xyrofen
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Posts posted by xyrofen
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10 hours ago, hoggy said:
I'd add Otto von Schirach, Hecate/Rachel Kozak, SKM-ETR, Doormouse also
Similar vein being Vorpal and Jason Forrest (DJ DONNA SUMMER).
I skimmed and tried to remember what people posted, so apologies if I repeat anything or if y'all think they don't fit: Abelcain, Faust, Adult., Akufen, Decomposure, Ambulance (re: Sunken Foal), Anklepants, Automatic Tasty, Barry Lynn aka Boxcutter, Lexaunculpt, bye2, Cayos, Cdatakill, Enduser, Cex, Chevron, Crash Course in Science, Gatekeeper, Extrawelt, Frog Pocket, Hecq, Helios, Hexstatic, Jackson and His Computerband, Jeswa (of Phoenecia, anything the Phoenecia guys have done really, Takeshi Muto, Soul Oddity, etc.), Jetone (Tim Hecker's early stuff), Jon Hopkins, Kelpe, kid606, Kollectiv Turmstrasse, Leila, Lindstrom, Machine Girl, Meat Bingo, Modeselektor, Nero's Day At Disneyland, NHK'Koyxen (Kouhei Matsunaga), Noisia, Not Half, ONRA, Zavoloka, Philippe Laurent, Pulsewidthmod, Push Button Objects, Puzzleweasel, SAYOHIMEBOU, Secret Frequency Crew, SEWERSLVT, Si Begg, Stephan Bodzin, Syl Kougai (don't give him your money though, he's a nutjob), Terminal 11, Teenage Bad Girl, Vitalic, The Gasman, Tipper, TRS-80, Twerk, Vaetxh, Pantha Du Prince, wAgAwAgA.
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I do not think any of us can properly state how massive this is.
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Re-upping here: this new album has made me realize how much I have liked his music for a very long time. I know a lot of it gets (or got) memed on here, but he's so consistent and has his own style that not much comes anywhere near. My first new release being a fan of his was "Totems Flare," so that album has a special place in my heart, and I've really liked everything pretty much since. New album is a grower and has some truly wonderful bits therein, it also leans into the softer and more ambient tracks hard when it does and that's a welcome album-experience to me.
Loved Totems Flare, loved Iradelphic, loved Clark, loved Death Peak, stuff before that was already pretty great (the art on them is top quality too). I need to give the other ones in those spaces some more space too.
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His live show for the US tour accompanying this was incredibly good. Great set list, great mixing, fun time.
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More releases from Kouhei Matsunaga is always good news. I think he makes some of the most interesting "experimental hip hop" sounding tunes of anyone I regularly come across.
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On 6/25/2023 at 2:07 AM, drempels said:
I'm actually not Benn.
After I posted that, I kind of felt bad about being so negative about him. He does have my respect for being so productive with his YouTube channel and just never backing down.
He does seem pleasant.
I was just being silly in calling you Benn. No hard feelings.
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I really liked Death Peak.
I'm looking forward to listening to this album and the live show coming near me soon.
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On 6/2/2023 at 5:54 AM, Key said:
Ok i concede a little, maybe I haven't been listening as closely as you. My first impression on the album was that it sounded like a continuation on the Sarah Eat Neon EP that had lots of that loud distorted male voiceover, then I thought hmmm maybe its a bit darker than the other albums, but then I thought FFS theyre all bloody dark.
It's all good, your opinion is valid. I really enjoyed the Sarah Eat Neon EP too, but hadn't thought of it much in context of the album thus far.
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This is the "album" that made me feel understood and like I could share it with my friends. While I listened to Quaristice in full first, EP7 made them click and made me want to get into them; this is the soundtrack by which I build rockets to in high school with my friends, headphone splitter jacked into my R4 cartridge loaded DS with Dropp, Squeller, Left Blank, Liccflii, and Zeiss Contarex (which I only recently learned about Zeiss given that I work with items that they manufacture for ASML for the sake of wafer etch and lithography processes) playing. I felt connected by way of weird spacetime, experiencing this album for the first time nearly a decade after it first released, special ordering it since it wasn't really new/relevant/popular so I could have my own CD thereof, showing my math teacher the fractals in the album cover insert as a human means to connect and display that, "hey, I think math is actually pretty cool and I'm trying to learn."
Rpeg has been my phone's ringtone for well over a decade now, superseding Kraftwerk's "Die Roboter" some time in 2012. I don't even have ring on, but I make sure it's Rpeg. Also LP5 is a wonderful album, a lot of warmth and humanity in a very synthetic architecture.
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On 5/27/2023 at 6:39 PM, ignatius said:
can't remember but gotta say.. you've seen Ae a lot! many more times than i've seen them. i saw them in LA 1999/2000? (the one where curtis roads opened up and everyone yelled at him to hurry up), then for that coachella gig.. i think the 1st coachella which was fun.. DJ set, Portland 2005 (untilted tour), portland 2007/8? at the Doug Fir, quaristice tour.. then 2015 in portland for both shows at Holocene.
i can't recall the prices for any tickets. usually 20-25ish but i can't think of what the 'deal breaker' price would be. i mean, any opportunity to go see them.. i'm gonna go. might've been more than 25 w/service fees but i don't care. if i was healthier and flush w/cash i'd go to EU/UK for these gigs.
I found my receipt: the Portland 2015 show at the Holocene was $25, or $28.07 with the service fee. I did buy the AE NA 2015 shirt, still rock it from time to time and feel old as hell when I do.
Rob Hall's DJ set to open while people filed in was massive, I think I was sitting in the corner on the lower end floor during this one, probably in my green BoC shirt. Cygnus gave a fun set, looked like he was having a great time jamming out. Ae's show was incredible, though I didn't yet have proper concert earplugs so my ears were doing bad, the packed room exhausted my stupid-ass swayback, and it smelled pretty damn strongly of weed whenever the door opened at all. The sound system was positively booming though, been awhile since I've been back there but I've got little negative to say about the sound there.
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On 5/31/2023 at 8:26 AM, Summon Dot E X E said:
lmao it was also my guess
Lol.
I feel like I gently have a general liking of the music of individuals adjacent to this forum's typical genre stylings that get memed on with Vsnares and Flashbulb. I got really tired of viscerally hating things after I hit like 25, though sometimes I still slip back into angyboi feelings.
I actually like the Piety of Ashes album, along with Red Extensions of Me, Flexing Habitual, and Girls.Suck.But.YOU.Don't.
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On 5/29/2023 at 5:42 AM, Key said:
I think it's a worthy addition to the discography. I think VHS Head is one of those artists who you can take any track and it would fit on any of their albums - he is stylistically and thematically consistent to a tee. I suppose your milage may vary on whether or not you get bored of it, but theres enough interesting melodies and rhythms buried in these tracks to keep me listening, personally. If your criticisms are that he is not developing his sound quickly enough, you must also remember this release was stuck in label limbo for a few years.
I disagree a little bit.
TROG is such a fun album, even on the darker tracks. It shimmers everywhere and drops into tons of fun hooks, at least in my opinion, it's an album that feels openly like a love letter to the past and the media used to create it.
POV is funky. I know I've listened to this album the least, but it's always come across with the most funk and drip in its sounds, again in my opinion. It feels like it starts somewhere, dips down into a trough, and scoops itself back from front to back.
Phocus has been a lot of fun on repeat listens, really leaning into its concept of the soundtrack to a movie that never came out. It leans more into making some tracks more of "bangers" than throwing hooks forward, there's more squelching sounds, and it utilizes some ride percussion samples (which I think is a first).
Maybe I'm talking out of my ass, I enjoy all of his music though and am always glad to hear more come from his stylings.
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On 5/27/2023 at 10:13 PM, drempels said:
The Flashbulb is living evidence that if you just incessantly spit game, self-promote and never, ever back down, you can achieve some level of perceived celebrity, regardless of how little talent you actually have. And I think BJ pisses some people off because they know they've got more talent, but they lack the ego/time/resources necessary to shamelessly self-promote like BJ does, so they end up resenting him for his success.
I actually can't think of an artist where the ratio of "celebrity" to "talent" is more out of whack than with the flashbulb. Early Com Truise, maybe.
I've never seen a more punchable face, his silly perma-grin makes me uncomfortable. He just thinks he's the coolest thing on the planet. He has two tattoos of his own logo on his arms. His music is almost offensively bad for how grossly self-aggrandizing and lacking in humility he is. He's not that great of a drum programmer. He's not that great of a keyboardist. He tries way too hard.I'd like to hear him make a tune with just ONE SINGLE TRACK that's actually quality. instead of arranging these fantastic symphonies of sub-par quality. his piano albums are impossible to listen to due to the quantization, which rather than adding to the tracks, just makes them sound lazy.
On his blog and website he carries himself like he's much more famous, important, and talented than he actually is.
but honestly it's mostly just the perma-grin.
Hi Benn.
Actually saw him at a show and he was super pleasant. Came into the audience afterwards, since he was opening, and mingled with people.
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Local public radio (KBOO Portland) played this track the other week and the production on it is an absolute bop. I listened through this album because of it, and this track is a definite highlight to me, but AGF does a lot of cool stuff. I'd also like to say, holy shit is this one of the most German things I've ever heard lmao.
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My first album of theirs was "We Are the Night," and I quite liked it back then. First track of theirs I heard was "Galvanize" in whatever advertisement campaign it was used in the Americas for.
Anyway, they've got good stuff all throughout their discogs. I'll re-up @Rubin Farr saying 2010's "Further" is very good.
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Lara seems really good at having a vision/aesthetic in mind and then completely nailing it. My listen through this on Bandcamp left me pleasantly surprised, it's a fun album with some novel yet nostalgic uses of transpose stretches on breaks.
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I've noticed some more opinions about this album having turned into considering a classic, or at least generally well liked.
I loved Daft Punk, "Discovery" and "Homework" are two of my favorite albums of all time. "Alive 2007" is on regular rotation in my car's CD changer, I bought "Human After All" on release somewhat regrettably because most of that album is mix fodder pisstake material (still love the title track and "Steam Machine" though). I have tried to not dislike "Random Access Memories" and failed multiple times. This album makes me feel old, it made me feel old on release.
There are a few decent tracks and moments therein, but they usually do some hypocritical combination of overstaying their welcome, devolving into something less interesting or engaging, or not lasting long enough; to name the tracks I find worth my time: Instant Crush, Motherboard, Doin' It Right, and maybe Contact. My main problems with this album stem from a few key sources: I want most of the vocalists to shut up whenever I hear them singing (I will never want to hear Pharrell singing on anything ever and most of the vocoding is not good), the drums all sound like I went to go see my roommate's dad's cover band play some tunes and they paid one of their nephews to do the sound, and pretty much every track feels like an overproduced realization of an older track that I rather be listening to instead (I could tabulate this if anyone cares at all); I rather listen to tracks like "Fresh" or "High Fidelity" or "Voyager" or "Face to Face" or "Television Rules the Nation" or on any hour of any given day.
I consider my general enjoyment of most disco music and early formative taste to be pretty tied to Daft Punk. Use of a vocoder (or most vocal processing) is a fast way to my heart, so it's usually a bit of a feat when it makes me reel back, like on numerous tracks herein (specifically "Within" and "Lose Yourself to Dance"). I can, and often do, forgive vocal content if it's not the greatest if the rest of the track around it makes up for it, I grew up around my brother playing and listening to the garage-grunge music that took over in the mid-90s from Nirvana culling glam and hair metal.
It took me years to understand a lot of why I feel and felt the way I do about this album: my expectations, my misplaced metrics for assigning an identity as an electronic music dweeb and thus uncalled for attachments to artists (that I probably still have, I am still sad about Ametsub being a massive creep and still derive my visual representation and tastes in most artforms from mid-00s IDM), letting go of my younger self. When I heard Starcadian's album "Sunset Blood," I realized that was the kind of musical progression I expected from Daft Punk, not studio electronic heavy dad rock (though for levity I feel I should note I first heard "Get Lucky" in the same restaurant as where I watched a bunch of then early 40s parents completely groove to "Scary Monsters and Nice Sprites" while pre-gaming for a UFC fight and it fucked my head in). I needed to let go of always trying to define myself as a fringe "other" person to those around me intentionally and instead let who I am find its way organically and move past who I had tried to be for awhile.
Thanks for reading my existential braindump of a reflection on Daft Punk's "Random Access Memories" that has been brought to you by a sudden dumping of snow on the Portland metro area of Oregon. I was not planning on writing this, so it's all pretty cobbled together and only slightly edited (mostly to add the links for fun).
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I am positively vibrating into the magnetic ether.
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I like the production on the single, it's classic pounding Clark.
I'd like to throw in my hat and say I think Totems Flare has aged pretty well. That album and Clarence Park are what really got me into him (along with "Gavel (Obliterated)").
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Massive album, highly recommended to anyone that liked anything Phoenecia related and the late 90s IDM sound. This album still sounds so fresh to me and I think I first heard it in about 2006.
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I'm pretty much happy with whatever they do. While I would always love new output from them, I've realized I'd be happy whenever they decided to call it over because that likely means they're satisfied.
To put a phrase I learned from their AMA, "I cane it."
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When I think of a "Plaid" melody, I think of "Tender Hooks" immediately.
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Ambient Burial is pretty cool.
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On 8/28/2022 at 12:38 PM, arachnopus said:
Just got my face melted off by Xanopticon in the pacific northwest. He's still making music, and his live sets remain blistering and delightful. He just doesn't ever release anything.
Would be great if he would put his tour stuff on his websites or anything.
Besides the featured artists, who are your faves in the genre?
in General Banter
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I still revisit his tunes. I'm slightly ashamed that some of his tracks were either my introduction to or what finally educated me in the name of the classical pieces he samples.
Miss him putting out music, but everything eventually ends and hope he's well.