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BelacquaShuah

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Posts posted by BelacquaShuah

  1. hmm i'm digging the LP. definitely has some teeth. reminds me of Talking Heads and of all things These Arms Are Snakes, the latter for the sinister yet poppy dance vibes and sometimes aggro vocals. the album cover is great too, reminds me of the creepy fake grass in beetlejuice. not afraid to be funny either. maybe also a little Pere Ubu.

    i can see comparisons to Black Country, New Road, but i didn't really care much for their debut.

  2. i wouldn't really call new opn mainstream, though, honestly. none of his albums post-Replica has reached the Billboard Top 200, probably because to most people the music is still too "weird."

    his newer stuff definitely channels the uncanny in a way that's unsettling even when it's pretty. it's hard to put a finger on. to me a lot of it plays like a "pleasant" scene in a Harmony Korine movie; it becomes loaded with a bunch of different, contradictory signifiers that all kind of settle in a subtle malaise, and you're not sure where to place your judgment.

    in the album artwork for Magic, the last little piece included is a melting green rectangle that reads, "ocTpaHeHHe," which translates to defamiliarization, estrangement. i think it's fair to say that his new music does evoke and address the mainstream but without ever really assimilating.

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  3. Resident Evil 8 is a great time so far, one of my favorites in the franchise. it's more action than 7, but it's not all-out action like like RE4-RE5-RE6.

    it leans more into camp than 7 but still remains scary, especially on hardcore mode where ammunition gets used faster.

    lot of enemy and gameplay variety. i'm enjoying taking my time.

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  4. there's a bunch of little melodic nugs everywhere, and in general a lot of the complexities and nuances don't immediately jump out at you, such as the subtly shifting tonal center of GIVE UP YOUR LIFE.

    also i found this recent interview on youtube with Tim Heidecker. pretty funny.
     

     

  5. this leaked today, and i couldn't resist.

    very happy about this album. it sounds just as much sound collage as it does "live" performance. the music shifts and contorts in and out of catchy jagged shapes, extrapolates on patterns to go to a lot of unexpected places.

    intricately detailed, immersive album.  listened three times now 😵

  6. i love that pathetic high-pitched whining violin sound, i'm not sure how to describe it, it sounds almost irradiated. it's in a lot of Yanqui U.X.O. and i'm hearing it a lot on this album too (on second song i believe). that texture gets across a deeply melancholic, slightly paranoid feeling very effectively. never gets old.

    i didn't latch onto the last couple GYBE albums but i'm really digging this so far.

     

    the harmonies are heavenly.

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  7. On 3/8/2021 at 10:30 PM, ambermonke said:

    It's like Metroid and X-Files put together. That was my main game last September but I never completed it.

    Same. i love this game but i've been stuck

    Spoiler

    on the last boss of the last DLC. damn Hartman and his ability to heal in the dark.

    also low key scary game. and damn it gets literally dark.


    recently started a new game of Prey. Arkane games are among my favorites for sure. Dishonored 2 😍

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  8. just absolutely stunned by this album, i feel like a little kid with a new toy. i'm really curious about the dichotomy in the track sequencing. i wonder if there's another scheme here, not unlike Neu! . . . i've noticed certain sounds on one side of the album also on the other side. like that hammer dulcimer sound halfway thru Whether Channel, that appears in Tales From the Trash Stratum, i think, in that gorgeous chord resolving the first section. 😵 apparently the vocals, the "bass," and the "guitar" in the song I Don't Love Me Anymore are all in different keys? saw someone complaining about that lol


    milk man kiss GIF

  9. i was very surprised by the second half. the placement of overly airbrushed track No Nightmares at the end of the first half of the album feels ironic and makes sense now, given the harsher textures and more erratic structures that follow.

    there are some genuinely funny moments, like the end of Imago, with the looped bitcrushed sample archly enveloping tender waves of midi chamber music. you can practically hear Lopatin laughing in the background. he's quite the droll

    the second half, especially in relation to the first, sounds like the seedy underbelly of a subtly unbalanced consciousness pretending "normality." coming off a big Lynch binge, i'm keen on this narrative conceit. 🙂

  10. digging the new tracks. there's a strong emotional core that's complex and dynamic, with the music erring sometimes on the side of counterpoint and rich harmony and other times on the side of drones and loops. there's a baroque sensibility to it all that i love, it's so elaborately and lovingly crafted, yet at the same time it sounds honed and sleek. cheese has always been part of OPN's image, that post-ironic emotional manipulation is his trade, he distorts narratives and makes new ones from the distortion.

    for me it works really damn well. there's no other artist that can transport me to the weird, funny, breathtaking, sad places that he does. there's a strange humor and warmth in his alternate universes, a candidness beneath the "digital gloss," because his music doesn't think twice before stepping outside what is conventionally "tasteful" according to the zeitgeist. it sounds beautiful and that's enough.

    it's not a revolutionary idea at all, the mishmash of anachronistic genres/ideas/narratives, but he executes it masterfully. so stoked for the second half of the album.

     

    /gushing

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