No, that’s not my favorite track. Not even in my top ten favorite Art of Noise tracks. They were an odd group in that they literally started out as an experimental project playing with producer Trevor Horn’s studio toys in their down time and at one point even had a music journalist as official member just for giggles.
I think you’re being a bit harsh on their talents. They were literally some of the very first musicians and producers using brand new tools, and several of the people originally involved have had very long, successful and influential careers even if you don’t know their names. Sort of like how many people know that one Devo song and only nerds like me knowlots of them, but everybody has been listening to Mark Mothersbaugh’s stuff for decades without knowing who he is or how widely he’s cited as a major influence.
As for M|A|R|R|S, they’re just silly fun that you should listen to approximately once every 3 years for a laugh.
I’ve seen them live, and the energy and positive vibes of the show were off the charts. Although some of the material is kind of melancholy-ish.
Their most recent album Noire has a couple of tracks that are A+. Collide and Satellites are what I would describe as uplifting-orchestral-industrial-electronica.
But srsly, my bad, I thought you were doing the historian thing and not laying your soul bare by presenting a track you like (even if it’s not your favorite of favorites). And, I should’ve added something preemptively about taste being subjective and how my taste might be shitty.
I was just trying to speak on how in electronic music we went from caveman-playing-a-flute-made-of-bird-bones to modern woodwind quintet in the span of a few decades, and how it’s always rubbed me the wrong way that it seemed like the revered pioneers and old masters were really just treating it as a gimmick or, like you said, playing around with toys. I would’ve used Yellow Magic Orchestra or some shit but we were talking about samples.
I’m gonna think of the guiltiest pleasure track(s) I have and you can poop all over them.
Geez, don’t start apologizing. Your first take was a lot closer to the truth. It is safe to assume that most music I post here or anywhere else is something I find interesting for one reason or another rather than something I personally like and value. The one big exception to that in this thread is Boards of Canada. If you say anything bad about them I will hunt you down, break into your house late at night, and pee in your houseplants.
I’m glad you and He Who Balls Goofily™ liked it. I thought about putting it in the OP but I was running out of steam. Plus it has a certain cheese factor that I was a little hesitant to put out there at that point…
I enjoyed this. He’s obviously very knowledgeable and thoughtful about the music. It’s also handy as a playlist to mine to look for new stuff to listen to!
Several of the artists he mentions early on (Coki, Ikonika, Skream, Benga) appear in that KEXP set I posted up thread. Just a heads-up for those who liked that type of sound.
The Skrillex track that really bangs for me is, wait for it, Bangarang, lol. It’s like a lot of things he was trying to achieve with other tracks (like the rhythms when cutting up the vocals and interspersing them with the brosteppy bass) finally clicked with this one.
It’s enough for me to say, yes, I like Skrillex, he is good, but my metrics are different than normal people. It only take a couple good tracks, if not one.
That’s not even what I’m really hearing here. In fact, I’m kind of listening past both of those things because I think they are pretty harshly implemented, but that’s a matter of taste. What stands out to me is that this is put together extremely well and the underlying composition is great. It would still totally rip if it was arranged for traditional orchestra or big band jazz.
Ha, nice. Yeah, that’s why performers of all stripes love straightforward covering Aphex Twin. Arguably his pure songwriting shines even more in some covers.
The reason for the discovery of this phenomenon was an accident: the aerologists working at the marine hydrometeorological stations and watercraft drew attention to the strange pain that a person experiences when approaching the surface of a standard meteorological probe (a balloon filled with hydrogen).
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