Discuss the Musics Thread

[D_Davis]

I don't know much about it but this made me laugh.

heheeh


*****

Pet Shop Boys' Behavior 25 Years Later

[D_Davis]

That new Bowie track sounds like the follow up to Outside - his most underrated album - that I always wanted.

[D_Davis]

Adele again proves that being white, young and pretty is the number one thing in music, because Sharon Jones still makes Adele's blue eyed soul sound silly and soulless.

[[ETM]]

I dunno, I don't really see the overlap.

And yeah, Blackstar is hypnotically amazing.

[D_Davis]

Lee Scratch Perry just lost everything in a huge fire.

Decades worth of dub and reggae relics, documents and recordings....all gone.

https://www.facebook.com/Lee-Scratch...2796666113415/

[D_Davis]

Enjoy a Winter EP

[bac0n]

Adele again proves that being white, young and pretty is the number one thing in music, because Sharon Jones still makes Adele's blue eyed soul sound silly and soulless.

The sound mixing on that video is pretty horrid. Can't hear the brass or background singers at all. It's like it's missing an entire stereo channel. Doesn't do the song justice.

On a more positive note, Sharon Jones & The Dap Kings released a Holiday Album this year, and it's pretty kick-ass.

[D_Davis]

The sound mixing on that video is pretty horrid. Can't hear the brass or background singers at all. It's like it's missing an entire stereo channel. Doesn't do the song justice.

I think one of your speakers might be out.

Just checked - I can hear the horns, the background singers and I get a full stereo image.

???

It does have a really, really wide stereo field for some reason, so maybe something is out of phase with your set up?

Most of the horns and backup singers are on the same channel/side.

[bac0n]

I think one of your speakers might be out.

Just checked - I can hear the horns, the background singers and I get a full stereo image.

???

It does have a really, really wide stereo field for some reason, so maybe something is out of phase with your set up?

Most of the horns and backup singers are on the same channel/side.

They didn't design the mix with my particular set up in mind. Therefor, it is a horrible mix. What is the matter with you man? I thought you were a musicer or something. You should know this shit.

[D_Davis]

Actually that is true. For commercial music, they should always check for sub par listening situations including mono. :$

[D_Davis]

Best album of 2015:

Mbongwana Star - From Kinshasa



Wow. What an album. By far the most sonically interesting and inventive album I heard all year - a bona fide masterpiece. Mbongwana Star's debut album is a masterful combination of world-afro-beat, dub, post-punk and experimental electronic music. I've never heard anything exactly like it.






Runners up:
Kendrick Lamar - To Pimp a Butterfly
Kamasi Washington - The Epic
Dreems - In Dreems
Food - This is Not a Miracle
New Order - Music Complete (best surprise of 2015)

[D_Davis]

V-v-v-v-v-apor way-ve.....the last great vapor wave album of 2015.

http://aloecityrecords.com/album/melt-plus

[D_Davis]

An early contender for 2016's 2015's Albums of the Year

Aside from the eerily minimal magic of her music, this ECM debut by the young Norwegian saxophonist and composer Mette Henriette Rølvåg is a classic testament to the German label’s method. Find the quietest, most privately contemplative sax debutante around, and let her make a double album that doesn’t have a title, on which nine tracks have elapsed before she emerges from evaporating sighs and high-register flutters and whispers (the recording often catches the moistness and crackle of her sax-reed) to take a decisively central role. Yet the details are fascinating: sounds not unlike an insect buzzing in the sun (the first disc features Rølvåg’s saxophone accompanied only by pianist Johan Lindvall and the sonically resourceful cellist Katrine Schiøtt), gong-like piano repetitions that draw the saxophonist out of hiding, plaintive Jan Garbarek-like sweeps. The second disc features a 13-piece band, and often sounds more composed and upfront, and thematically inviting. The set may be an acquired taste for some, but Mette Henriette is a contemporary-music star on the rise.

http://www.theguardian.com/music/201...nriette-review

This is a stunning debut. Bold and contemplative, mature and adventurous, confident and expertly crafted. It's minimal to its core - some of the pauses between phrases within each composition are longer than the space between the tracks. Sometimes there is nothing more than a raspy breath being breathes through the mouthpiece of a horn. And sometimes, it's abrasive and disjointed, assaulting your ears with sonic attacks.

[D_Davis]

Want some funk?

[D_Davis]

One more day until the new David Bowie, and by all accounts it is among his boldest and most artistic statements of his entire career. From what I've heard, it sounds like we're finally getting part two to Outside, so I am beyond excited.

[D_Davis]

[D_Davis]

David Bowie - Blackstar

David Bowie’s 1995 masterpiece, Outside, is a psychotronic journey into the mind of madman overflowing with the kind of paranoia and pre-occupation with serial killers so prevalent in that decade. Outside was supposed to be the first part of a trilogy, but, unfortunately, we never got a sequel.

That is until now, 21 years later, with Bowie’s latest, Blackstar.

OK, so Blackstar isn’t an official follow-up to Outside, but it’s close enough in themes and sound to be so. Once again, Bowie returns to the seedy underbelly of a near-future (or possible an alt-history) dystopia, singing from the POV of the dead and the dying, the discarded and the unwanted. Like Outside, Blackstar is a thematically cohesive album with songs ranging from the weird and disjointed to the poppy and beautiful. It is a bold artistic statement from an artist who sees little value in simply revisiting the past, and is more concerned with examining there here and now and what is to come.

And while the two albums occupy similar thematic and sonic territory, Blackstar stands apart from Outside in its execution, with its jazz roots and production. The first thing I noticed is how amazing the drums and bass sound. The bass is muted, and locked perfectly in time with the tight kick and one of the best sounding snares I’ve ever heard. “This sounds like Tony Visconti’s production,” I said to myself. And, lo and behold, it is. Nobody makes a rhythm section sound better than Visconti, and Blackstar is up there with his very best work. The second thing I noticed is how interesting and bizarre the songs are. Even when they’re more pop/rock orientated, there is an otherworldly quality to them that makes them sound haunting and illicit, not to mention the inclusion of the harshest language I’ve ever heard Bowie use.

If Outside was Bowie’s response to the paranoia of the 1990s, then Blackstar is his response to the hatred and violence found in the world today. Both albums reflect their times, and also examine a near-future similar to a J.G. Ballard story; I wouldn’t hesitate to call both Ballardian in nature, if I didn’t think that the comparison would discredit how Bowian they are (and I don’t think I realized how similar these two artists are until today). Both albums also end with a surprisingly upbeat track shedding a ray of light and hope that recharges the listener with a brief hint of optimism, or at least a chance at redemption.

[Russ]

In the last 20 years, if you were ever in love with The Orb, then you most assuredly cut that cord pretty quickly (I know I did).

Newsflash: They're baaack (and better than ever)...

"First, God does not exist.
But don't worry, what does exist is good, as opposed to evil.
So, if you believe in God, you believe in good, and that's as it should be.
You are just fine.
If you believe in evil, then you probably need a whack on the back of the neck with a big fucking stick."

This is the intro to Alex Paterson and Thomas Fehlmann's latest Orb excursion, Moonbuilding 2703 AD. This is The Orb we all know and love. A throwback to the early classic Orb of yore, with a few tweaks: less emphasis on those weird samples, and more on the musicscaping worlds of these seasoned ambient pro's. There are 4 tracks, clocking in at 52+ minutes; released on the German Kompakt label with flawless mastering by Stefan 'Pole' Betke, and it's cut from the same cloth as the longer, trippy, dubby tracks not heard since the classic U.F.Orb release from the early 90's. As evidence, all 4 tracks seem to share Blue Room DNA at one point or another - the difference here being the tempo changes and the avoidance of repetition - and an absence of the 'muddy' sound that resulted from the constant layering of sound upon sound upon...yet more sound. No, these tracks are clean, clear, and propulsive -- pretty conclusive evidence that these sonic sculptors stepped back and actually took their time time with this release. And it shows.



Daniel. I know you (rightfully) think The Orb's sell-by date has long since expired, but I really think you should give this a shot.

[D_Davis]

I've actually liked their last two albums quite a bit. Good stuff. Good write up. Reminds me to listen to it again.


Have you checked out Mbongwana Star?

[D_Davis]

Re-downloaded the Orb album to listen to this week.

[D_Davis]

[D_Davis]

New album

[Sven]

"But with this song, Marshall’s telling White people that he’s here so they better get used to it. Macklemore is just asking Black people if he can stay a bit longer just in case he’s worn out his welcome."

A fine way to put it. "White America v. White Privilege II". Macklemore makes me wretch.

[Yxklyx]

This piece of music is epic:

https://www.kristinhersh.com/Releases/power-light/

[Yxklyx]

Keith Emerson died