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ulul

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Everything posted by ulul

  1. I think it's him but he's trying to sound like someone who doesn't understand why he sounds the way does trying to sound like him.
  2. It's really nice. The atmosphere is actually so friendly! I can imagine having this on for hours.
  3. MHTRTC is the core BOC sound for me. It's undeniably a perfect album and I don't think they ever came close to its highlights again. Everything else is still great though!
  4. I'll never understand the hate for TH. It's spectacular, front to back.
  5. That's a fact. I had the same thing with the Manchester track vs minipops. On the live recording when the voice comes in at the end it sounded very heavy, bassy and dark to me, which I loved. The studio version felt totally weak and forgettable. heh i had the same with metz track. its like when you like your old noisy tapes better than cds Also the Metz track had extra hi hats halfway through and some cool extra sound effects here and there. That combined with the huge reverb and live context, the audience and as already stated the vagueness of it makes the live version LOT more epic in my opinion. But you can't live off of the live version, I am glad we have the proper track for the sake of having it, it would be horrendous to only have that 2010 recording. The percussion on Metz was a lot more snappy too. It doesn't really hit that hard on XMAS.
  6. That's a fact. I had the same thing with the Manchester track vs minipops. On the live recording when the voice comes in at the end it sounded very heavy, bassy and dark to me, which I loved. The studio version felt totally weak and forgettable.
  7. That's the fucking funniest thing I've ever read on WATMM.
  8. Fenix Funk 5 is easily in his top five tunes ever. The drums in that song are so fucking perfectly matched. FF5 is the first Aphex track I ever heard, in Wipeout Pulse on PSP. Every time I hear the track I just think of tearing around the Amphiseum in Eliminator mode, zoning in on my next target, alone in the digital world, beautiful in its obvious fakeness while the pads of Fenix Funk blare away into the void... Cringey as that is, that's exactly how FF5 makes me feel.
  9. So I got the vinyl and XMAS EVE is like a different track. It has the punch that the CD totally lacks.
  10. Yeah I've just read that review too! I just have a feeling that I'm missing something on Syro. I've been let down by plenty of my favourite artists, but I've never been so intrigued as to why as for Syro.
  11. Is it true that the mastering is better on Syro's vinyl? I'm on the verge of buying it just to put the matter to bed once and for all. Syro, on CD and download anyway, always sounds to me like there's some kind of film over the sound. Like trying to watch a movie on a TV lightly coated in dust. Not a dealbreaker, but really fucking annoying. I had a similar experience with Windowlicker, listening to the vinyl version was an infinitely more pleasurable experience than putting on the digital.
  12. Is this gig indoors? Forbidden Fruit was great and all, but it suffered for being outside.
  13. I can relate to this. I think if Syro had had one track that measured up to his peaks I wouldn't be giving out about it. The pattern I always found in Aphex albums is that there's at least one stunning masterpiece, and then for the rest of the tracklist he's just seriously good. The lack of such a track on Syro just makes it frustrating because nothing on the album never gets anywhere near his best.
  14. Bucephalus Bouncing Ball for me. Or Acrid Avid Jam Shred.
  15. It's one of my favourite parts of the ol' Aphex mythos. Living in a bank, making drill tracks. Fucking legendary shit.
  16. I always thought that the first and last thirds of the track did absolutely nothing for me, but the middle section...oh my. One of the peaks of his entire discography.
  17. That's just not what I expected at all. It's such a big building for one person to rent, who might not have had a steady income. Maybe it's that, having only reached the age of renting/buying in the past two years or so, I don' t understand how comparatively good the rates might have been back in the day. These days they're just fucking disgraceful.
  18. Yeah I get a similar feeling with drukqs. What sets it apart for me is that it doesn't really sound like something made on a computer. When I listen to some of the drukqs tracks I almost act them out because the sounds feel like RDJ physically made them with real world objects. Like he walked around just recording things in the physical world and just arranged them into sequences. Syro sounds 100% like it was labored over in a studio, which I know drukqs obviously was too, but it doesn't feel like that.
  19. What I don't understand about the bank is how he could afford it in the first place. How much money could he feasibly have been making in the late 90s to early 2000s? For a while I assumed that Aphex was selling huge amounts of records but then I saw a statistic saying that by the time drukqs came out his UK sales were only at 500,000. He probably could have made a lot from the Windowlicker era, I don't know really. I know absolutely nothing about channels of income for artists but Aphex always seemed too obscure to me to be really pulling in good money. If you gave any artist these days the level of success he had when he move into the bank, I doubt they'd be able to afford it.
  20. Somebody in the Aphex subreddit once said that they missed the repetition in the early Aphex tracks, that Richard proved from the outset that he had a knack for making incredibly satisfying yet very simple music. I think that's a fair point. I absolutely adore drukqs and the restlessness of the tracks has always been a positive quality to me, but I can't help but feel that one of the main reasons tracks like Xtal or Ptolemy or Acrid Avid Jam Shred are more enjoyable to me is because they take the time to settle into a groove before moving on to the next phase. SteppingFilter 101 is a perfect example of this in later-period Aphex. I'd love if Richard brought out an album of solid, laid back tunes where he wasn't trying to mutate everything constantly. His obsession with making every bar different from the last started out as a strength but I feel that it's slowly turned into a weakness.
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