney really had this unfettered, un-received channel for the music in his head. It’s an invaluable trait. 8/10
Brody Moore
>Peter Grudzien - Album No. One (In Two Sides) - The Unicorn (1974)
This one is now massively popular in the outsider/Real People/psych folk world. But if we’re being real, this music is just traditional country created by an out-of-this-world guy. I encourage everyone to at least check this guy’s story out even if isn’t my favorite album. His music is created, performed, and released 100% solo. His thing is that he’s unironically a gay, Christian Johnny Cash. He really was trying to make it in Nashville and seemed to not any self-awareness about the absurdity of his work. The world is a richer place for having heady individuals like Peter Grudzien, but I also think this isn’t very interesting or exciting outside of its lyrics. 5/10
Ryder Murphy
Winter in Venice was fun and I finally got around to listening to geodaddi- what are other essential wintery albums to listen to on the ski slopes daily Yes
Monolake - Gravity Wolfgang Voigt - Kafkatrax SND - Tender Love Regis - In a Syrian Tongue (and most of their other work is minimal, slow progression and good friend rodriguez also makes minimal techno stuff under the name MC 469
>1/10 for Pulse Demon >7/10 for Venereology Explain
Ayden Cox
If you honestly think pulse demon deserves a higher rating you’re on ass. And I forgot why Venereology is that high it should be lower my fault
Dominic Hill
venereology a solid 7 pulse demon probably a 6
Isaac Perry
thanks!
Brayden Wright
I brought it down to a 6 i think i was really stoked about it when i rated it
Grayson Lee
>not understanding how capitalization works >not understanding how to link artists correctly >Minnor Threat I don't even feel comfortable bullying you, but you might be too retarded to even notice.
Andrew Martin
>2413 ratings >no sachiko m albums
Tyler Thomas
...
Elijah Miller
Reminder that this is better than Little Dark Age, which barely even has a gothic aesthetic
i was mainly curious about the gap in score I actually haven't listened to pulse demon
Carter Reyes
sorry, i wasn't serious :{}
Jaxson Edwards
Yes there is >inb4 only one
Ryder Moore
Lol getting salty over an album getting acclaim is the highest state of enlightenment
Jaxson Miller
i'm 50% """joking""" Jangle-style but I mostly wish it didn't feel so sterile compared to Oracular and Congratulations, MGMT was one of my entry bands
it kinda reminds me of Everything Now tbqh
Andrew Moore
I get the joke, I get it. 100% not judging. I actually like that it doesn't sound like MGMT though. Sounds closer to these LA acts I've been digging lately. And that production is immaculate imo...really, it's almost all about exciting production. Everything Now sounds cheap.
Blake Cook
>I actually like that it doesn't sound like MGMT though this seems to be the primary reason much more people like it You haven't listened to Congratulations yet? and yeah the production is smooth af, I was more irritated by the more conventional songwriting. The instrumentals on tracks like James (basically Empire of the Sun) and Days that Got Away make it up but on others (Me and Micheal, TSLAMP, She Works Out Too Much) it didn't
Henry Smith
Tslamp was the worst on the album
Eli Flores
I only heard Congratulations when it came out and everyone thought it sounded annoying and Syd Barrett-y, now I'm surprised at all these people saying it's their peak, so now I'm gonna return to it Eh, seen lots of people call it their fav
Damn, Michael Mayer's Immer really is comfy. Last time I listened to it it sound way too cold.
>>natkingcole Do you have a good rip of Gachet's Elite Sounds? Mine sounds pretty bad, but maybe that's the way all the copies on the internet sound. Thanks for the other recs by the way, will try to check them out today.
Luis Lee
I know that feel
It's not trip-hop but Seefeel is worth a listen
Jason Lee
I have no idea what this is. It was posted on the metal magazine Decibel's blog but is obviously not metal but I fucking love it. Any more like this would be greatly appreciated. derblutharsch.bandcamp.com/album/desire
Jeremiah Collins
caught three billboards
I like it a fair bit but I could go on and on about the things wrong with it. peep my oscar RYM list for more thoughts at some point
Mason Wood
yea I liked it and a few scenes were great but there is a lot wrong with it, mostly the dialogue
Evan Harris
Yess
Nicholas Anderson
man u seem like an asshole lmao
Jack Johnson
i've tried to enjoy seefeel but i simply can't
John Peterson
Tripfags are cancer. Sage baby!
Isaac Sanders
i'm coming to eat jangle's hair
Austin Johnson
>saging a dead general
Cooper Thompson
that album and solo violin improvs have survived so many revisions to my rym 5.0s
>plunderphonics oh that's my cue. Here's some non-canon favs:
>Neat Beats - Cosmic Surgery (2011) >Les Scultpeurs de Vinyl - Memory & Money (1997) >Ground-Zero - 革命京劇 (Revolutionary Pekinese Opera) Ver.1.28 [Kakumeikyōgeki] (1996) >Heat Wave - I’m Fuckin You Tonight (2011) >The Avalanches - Electricity (1999) >Canooooopy - 百夜を繋ぐ言の千切れ葉 [disconnected words connect the worlds] (2014) >Bernard Bonnier - Casse-tête (1984) this sort of counts, right, even if it predates John Oswald >Man Bites Dog - Noir (2014) >C L E A N E R S - Real Raga Shit Vol. 1 (2014) >David Kanaga - Operaism (2017) >Yaper - Amherst (2014) >Position Normal - Stop Your Nonsense (1999) Also be sure to check out The Books, bc they sort of count
see
Jack Moore
>Avalanches >plunderphonics no ((tb)h) also, Oswald just gave the genre a name, he never invented it
anyways, what's the difference between RPO 1.28 versus the original? I could barely tell any.
Asher Cooper
desu haven't bothered listening to the original, so I couldn't tell you
also what do you reckon you're ((implying)) about the Avalanches there friend
Joshua Brown
I see then. Operaism is awesome. So disorienting, I love it. >((implying)) nah, just playing around with characters to avoid the t-b-h- filter but seriously though, Avalanches are not plunderphonics, they are just instrumental hip hop
Christian Thomas
ah fugg missed that! i'll try and get it up for you. my rip sounds pretty decent.
yeah, the dialogue was weirdly stilted and awkward, weird because i love the dialogue in In Bruges.
i really hated the tone, it couldn't decide whether it wanted to be a comedy or a drama and it's all just really off.
Tone was wrong. It's like they planted comic characters only to decide halfway through that there was depth to them
Brody Martin
new mike love album has three songs with an autotuned john stamos
why am I listening to this
Levi Brown
not to mention FUCKING AJR
Gavin Nelson
yea I think that was why I was so disappointed too, I rewatched In Bruges shortly afterwards and it held up though I forgot how bad the action sequence was at the end
Did you see Phantom Thread yet?
Jeremiah Brooks
makes me especially sad because Darlin' (the song they're featured on) and Wild Honey in general is very underrated
the cover of Wouldn't It Be Nice is also notably awful
Christopher White
What're you on about? Have you even listened to SILY? There's nothing hip hop about it.
but yeah, Operaism was great. Definitely one of the best albums out yet on Orange Milk tb h
I have to hear this
Noah Foster
i mean, neither of you are wrong
Kevin Ramirez
Thank you :3
>Have you even listened to SILY? There's nothing hip hop about it. Yeah, and it's closer to instrumental hip hop than plunderphonics. It's just too distanced from hip hop to be considered hip hop by many, but it still has it's roots on instrumental hip hop, like Entroducing but even more distanced. Also, Avalanches used to make mostly hip hop (both instrumental and normal, and also turntablism) in the past, so the claim is reasonable.
RYM is wrong though. It's just instrumental hip hop, no plunderphonics. And Dance is a stupid genre.
Levi Martin
wait how is it not pluderphonics tho, I'm lost.
Aiden Baker
>avalanches are not plunderphonics ??? >Have you even listened to SILY? There's nothing hip hop about it ?????????????
what are either of you saying
these two elements can exist together, right?
how is SILY not plunderphonics? They use samples from somewhere in the ballpark of 3,000 different elements
it sits between so-bad-it-must-be-heard and just depressing. Highly rec especially if you love a lot of Beach Boys stuff
how is it not plunderphonics? >Plunderphonics, or Audio Piracy as a Compositional Prerogative, is a compositional technique that uses one or more existing audio sources and manipulates the sources to create a new composition is this not SILY?
Cameron Myers
I'm to lazy to write this myself, so I will copy-paste the comment of someone who shares my opinion (actually a fact). >if [SILY] and DJ Shadow are Plunderphonics, every single DJ Mix has to have Plunderphonics as at least a secondary. that's fucking absurd. using samples (even a ton of them or only them) =/= Plunderphonics.
See my quote above in this same post. Basically, samples =/=> plunderphonics plunderphonics ==> samples
>Plunderphonics, or Audio Piracy as a Compositional Prerogative, is a compositional technique that uses one or more existing audio sources and manipulates the sources to create a new composition Is every hip hop recording plunderphonics?
Jaxson Harris
...
Josiah King
you haven't explained yourself. You've just said one thing is and one thing is because you say so.
how isn't an album that's made entirely from samples NOT plunderphonics?
>Is every hip hop recording plunderphonics? I understand having samples doesn't necessarily make something plunderphonics, but how is an album that's made exclusively several thousand different samples not plunderphonics?
Give me an example of something that is plunderphonics and tell me what it has that SILY lacks.
I'm extremely confused by your POV.
Jaxon Perry
hi fish :)
Brody Campbell
hii
Christian Long
...
Hunter Kelly
:c Why can't you guys appreciate the art of proper genre classifications? ;_; I'm even making my own genre tree-list now based on RYM's but changing the genres to their proper destinations (so stripping the Pop and Classical umbrella genres apart together with stuff like Ska and Spaghetti Western into their proper places).
>you haven't explained yourself >see my quote above in this same post I copy-paste it again >if [SILY] and DJ Shadow are Plunderphonics, every single DJ Mix has to have Plunderphonics as at least a secondary. that's fucking absurd. using samples (even a ton of them or only them) =/= Plunderphonics.
>how isn't an album that's made entirely from samples NOT plunderphonics? Is hip hop plunderphonics now?
>I understand having samples doesn't necessarily make something plunderphonics But you said it did. >but how is an album that's made exclusively several thousand different samples not plunderphonics? Because plunderphonics is not the same as using samples. You might as well call that a sound collage. See what I mean?
>Give me an example of something that is plunderphonics and tell me what it has that SILY lacks. John Oswald's Plunderphonics. A composition method that is not based on instrumental hip hop traditions.
Nathaniel Diaz
Sonic qualities are not the only thing considered in genre classification. DJ Shadow is instrumental hip hop not just because his work sounds a hell of a lot more like hip hop than the Avalanches, but because he worked almost exclusively with hip hop artists.
The Avalanches are considered electronic and dance music artists because they DJ at a lot of dance parties.
no fun allowed
Justin Wright
...
Xavier Harris
a thing can actually sometimes be two things
Tyler Gomez
>Sonic qualities are not the only thing considered in genre classification. Eh, kind of. Depends on what you consider a sonic quality. >DJ Shadow is instrumental hip hop not just because his work sounds a hell of a lot more like hip hop than the Avalanches, but because he worked almost exclusively with hip hop artists. Yes, Shadow is a lot closer to traditional hip hop than Avalanches, but Avalanches' music is still rooted in hip hop, and SILY in particular is still rooted in instrumental hip hop. It's just that, like I said before, it's further removed from hip hop roots than most other instrumental hip hop.
>a thing can actually sometimes be two things But not because someone can be two things it means it's actually two things.
Carson Martinez
ur gay
Aaron Flores
;_;
Caleb Stewart
nice digits I'm confused, though, what the contention is. Is it that SILY sonically resembles hip-hop? Or is it that DJ mixes should be called plunderphonics? Either way, it's not black and white. Genre classification is based on so many extra-musical factors, and is so many shades of gray.
However, even just sonically, SILY rarely sounds like hip-hop.
The only rapping on the entire album is on "Close to You" and it's hardly the focus of the track. The beats are also only ever incidentally hip-hop-sounding (aside from "Electricity" and "Frontier Psychiatrist" which obviously reference hip-hop). Like, what are they supposed to do? Not have a beat?
And even then, they sample all kinds of drum beats, from exotica, soul, r&b, trad folk, to god knows what else. Usually there are actually multiple drum samples sounding at once. The beat isn't even focus most of the time! In fact, this focus on texture over rhythm definitely differentiates SILY from most other IHH, which is almost definitively based around a strong beat.
I'm still p flummoxed tho that somebody could even consider challenging SILY's classification. John Oswald's original definition aside, SILY has come to represent plunderphonics.
Eli Parker
>Is it that SILY sonically resembles hip-hop? Yes. SILY is rooted in hip hop music, and not plunderphonics. >Or is it that DJ mixes should be called plunderphonics? They shouldn't, but calling SILY plunderphonics makes as much sense as calling DJ mixes plunderphonics: it doesn't make sense.
>Genre classification is based on so many extra-musical factors Such as?
>and is so many shades of gray. Of course.
>SILY rarely sounds like hip-hop Arguably it doesn't sound like hip hop (many rymers disagree, however), but it's still rooted in hip hop. It evolved out of hip hop.
>The only rapping on the entire album >implying rapping defines if something is hip hop or not sad!
>Like, what are they supposed to do? Not have a beat? Well, John Oswald's compositions don't...
>And even then, they sample all kinds of drum beats, from exotica, soul, r&b, trad folk, to god knows what else. So do other hip hop artists and dj mixes.
>I'm still p flummoxed tho that somebody could even consider challenging SILY's classification It's not really an unpopular opinion. Take a look at the rym genre voting page of the album and you will see there are a few users against the classification.
>John Oswald's original definition aside fuck him and his original definition t~b~h
>SILY has come to represent plunderphonics And that's a great mistake.
Connor Nguyen
geez
Landon Williams
if avant-math god's life were a genre it'd be blulnerphonics
Owen Walker
You'll trolling at this point. John Oswald's compositions absolutely have beats.
You have the strictest definition of plunderphonics I've seen, and you seem to consider it a strict genre with a narrow ethos. Maybe it's a genre in that sense to some, but it's also a technique or set of techniques, which SILY follows perfectly.
Henry Wood
>Such as? Literally read above. Like who the artists work with, what the music stylistically references, and who takes inspiration from it. The artist's intentions should also be considered (not accepted as fact, obviously) but I bet that's a whole 'nother debate.
>So do other hip hop artists and dj mixes. I dare you to find any DJ mix or instrumental hip hop album that sounds like SILY that doesn't have the plunderphonics tag already on it.
>Yes. SILY is rooted in hip hop music Yes you keep saying that. It's also rooted in electro, swing, exotica, doo wop, and innumerable other sources. And it's because the music significantly reflects all these sources—in the ways I described in the previous comment—that it's wrong to pigeonhole SILY into a genre as boring and single-purposed as IHH.
It's also clearly not a DJ mix so I don't know why you keep saying that. If a DJ mix is more complicated than mixing two songs together, it should be considered plunderphonic.
>(many rymers disagree, however) Right, but I really don't care what a couple of nonces on rym have to say
>Well, John Oswald's compositions don't... Let me get this straight, your criteria for plunderphonics is that the music has to be arhythmic? >fuck him and his original definition t~b~h the jig is up
Thomas Evans
:3
>You'll trolling at this point. John Oswald's compositions absolutely have beats. I'm not. Take a look at John Oswald's Blur and you will see that it's a mess with no beats (not the same as no rhythm).
>You have the strictest definition of plunderphonics I've seen I haven't proposed any definition yet though. I only said that, if SILY is plunderphonics, then hip hop and dj mixes must be plunderphonics too. And again, it's not an unpopular opinion, some other guys on rym think the same thing.
and you seem to consider it a strict genre with a narrow ethos. Maybe it's a genre in that sense to some, but it's also a technique or set of techniques, which SILY follows perfectly.
>Maybe it's a genre in that sense to some It definitely is.
>but it's also a technique or set of techniques, which SILY follows perfectly. You mean sampling? And again, if SILY is plunderphonics, then so are hip hop and dj mixes.
