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Alcofribas

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Alcofribas last won the day on October 23 2023

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About Alcofribas

  • Birthday 07/08/2009

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  1. i couldn't get through a single track. legit bad imo
  2. this one kinda fucks with me. when the first crow movie came out in 94 it lead to my first huge step into new musical worlds. i was 12 years old and i was intensely drawn to nin's rendition of "dead souls" on the crow soundtrack and the downward spiral had just come out and nin was about to explode into fame. this nin album became an obsession and directly lead me to get into artists like mbm, coil, spacetime continuum, aphex. it was a paradigm shift, from childhood to youth. anyway, the crow was this very specific little gem of a movie that moved me in a new way, sort of like an initiation into this new youth where darker themes flourished, angst developed, an aesthetic of suffering and moody musical worlds enveloped me. and of course it had this tragic allure. the comic was born out of the many years of suffering o'barr experienced after losing his girlfriend to a drunk driver. and while the film ought to have been a kind of triumph for him artistically and personally, brandon lee's death on the set just deepened the tragedy. it almost feels impossible it all went down like that, like some kind of inescapable web of suffering. i can't imagine how he must have felt. he created a story born of senseless death and loss where he could seek justice in art, only to be delivered another fateful blow like that. imo it feels senseless to approach this material for another film - what could ever be achieved? the original film is it, lee lost his life making that character. it's singular. and of course, the soundtrack was a crucial part of the story. o'barr was listening to some of the original songs while he was writing the book. he personally reached out to certain artists to ask them to contribute to the film. and the artists were part of the zeitgeist, as well. growing up during this mtv/radio era, this was the music of the time if you were listening to popular "rock" or whatever. these artists were inescapable. they were in our tvs, in our cars, in our walkmen, all around us. there was a sense of a moment, like this is all happening NOW. so it was like, o'barr was listening to all this dark music while writing the crow and then a number of the most prominent artists of the time recorded new versions for the new film being made from this book. some of the og artists he was listening to while making the book made new music for the film and even covered their own songs for him. it was clearly this unique, layered event linking all this art together into something new and unique. when i see this new trailer, it just seems completely senseless. it makes me feel like our culture is so degraded. there is nothing compelling about this remake, no reason for it to exist. throwing post malone or fka twigs into the mix just accentuates its emptiness compared to the original where the music was born from the book's creation. the original experience had depth and relevance. how can this remake do anything like that? it's just gonna be another reboot that can't hold a candle to the original. and our culture is awash with this kind of thing, just worse versions of experiences we've already had. so much endless reproduction, replication. it's maddening. i realize this might come across as old man back in my day type stuff. i will say i do not think the 90s was some pinnacle of pop culture or anything. and i have not seen the original crow in decades so i'm not speaking to its significance as a work of art per se. more as an original pop cultural artwork with layers of comic, film, music. but i absolutely think contemporary culture is really crude and degenerate and this obsession with remakes and rebuying the same "content" that just fils space in a senseless way is quite depressing. i'm sure the new one is great, 10/10
  3. You’ve wolfed out to the album art, that’s all that matters
  4. i'm pretty sure we're over-thinking this release, which i imagine is part of the point he's making. i mean, this is the same guy who made an album called "music is better than pussy" with a nude chick on the cover with speakers covering her breasts and crotch and a microphone between her legs.
  5. i learned about this album on watmm, various people singing its praises in the AOTY 2023 thread.
  6. his use of stereo in this era (~94-95) is very unique. in addition to Ondas, albums like Silver Sound, Semiacoustic Nature, and BASS have really cool stereo production, sometimes with such different things happening in each side of stereo you can listen to the channels independent from each other (the BASS album is the best example of this) . if this is not to your liking he did an entire album in mono in 96 lol. he has such an insanely creative catalogue.
  7. i definitely think the first on these mpu101 releases it the best by far. it's a concise expression of the mpu101 project at it's best but it's diminished returns after that. i think this guy should take some time off of releasing and let something new cook, there isn't 4 albums worth of idea here. "sunset memories" is just "olson"-lite come on now.
  8. I think he’s been flirting with a much deeper cultural critique for several years now. He’s been explicit about his loathing of electronic music culture and I think the conformist trends of social media are absorbed into this disdain. But he hasn’t laid it all out, really. Maybe he won’t ever do so since he’s an artist not a social theorist or smth. I don’t conflate what he’s doing with edgelord shit. I think there’s a lot behind the scenes and he’s presented it in a very typical laconic, goofy visual way. The art is for instance perfectly in keeping with Rather Interesting’s aesthetic. I think the times have changed so it has a different feel, though. I’m hoping for more written stuff from him tbh but I don’t necessarily expect it.
  9. I haven’t quite been able to get a feel for his stuff in the past few years. It seems he’s been exploring a very different technological setup recently and everything coming out feels like experiments of this. Just my guess based on some interviews and stuff. Pop HD seems like a good example of what you’re suggesting tho imo Unsubscribe
  10. I would pay for Richard to invite me to his lair where we listen to unreleased SAW tracks and he thinks I’m cool so he slowly starts showing me his whole collection of synths and gear and eventually gifts me something special like a rhodes chroma or whatever and we still talk on the phone to this day
  11. interesting. some of the idealogical motivation for this might be detected here: https://atom-tm.com/blog/2023/07/14/entry-14-historie-und-hysterie-ii-keynote/ . hard to summarize but a key point being made has to do with the appropriation of electronic music/club culture by private corporate interests that sanitize the collective and subversive thrust of this subculture in order to make it more profitable and easier to exploit for personal profile development. in other words, perhaps he sees "woke" conventional wisdom in the club community as a pro-capitalist appropriation of its historically radical origins? but this does fit into the greater picture of his work which has always had a sense of humor and satirical dimension, always poking fun at trends of the zeitgeist. relevant for us is his "Real Intelligence" series, spoofing on warp's "Artificial Intelligence" and here the explicitly anti-"imperialist pop" message of HD. i don't think it's too hard to see how hyper-capitalist entities and consumers use ostensibly woke language or concepts to push themselves up in a system that's inherently exploitative and oppressive for the very minorities it claims to valorize. he's a cheeky lad, my first impression is this fits into his basic agenda of being a goof and being something of a leftist. i think we're probably just used to being more comfortable with him toying with less sacred cows
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