T3551ER
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Posts posted by T3551ER
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@rotwang badass
2nd'd'ed - also, took me a sec to notice the bluetooth speaker in the tree
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Wife and I knocked out some Super Mario Bros 3 on the Switch this weekend. Extreme nostalgia triggers all over the place, coupled with the oddity of having it all displayed on a gargantuan (comparative to youth at least) tv. It's crazy how much we both remember about the levels. . . also such respect for the programming of these early games. They did so much with so little, and these games also demand a certain type of precision that a lot of modern games don't demand.
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I don,t understan why everyone is compairing this to drukqs.... To me it sounds nothing like thatI love it. So good. Like Drukqs but made with his new setup and workflow.
With you on this. Just listened to drukqs and not putting 2 & 2 together. Bad ears?
Several similarities I think .. the beats have many chopped and splintered parts and give off a furious headfuck feeling. Also both albums share some of those melancholy pad progressions. But to me they're more different than similar. Collapse is more like some creepy club for aliens / AI in a future dystopian city, and theyre telling us about some hidden portal promising humans transcendence, whereas Drukqs is like an opus written by machines telling a story of them falling apart and dying out in nature somewhere.
Whether or not I agree w/ the bolded part, I absolutely LOVE that this music made you conjure up these images. Really lovely words/thoughts m8.
Yeah, in part it's the hyperactivity of the tracks that I think gives me the Drukqs vibe. I threw on some Syro and Drukqs tracks to compare, and what these tracks have is the warmth and analogue-y feel of Syro mixed with the mental hyperspeed organization of Drukqs. It sounds (to my ears) like a evolution incorporating everything that has come before, with new techniques thrown in - which is why it's so exciting.
It's like this: These tracks are so incredibly packed with detail, that (like my favorite Drukqs tracks), I am sure that I will still be discovering new things even a year down the road (ala Ziggomatic 17, Mt. Saint Michel, etc.)
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final edit: maybe weirdcore videos for the EP played on local architecture and such.
Yeah, this would be my guess (first thought was blimp, but then was thinking about the weirdcore comments about new versions of the T69 collapse, etc). . . it'll be cool if it's, like, actually pieces of local architecture looking like it's "collapsing" in time w/ the music. . .
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The death grips comparison is one that I kind of felt earlier as well. Esp. on 1st 44.
One thing I've never understood about videos like this is the need to introduce a cut every 3-4 seconds. Like, does this add something aesthetically pleasing to the presentation? Or is it, like, people can't go more than 3 seconds without losing their train of thought/saying "um"/having to snort another line just to get through it all? Makes me fear we're slowly being habituated to be incapable of thinking/speaking in complete sentences *puts on tin foil hat*
On a more positive note, reminded me of this:
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Hotness.
Coupla thoughts after reading the last couple of pages here:
- The T69 extended version. I just think it's pretty fucking amazing that after (likely) reading comments on Weirdcore's instagram post with the extra bits, and the comments here from folks who missed sections from the live version, that this got released. Essentially for free. I really can't think of another artist of this stature who has so kindly catered to their audience, in a total "show don't tell" way. There's wasn't some sort of "HEY GUYS, CHECK THIS OUT, YOU ASKED FOR IT, YOU GOT IT YAY ME!" sort of announcement, shit just got dropped in our laps. It's just so incredibly generous. Wish, before diving in to why people hate the transition, doesn't think it flows, why it's not in 24 bit, etc., people would take a moment and just say "thanks" for the opportunity to have something to critique at all. I mean, it's totally fine, reasonable, etc. to have an opinion, and forums like this are where people go to voice theirs, but a modicum of gratitude (or at least recognition) might be nice?
I write this all with the acknowledgment that the above is my opinion too. Some may not agree, and that's fine. It just makes me a little sad that people (myself included) so often jump straight deciding why they do or do not like something, without taking a moment to appreciate the beauty of existence itself.
- The actual EP (with acknowledgements, again, this is only my opinion): It is utterly inspiring and life affirming to hear someone who is approaching their 50's continue to evolve. Drukqs
has(had) always been my favorite album, and it's partly because it seemed to take elements of every prior Aphex release and combine them, while adding new techniques and ways of approaching music to the mix (everything from the microediting to the prepared piano, for example). A song like Mt. St. Michel or Ziggomatic blend incredibly intricate, evolving beats with equally moving melodies, layered with textures that, on their own, wouldn't be out of place on SAWII.A while ago I posted a thread asking how people would feel if Aphex released an EP of Drukqs outtakes. Most people indicated they would be (somewhat predictably) chuffed. Recently, someone here posted that they are grateful they got this EP instead of that. I absolutely concur. This EP feels like the culmination of the expert mastery of analogue equipment combined with the intricate programming of Drukqs, with new techniques added (e.g., the footstep stuff people keep talking about and the "collapse" elements that appear, etc.). Like my favorite songs on Drukqs, these tracks feel like a journey - pick any track and play the first 30 seconds and then play the last 30 seconds and consider how amazing that these tracks go from point a to b, seamlessly, and then consider all the different twists and turns they take along the way. It's utterly astounding. A masterclass in taking what you know, continuing to grow with it, learn new things, and apply it all in a way is both expertly composed and organic.
One day, inevitably, mankind will perish, and likely by our own hand. It's nice to know these wavelengths were released into the world before that day, and I'm grateful to have had them reach my ears, and enter my brain, ending up in my heart. Namaste, bitches!
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Yeah, dude needs to clean his fucking ears out. . .
I actually got an ear cleaning kit and cleaned my ears yesterday in preparation.
flol - ok, no joke, I also got an ear cleaning kit the other day partly b/c I've been having sinus issues, but also b/c I know how significantly this improves my hearing, in advance of this EP.
Someone should go around slapping Aphex stickers on ear cleaning kits - would be some ace guerrilla marketing. . .
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Yeah, dude needs to clean his fucking ears out. . .
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A fellow victim! The AvP Requiem warning is called for.
We should start a support group (aka excuse to drink beer)!
Also, when I read this, all I could think was:
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can anyone answer a dumb question, i haven't heard the vinyl rip. Is the vinyl version of t69 collapse different than the video version? Or was that weirdcore video just weirdcore having that track because he's weirdcore?
weirdcore just having the track b/c he's weirdcore
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Edit: Tremors fucking rocks! Even the sequels maintain their own, if diminishing, charm. . .
Funny, the missus and I have been under the weather so decided to take a weekend for bad horror flicks including:
Freddy vs Jason: A love letter to both franchises, tons of subtle nods to each (particularly enjoyed the nods to different representations of Kreuger, including his straight up "demon" look). In particular, they very much nail the feel of the best parts of the Nightmare franchise, and walk a nice line between total camp fun and horror. If you aren't a fan of these two franchise, well, you absolutely won't like this - but, then, why the hell are you watching it in the first place? 8 finger knives (no fingers knives on the thumb silly)/10 hockey masks
Alien vs Predator: Again, a total love letter to both of the franchises though it falls a little more flat than the above (which is weird to say. . . but we're fully in the "X vs X" film territory here so anything is fair game). Some nice nods to the origins, decent directing, and solid design work. Not groundbreaking, but what do you want from a movie called "Aliens vs Predator" - you basically wants aliens bursting out of chests, fucking shit up, eventually being hunted by badass predators with krull-esque blade thingies in a constantly shapeshifting underground pyramid. Then maybe a climactic battle w. momma alien where a badass chick (shades of ridley) teams up w/ a predator who's respect she's earned (a la Predator 2) to take down the big baddie in an artic snowstorm. Ok, now that I think about it this movie fucking rocks. Although, of course, nothing rocks as much as:
Aliens vs Predator: Requiem - the main reason I came to post here. Because DO NOT EVER WATCH THIS MOVIE. I started to write a review to try and communicate how categorically awful this is, but realized it's not worth the effort. Just, think of it this way: if you had to choose between a hair shirt and this for your penance, this is a guaranteed ticket through the pearly gates after one viewing.
Pirahna (2010): ... Uh. . . ok, this could also be titled "Girls Gone Wild: Big Budget Boobies" I can't tell if it's an insanely clever meta-commentary that a main character in this film is a Girls Gone Wild-esque director (played to disturbing perfection by Jerry O'Connell - yes, the guy from Sliders) or just an excuse to show, essentially, what Girls Gone Wild would look like if it were produced with a massive, massive budget. The amount of boobies and ass-shaking in this film is astounding. It reminds me of being 14 and fapping to MTV's "The Grind" but with 10x's the pixel count and 5x's the silicone. To be fair, this film is all about excess, and when the killing starts, it is 100% as gratuitous as any of the sexuality. In some ways, I think that's kind of the point. It's a movie that takes the age-old horror formula (amount of sex directly proportional to violence in death scene) and accelerates it across the mandelbrot set. The gore here is beyond extreme, and as much as the camera remains focused on the T&A early, it stays unflinchingly focused on arms ripped off, legs shredded, and torsos literally ripped in two. Think about the first 15 minutes of Saving Private Ryan, but with hot beach bunnies and ripped frat dudes instead of soldiers.
I literally can not figure out whether or not I liked this film or not. What I can say is: This is the #1 movie to never, ever watch with your children (at any age).
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It's insane to me how much time people waste on a fan forum talking about something they don't even like. Do you have nothing better to do with your time?
Sadly, see majority of social media (or all media for that matter)
Wait- shit, did I just do the very thing I was complaining about?. . . Also, I'm now compelled to let everyone know that I just lost the game. . .doublefuck
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Think the last thing that happened is (ironically) his website all of a sudden going dark (this was around the time the first Collapse adverts popped up). To be fair, the website was mostly just a teaser, and is still there (but goes to a black page now).
I would really love to hear his music, but haven't really been able to find anything - every time a Heorge Garrison or someone like that pops up part of me wonders if it's CC under a psuedonym . . .
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Someone on Reddit apparently got the LP early:
more pics:
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Yes do not ever buy that bit of "all in one take" faff he floated out there in the Tats interview. I'm sure some of his tracks are sequenced single takes since he has enough klob to engineer any fuckin techno symphony you'd ever want. However, he's too much of a fiddler and there's too much goddamn detail/triggers/events that happen in his music to not depend on discrete track components (aka "stems" for those confused). Dunno why I'm so aggro about it currently hahaha. None of his other fibs bother me; in fact, I love a good wind-up
weirdcore said in a interview he been sent stems to do the midi syncing stuffweirdcore might have stems for the track too?
thought afx didn't do stems that often, but who knows.
i'm sure rdj would of sent over a few alt versions of 'collapse' to work with when doing the video
While it is hard to believe that some of the tracks are done in one take he did go in to some deep nerdy detail about how fx/detail mad bits were achieved with all his gear. If i could be arsed to think about it enough, that slow version of one of the Circlont trax probably proves it as it's basically exactly the same track playing at a much slower tempo...
Just re-read the Tats interview (which I think is the one here) - looks like he was speaking about the Korg Funk 5 track specifically, and it was in the context of recording the song down to one audio track (Tats is asking for stems). I.e., just that when he did a final mix it was programmed, sequenced first, then played all the way through and recorded. Sure there was a lot of fiddling before the track got a point where he wanted to put it paper so to speak . . . could be totally wrong tho.
Makes me think about the question of micro-editing/DSP stuff on this EP too - for Drukqs era shiz clearly used trackers and whatnot, but makes me wonder about the DSP effects on this EP and if this is all, essentially, all analogue + non-PC sound processing (guessing Eventide heavily involved). Kind of like doing drukqs-esque stuff but totally outside of a PC, with some very complex effects triggering/programming going on. . . would love to see the setup. . .
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ahh ok, thanks to both, think I understand better. Personally, I think it's about mood . . . but I find that the older I get the less likely I am to want to listen to the more caustic stuff (e.g., when I get to the last 30 seconds of Vordhosbn I'm tempted to skip to the next tracks these days).. . so, yeah, probably more "medium" energy more of the time for me. . .
Because it connects less with you emotionally or because it sounds too harsh sonically?
mmm - very interesting question. . . I think more the former, but I also would say that the two are kind of intertwined? Ok, it's like, when I was younger, my emotions were much more jagged and raw, jutting out at odd angles, striking forcefully. In those moments, I'd probably feel more likely to listen to something that resonates with it - so, something more caustic. The older I get, the less i feel that way - and the more I feel "medium" energy, so I'm drawn more to listen to something that has those qualities.
So, in "medium" or calm state, caustic things would sound too harsh - but if I were in a caustic state already, they wouldn't, would just echo what I'm already experiencing . . .
Edit: Pizza delivers!
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ahh ok, thanks to both, think I understand better. Personally, I think it's about mood . . . but I find that the older I get the less likely I am to want to listen to the more caustic stuff (e.g., when I get to the last 30 seconds of Vordhosbn I'm tempted to skip to the next tracks these days).. . so, yeah, probably more "medium" energy more of the time for me. . .
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Just curious - do you all enjoy the medium energy stuff (like this) he does? Or you prefer either ambient or hardcore stuff more?
Also curious, why do you consider this "medium energy"? What would be considered "hardcore" for you?
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But will we get stickier?
fix't
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Apple has purchased the rights to the Foundation Trilogy and is working on a 10 episode season 1. Hopefully it won't suck, they do have shitloads of money to invest innit.
https://io9.gizmodo.com/isaac-asimovs-foundation-is-finally-being-made-thanks-1828553696
Please don't suck . . . please don't suck . . . please don't be the Dark Tower fail. . . please don't be the Dark Tower fail. . .
Incidentally, this reminded me how much I love Michael Whelan's stuff (not even knowing it was him, just growing up reading Asimov, Niven, etc.):
from that awesome link and also:
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Sony MDR7506 Pro.
If they come recommended by RDJ as awesome budget headphones, that's good enough for me.
At some point down the road I want to shell out for a high budget pair. Until then, I will do 0 research on high budget headphones as I'm both happy with the ones I have and am also currently poor because my roommate is giving me one month's notice that he's moving out.
Sry about your roomate - that's laaaaame!
Sony MDR7510 Pro (yes I fanboid the shit out of my purchasing here after AFX mentioned them in that interview). I've used Sennheiser HD580 pro, and Grado Sr60's with larger earpads. Tested also some extremely higher end Grado's (can't remember which) but didn't have the $ to shell out plus I find the bass response even on higher end Grado's lacking. Here's my quick take:
3. MDR7510's - here's the deal: Audiophiles that I've spoken to have scoffed that Sony isn't technically in the business of audiophile equiment, and these are not the highest quality phones you can buy. But, as compared to the headphones above, these have been completely solid in terms of mixing - in the sense that whatever I mix to sound the way I want on these headphones, it has translated well to any other system. I.e., I used to mix on grado's, then go to play in my car and things sounded off . . . or switched to my (now sadly gone) Vandersteen's and levels seemed off, even from what i heard in the car. Same things w/ Sennheiser's etc. I don't know why, and this is probably a matter of also getting better at eq'ing and such, but these things just work. I can mix on these and be pretty much assured that if I like what I hear in the earpieces, I will like what I hear when it's blasting out of anywhere else, and it will stay pretty much consistent across systems in terms of sound. One caveat is that, though the freq response goes down to something fairly low, there does seem to be a dropoff in the low end that might be worth keeping an eye on if your music is exceptionally bass heavy.
my 2 dollars
The sound is extremely clear and especially crisp all through the low-mids to the highs. I also find the low end is lacking just a bit, but I generally just mix the bass with my monitors instead. I prefer to mix really only low bass sounds on speakers anyways so I can get the right feeling in my chest as well as my ears.
I think a huge plus for the MDR7510 Pro's are that it has exactly the same level of clarity through those low-mids all the way to the highs. Where as many "better" headphones have better quality sound but some sweet spots in the frequency spectrum end up sounding even crispier.
The crispiness balance is important.
Crisp enough the whole way through > very crisp and even crispier in some spots.
Another reason I think I'll be sticking with the MDR7510 for the time being.
My 2 cents to add to your 2 dollars.
Nothin' wrong with a 202
- Yeah, well said. Crisp all the way through, which is better than a mixed bag of crispiness (mixed crisps?). Agreed about the speakers for low end too - headphones just won't ever have the hit of a subwoofer. Enjoy! -
Sony MDR7506 Pro.
If they come recommended by RDJ as awesome budget headphones, that's good enough for me.
At some point down the road I want to shell out for a high budget pair. Until then, I will do 0 research on high budget headphones as I'm both happy with the ones I have and am also currently poor because my roommate is giving me one month's notice that he's moving out.
Sry about your roomate - that's laaaaame!
Sony MDR7510 Pro (yes I fanboid the shit out of my purchasing here after AFX mentioned them in that interview). I've used Sennheiser HD580 pro, and Grado Sr60's with larger earpads. Tested also some extremely higher end Grado's (can't remember which) but didn't have the $ to shell out plus I find the bass response even on higher end Grado's lacking. Here's my quick take:
1. Sennheiser's - like people have noted, excellent sounding headphones. In some ways, I'd call my experience with them more of a "listening" headphone than a mixing headphone. My 580's I found difficult to drive (when I had a Cowon player this took care of that to some degree) and found that they seemed to crap out after a number of years. Had to ditch em eventually. Still my favorite for listening, and if I ever come into some cash, I would buy these again in a heartbeat, but also get a headphone amp.
2. Grado's - I tend to prefer mid>high's boosted a little when listening, and Grado's seem to highlight that a bit more. I've heard Grado's accused of being a little too clinical and thin, but I sometimes prefer that in a listening experience. Very nice soundstaging, utterly lacking in the low end, but a steal for the price. If you get SR60's definitely get the larger pads. Warning when mixing that if you don't test against something with a good bass response you're going to (likely) overpower the bass frequency on your tunes.
3. MDR7510's - here's the deal: Audiophiles that I've spoken to have scoffed that Sony isn't technically in the business of audiophile equiment, and these are not the highest quality phones you can buy. But, as compared to the headphones above, these have been completely solid in terms of mixing - in the sense that whatever I mix to sound the way I want on these headphones, it has translated well to any other system. I.e., I used to mix on grado's, then go to play in my car and things sounded off . . . or switched to my (now sadly gone) Vandersteen's and levels seemed off, even from what i heard in the car. Same things w/ Sennheiser's etc. I don't know why, and this is probably a matter of also getting better at eq'ing and such, but these things just work. I can mix on these and be pretty much assured that if I like what I hear in the earpieces, I will like what I hear when it's blasting out of anywhere else, and it will stay pretty much consistent across systems in terms of sound. One caveat is that, though the freq response goes down to something fairly low, there does seem to be a dropoff in the low end that might be worth keeping an eye on if your music is exceptionally bass heavy.
my 2 dollars
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I think I might have a problem. I can't stop listening to this, probably given this EP more spins than any other album/EP in the last . . . I don't know, honestly, probably since Drukqs came out? I mean, I definitely got deep into things w/ Syro but I can't remember so obsessively listening to something for a LONG time. Probably a combo of the fact that it's only 5 tracks and each one is incredibly dense (in the best possible way).
Anyway, I investigated some different android based players to try and improve the sound quality given the low bitrate and settled on Poweramp (this is going somewhere I promise). I went ahead and loaded in wavs for Drukqs, Syro, etc. for good measure. When it went to download the album art for Drukqs I got this as the photo. ..
.....WHAT?
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it was shit, man. I knew it was gonna be after that early ouija board scene with the CGI scream mouth.
Yeah, and, then, oh wait, HERE'S A SCARY BLIND NUN LOOKING THROUGH A WINDOW WHO WILL EVENTUALLY DROP PLOT RELEVANT EXPOSITION WHILE CHAIN SMOKING!!! THE HORROR!!!
Unrelated: You might like this flick - https://www.imdb.com/title/tt3096858/ It's a pretty tight found footage piece that doesn't take itself all that seriously/is pretty self-aware of what it's trying to be (so doesn't fall into many of the traps of most of these types of films). Worth it for the last 15 minutes alone. . .
EDIT: link directly to netflix seems borked - u can just search it tho
Someone on Reddit apparently got the LP early:
- Yeah, well said. Crisp all the way through, which is better than a mixed bag of crispiness (mixed crisps?). Agreed about the speakers for low end too - headphones just won't ever have the hit of a subwoofer. Enjoy!
Aphex Twin - Collapse EP
in Aphex Twin
Posted
This would be perfect for a drinking game: Every time he touches his face/rubs his "beard" - drink.
Super-smashed in 30 seconds version: Add every time he says "like" or "sort of"