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What are you listening to? Is it good? 2.0

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Comments

  • JanKunJanKun

    Lately I am obsessed with this track and the incredible production by Blake Mills

  • wimwim
    edited January 26

    I'm not generally able to listen to ambient for long, but this is drawing me in. I can't say I've listened to anything like it that stirs up emotions like this does. Funny that I never heard of it until a few days ago. I love the blurb from Wikipedia about how she recorded it.

    Recording

    The album originated in 1982, shortly after Demby had finished her previous studio album, Sacred Space Music. She recalled music entering her head, sketches of which were recorded using a four-track Portastudio cassette recorder. "I was hearing the most incredible music playing inside my head and had no idea how I would duplicate this other dimension, how I would pull it through and get it onto tape in this dimension. For what I heard inside my head made me think, 'How in God's name am I going to duplicate this?'"[1] In 1985, after setting up her home studio, Demby found the task of recording her new ideas somewhat intimidating as she lacked experience of operating the equipment, using a digital sampling synthesizer, or had composed or performed such a longform orchestral composition. To further matters, Demby was unable to record her ideas as she found herself "alone with the equipment and paralyzed with fear", thus creating a block on her creativity. She found a remedy by playing "silly comedy music" first, after which "the music began pouring through".[1]

    Demby recorded the album on a Tascam 16-track recorder and plays just three instruments, her main being the E-mu Emulator II, one of the first digital sampling synthesizers, which combined the sound of real symphonic instruments and choirs into a single keyboard. It was hooked to a Roland Juno 60 to provide arpeggiated effects and enhanced sounds.[1] Demby also plays a Yamaha concert grand piano. Apart from the early ideas recorded on the Portastudio of the orchestration, general direction of the music, and emotions that Demby wanted to present, none of the music was written down or scored in advance.[8] Demby used a sound to represent a specific emotion, such as a cello to signify "the searching, yearning heart", or a bassoon for one's higher self, which she wrote was "a more exalted positioning that no longer required searching or yearning, it simply knew. It's job was to 'answer' the questions the cello was asking, a conversation heard in the opening sections".[1]

    Demby recorded the composition in sections which were pieced together in post-production; she only heard the final piece in full after mixing was completed seven months later. After Demby had recorded her parts, the music was further enhanced with electronic textures by composer Michael Stearns and refined with co-producer Anna Turner.[8] Mixing was done by herself, Turner, Stephen Hill, and Warren Dennis; some of it was automated, but much of it required the four operating the mixing console in real time.

  • HotStrangeHotStrange

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

  • mikejohnmikejohn

    Dorothy Ashby :: “Soul Vibrations”
    … the whole “Afro Harping” album, for
    that matter

  • FingolfinzzFingolfinzz

    A playlist of Chic

  • HotStrangeHotStrange

    Not sure if it counts but I started listening to the Alice In Chains: Untold Story audiobook today. Got it for free with the monthly Audible credit. Very excited.

  • JanKunJanKun

    @HotStrange said:

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

    Very talented. I love the three most recent albums with the great production from Blake Mills. The first time in heard this track, I thought @LinearLineman would probably like it.

  • HotStrangeHotStrange

    @JanKun said:

    @HotStrange said:

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

    Very talented. I love the three most recent albums with the great production from Blake Mills. The first time in heard this track, I thought @LinearLineman would probably like it.

    Blake Mills is great. And he’s worked with one of my absolute favorites a few times (Fiona Apple).

  • JanKunJanKun

    @HotStrange said:

    @JanKun said:

    @HotStrange said:

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

    Very talented. I love the three most recent albums with the great production from Blake Mills. The first time in heard this track, I thought @LinearLineman would probably like it.

    Blake Mills is great. And he’s worked with one of my absolute favorites a few times (Fiona Apple).

    Same here ! Fiona Apple is amazing. Been following her from the very beginning. She doesn't release music often, but whenever she does, it is always a masterpiece.

  • Wrlds2ndBstGeoshredrWrlds2ndBstGeoshredr

    @wim said:
    I'm not generally able to listen to ambient for long, but this is drawing me in. I can't say I've listened to anything like it that stirs up emotions like this does. Funny that I never heard of it until a few days ago. I love the blurb from Wikipedia about how she recorded it.

    Recording

    The album originated in 1982, shortly after Demby had finished her previous studio album, Sacred Space Music. She recalled music entering her head, sketches of which were recorded using a four-track Portastudio cassette recorder. "I was hearing the most incredible music playing inside my head and had no idea how I would duplicate this other dimension, how I would pull it through and get it onto tape in this dimension. For what I heard inside my head made me think, 'How in God's name am I going to duplicate this?'"[1] In 1985, after setting up her home studio, Demby found the task of recording her new ideas somewhat intimidating as she lacked experience of operating the equipment, using a digital sampling synthesizer, or had composed or performed such a longform orchestral composition. To further matters, Demby was unable to record her ideas as she found herself "alone with the equipment and paralyzed with fear", thus creating a block on her creativity. She found a remedy by playing "silly comedy music" first, after which "the music began pouring through".[1]

    Demby recorded the album on a Tascam 16-track recorder and plays just three instruments, her main being the E-mu Emulator II, one of the first digital sampling synthesizers, which combined the sound of real symphonic instruments and choirs into a single keyboard. It was hooked to a Roland Juno 60 to provide arpeggiated effects and enhanced sounds.[1] Demby also plays a Yamaha concert grand piano. Apart from the early ideas recorded on the Portastudio of the orchestration, general direction of the music, and emotions that Demby wanted to present, none of the music was written down or scored in advance.[8] Demby used a sound to represent a specific emotion, such as a cello to signify "the searching, yearning heart", or a bassoon for one's higher self, which she wrote was "a more exalted positioning that no longer required searching or yearning, it simply knew. It's job was to 'answer' the questions the cello was asking, a conversation heard in the opening sections".[1]

    Demby recorded the composition in sections which were pieced together in post-production; she only heard the final piece in full after mixing was completed seven months later. After Demby had recorded her parts, the music was further enhanced with electronic textures by composer Michael Stearns and refined with co-producer Anna Turner.[8] Mixing was done by herself, Turner, Stephen Hill, and Warren Dennis; some of it was automated, but much of it required the four operating the mixing console in real time.

    When I read about artists, I always wonder how they get their living. Reading her story it seems likely she was born to wealth, but neither her Wikipedia or her obituary say.

  • HotStrangeHotStrange

    @JanKun said:

    @HotStrange said:

    @JanKun said:

    @HotStrange said:

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

    Very talented. I love the three most recent albums with the great production from Blake Mills. The first time in heard this track, I thought @LinearLineman would probably like it.

    Blake Mills is great. And he’s worked with one of my absolute favorites a few times (Fiona Apple).

    Same here ! Fiona Apple is amazing. Been following her from the very beginning. She doesn't release music often, but whenever she does, it is always a masterpiece.

    Absolutely 👍🏻 I got into her in my teens when Extraordinary Machine came out and have loved her ever since. Only an album every 6-8 years but it’s ALWAYS a masterpiece. Not a bad song between them.

  • JanKunJanKun

    @HotStrange said:

    @JanKun said:

    @HotStrange said:

    @JanKun said:

    @HotStrange said:

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

    Very talented. I love the three most recent albums with the great production from Blake Mills. The first time in heard this track, I thought @LinearLineman would probably like it.

    Blake Mills is great. And he’s worked with one of my absolute favorites a few times (Fiona Apple).

    Same here ! Fiona Apple is amazing. Been following her from the very beginning. She doesn't release music often, but whenever she does, it is always a masterpiece.

    Absolutely 👍🏻 I got into her in my teens when Extraordinary Machine came out and have loved her ever since. Only an album every 6-8 years but it’s ALWAYS a masterpiece. Not a bad song between them.

    "Shameika says she has potential" 😉

  • HotStrangeHotStrange

    @JanKun said:

    @HotStrange said:

    @JanKun said:

    @HotStrange said:

    @JanKun said:

    @HotStrange said:

    @JanKun said:
    Lately I am obsessed with this track and the incredible production by Blake Mills

    This is the first time I’ve seen Perfume Genius mentioned here I think. He’s such a talented musician. Been a fan for years now.

    Very talented. I love the three most recent albums with the great production from Blake Mills. The first time in heard this track, I thought @LinearLineman would probably like it.

    Blake Mills is great. And he’s worked with one of my absolute favorites a few times (Fiona Apple).

    Same here ! Fiona Apple is amazing. Been following her from the very beginning. She doesn't release music often, but whenever she does, it is always a masterpiece.

    Absolutely 👍🏻 I got into her in my teens when Extraordinary Machine came out and have loved her ever since. Only an album every 6-8 years but it’s ALWAYS a masterpiece. Not a bad song between them.

    "Shameika says she has potential" 😉

    🔥🔥🔥🔥 glad someone else gets it :) amazing track

  • jebnijebni

    To celebrate the return of the Omnichord, here’s one of my favourite appearances of the instrument: a fairly off-the-cuff cover of A-Ha’s “Hunting Hugh and Low” by old Eurovision winner Emmelie de Forest.

    Would it be terribly arrogant to say that she mustn’t have a good curatorial grasp of her own strengths? Flicking through her catalogue, I get the impression that she’s trying to be something a little too commonplace and somewhat tacky, whereas she would absolutely kill it if she focused on barebones, haunting torch songs with a touch of the otherworldly.

  • jebnijebni

    I like my Eurythmics cold and bleepy and slightly inhuman, but my friends, here's a black swan that weirdly proves my rule: this unplugged-style appearance on Parkinson 20 years ago is one of the greatest vocal performances I've ever seen.

    Annie knows she's on fire, and when she sticks the superhero landing at the end, her fist-pump signals a weird combination of total assurance and yet also amazement that she can channel such forces. (The last time I saw an artist acknowledge their own awesomeness with such "religious objectivity" was last year, when Nick Cave dedicated "White Elephant" to a dude who left the theatre to get a beer in the first 20 minutes of the gig. Cave very deliberately turned up the intensity to 255, and when the guy returned after the song had left us with our jaws on the ground, Cave acidly spat, "Too bad you missed that, [Tony]." Heh.)

    Annie Lennox should have a Vegas residency.

    I guess I like to listen to ladies sing.

  • jebnijebni

    The bender I’ve been on — listening almost solely to music centred around women’s voices, often recorded in a fairly intimate live setting — just keeps rolling.

    A few years ago I would have run screaming from anything vaguely labelled “female singer songwriter”, and yet here we are: I’ve had this Lisa Hannigan performance on repeat for the last year, and don’t I seem to be stopping anytime soon.

    I like the folktronic elements of the original, but this completely stripped back rendition of “Undertow” is just sublime, and showcases the loveliest vocal chemistry of any two singers I’ve witnessed in years, maybe ever. (I guess I like hyperbole as much as I like female vocalists, but really, I’m being perfectly serious here.)

    And for something almost comically edgier, an older rendition of “Personal Jesus” with her on dulcimer. Keep a look out towards the end for the tall guy who comes on stage briefly for his One Job. Such panache.

    What’s that accordion-like wooden squeezebox/bellows instrument the dude next to her is playing?

  • waka_xwaka_x

    https://morfondre.bandcamp.com/album/figure-ci-contre

  • michael_mmichael_m

    The first Modern Lovers album. Such good songwriting.

  • FingolfinzzFingolfinzz

    Smif-N-Wessun

  • sevenapesevenape

    Amber by autechre. An album I’ve loved for 30 years, probably the best electronic album ever made imo. Certainly the best band.

  • HotStrangeHotStrange

    Just recently went through This Heats entire discography again. They were such an amazing group. Talk about lightning in a bottle.

  • flickremixflickremix

    Great shout on Amber by autechre. Check out Memory Tapes by X.Y.R - best album of 2023. Coming out of St Petersburg I believe

  • mikejohnmikejohn

    @michael_m said:
    The first Modern Lovers album. Such good songwriting.

    Totally! This was one of my go to albums on a busy Friday night when I used to bartend in the East Village .. this and Magazine’s “Real Life” album. Haven’t thought about these records in years . Thanks for the reminder!

  • dannysteeldannysteel

    Nothing but The Fall and Public Enemy on loop,for weeks now.

  • michael_mmichael_m

    @mikejohn said:

    @michael_m said:
    The first Modern Lovers album. Such good songwriting.

    Totally! This was one of my go to albums on a busy Friday night when I used to bartend in the East Village .. this and Magazine’s “Real Life” album. Haven’t thought about these records in years . Thanks for the reminder!

    I knew Road Runner before I heard the album, but love so many other songs on the album just as much.

    When I played it I was driving and wondered if my speed was “faster miles an hour”. 😁

  • waka_xwaka_x

  • jebnijebni

    My brother turned me onto these guys when I was a teenager. I keep coming back.

  • mikejohnmikejohn
    edited February 17

    @jebni said:

    My brother turned me onto these guys when I was a teenager. I keep coming back.

    Right when I heard the first couple notes of your video I was like … dude I know this and then was all, wait, I don’t know this … but I do.

    Then I found this and I was all, dude, I knew I knew that!

  • FingolfinzzFingolfinzz

    Some Esquivel

  • HotStrangeHotStrange

    @jebni said:

    My brother turned me onto these guys when I was a teenager. I keep coming back.

    Rarely ever see those guys get mentioned but yes excellent stuff! Very talent group.

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