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Steinvord - Steinvord

Redruth

By Redruth
in New & Upcoming Releases

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pissflaps Rising Star

pissflaps

Posted
Posted

there has been a lot of VERY good hyper edited jungle/breakcore etc going around for the past 10 years

 

steinvord follows that "classic drill n bass" tradition. haven't heard such creative use of the amen since pusher. some jodey kendrick tracks fall into the same pot. just my two cents.

 

i dont understand, when you say you havent heard such a 'creative' use of the amen break... how are you using the word creative? because you sure as hell aren't using it to mean an original take on the amen break or pushing the envelope in any way (50% of the thread seem to think they recognize squarepusher samples in it, can you think of anything less 'original' than that if this artist really has nothing to do with those guys?)

 

edit: to me it's like listening to a 3tronik track and saying 'i havent heard such a creative use of glitch since autechre'

 

often i will walk into a watmm thread where the discussion seems to be of the 'up is down' 'black is white' variety, this is one of those times!

 

I've already explained how it's impossible that you can just go and straight sample entire *clean* drumloops from SP tracks (GP-ultravisitor circa), when those tracks are specially buried into all kinds of reverbs and digital noise all the time. I find specially amusing that someone claimed the ontrack break was sampled off that Squarepusher track, when the amen on that track as a completely different tone and compression settings (insanely squashed vs a more transient-defined breakbeat that's used on ontrack).

Now, if you are somehow implying (as someone did) that Steinvord had access to SP processed breaks, samples, hardware, whatever... well, that's as much of a fucked up theory to think about as any other.

 

Plus some of the stuff on this thing simply isn't inside Aphex-Squarepusher's styles that i've heard before. This track "cyg x-1" (I think formerly known as untitled 11) is a really really good track, but has too much of an steady beat and rhythm to it. It's some kind of techno-jungle weird thing with lots of different sounds and layers. Cyg x-1 is a good name for this thing since it feels like something out of space (those pads). At the highest moment of the track there is a little sound that specially blew my mind, it's like as if something was crossing from my right headphone into my left headphone through my skull, that was a pretty badass effect and caught me off attention. Did anyone notice what im talking about? This track specially shows that there is potential. At the end of the day if this is some random guy and he did tracks like this at 16-17 means he's sitting on a lot of unreleased material and what do we know how does that sound like.

Oh and yeah, this vinyl sounds great. Wasn't able to pick half as much details with the poor-quality leaks around. Im really liking those subtle layers and pads over the breaks of that new track.

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Hugh Mughnus Grand Master

Hugh Mughnus

Posted
Posted

there has been a lot of VERY good hyper edited jungle/breakcore etc going around for the past 10 years

 

steinvord follows that "classic drill n bass" tradition. haven't heard such creative use of the amen since pusher. some jodey kendrick tracks fall into the same pot. just my two cents.

 

i dont understand, when you say you havent heard such a 'creative' use of the amen break... how are you using the word creative? because you sure as hell aren't using it to mean an original take on the amen break or pushing the envelope in any way (50% of the thread seem to think they recognize squarepusher samples in it, can you think of anything less 'original' than that if this artist really has nothing to do with those guys?)

 

edit: to me it's like listening to a 3tronik track and saying 'i havent heard such a creative use of glitch since autechre'

 

often i will walk into a watmm thread where the discussion seems to be of the 'up is down' 'black is white' variety, this is one of those times!

 

I've already explained how it's impossible that you can just go and straight sample entire *clean* drumloops from SP tracks (GP-ultravisitor circa), when those tracks are specially buried into all kinds of reverbs and digital noise all the time. I find specially amusing that someone claimed the ontrack break was sampled off that Squarepusher track, when the amen on that track as a completely different tone and compression settings (insanely squashed vs a more transient-defined breakbeat that's used on ontrack).

Now, if you are somehow implying (as someone did) that Steinvord had access to SP processed breaks, samples, hardware, whatever... well, that's as much of a fucked up theory to think about as any other.

 

Plus some of the stuff on this thing simply isn't inside Aphex-Squarepusher's styles that i've heard before. This track "cyg x-1" (I think formerly known as untitled 11) is a really really good track, but has too much of an steady beat and rhythm to it. It's some kind of techno-jungle weird thing with lots of different sounds and layers. Cyg x-1 is a good name for this thing since it feels like something out of space (those pads). At the highest moment of the track there is a little sound that specially blew my mind, it's like as if something was crossing from my right headphone into my left headphone through my skull, that was a pretty badass effect and caught me off attention. Did anyone notice what im talking about? This track specially shows that there is potential. At the end of the day if this is some random guy and he did tracks like this at 16-17 means he's sitting on a lot of unreleased material and what do we know how does that sound like.

Oh and yeah, this vinyl sounds great. Wasn't able to pick half as much details with the poor-quality leaks around. Im really liking those subtle layers and pads over the breaks of that new track.

 

Impossible is a strong word.

 

And the implication is that this person has access to SP's loops and that they were processed in a different way than where we have originally heard them, not so much that it was sampled off his work.

 

For example in maelstrom you can hear sections that are the same drum loop from the end of greenways trajectory... where it sounds like the drum note ALMOST finishes but then reverses.... I will post tracks and times in the steinvord vs old squarepusher (mostly from go plastic) to show my point.

 

I will post later.

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Hugh Mughnus Grand Master

Hugh Mughnus

Posted
Posted

However I do agree that some of the work does not sound like Aphex or SP.

 

Btw I forgot the synth in ontrack 2 at about 20 seconds has resonance that peaks almost exactly the same way as the synths in venus 17, I threw it through an analyzer earlier...

 

but I'm not a professional.

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pissflaps Rising Star

pissflaps

Posted
Posted

there has been a lot of VERY good hyper edited jungle/breakcore etc going around for the past 10 years

 

steinvord follows that "classic drill n bass" tradition. haven't heard such creative use of the amen since pusher. some jodey kendrick tracks fall into the same pot. just my two cents.

 

i dont understand, when you say you havent heard such a 'creative' use of the amen break... how are you using the word creative? because you sure as hell aren't using it to mean an original take on the amen break or pushing the envelope in any way (50% of the thread seem to think they recognize squarepusher samples in it, can you think of anything less 'original' than that if this artist really has nothing to do with those guys?)

 

edit: to me it's like listening to a 3tronik track and saying 'i havent heard such a creative use of glitch since autechre'

 

often i will walk into a watmm thread where the discussion seems to be of the 'up is down' 'black is white' variety, this is one of those times!

 

I've already explained how it's impossible that you can just go and straight sample entire *clean* drumloops from SP tracks (GP-ultravisitor circa), when those tracks are specially buried into all kinds of reverbs and digital noise all the time. I find specially amusing that someone claimed the ontrack break was sampled off that Squarepusher track, when the amen on that track as a completely different tone and compression settings (insanely squashed vs a more transient-defined breakbeat that's used on ontrack).

Now, if you are somehow implying (as someone did) that Steinvord had access to SP processed breaks, samples, hardware, whatever... well, that's as much of a fucked up theory to think about as any other.

 

Plus some of the stuff on this thing simply isn't inside Aphex-Squarepusher's styles that i've heard before. This track "cyg x-1" (I think formerly known as untitled 11) is a really really good track, but has too much of an steady beat and rhythm to it. It's some kind of techno-jungle weird thing with lots of different sounds and layers. Cyg x-1 is a good name for this thing since it feels like something out of space (those pads). At the highest moment of the track there is a little sound that specially blew my mind, it's like as if something was crossing from my right headphone into my left headphone through my skull, that was a pretty badass effect and caught me off attention. Did anyone notice what im talking about? This track specially shows that there is potential. At the end of the day if this is some random guy and he did tracks like this at 16-17 means he's sitting on a lot of unreleased material and what do we know how does that sound like.

Oh and yeah, this vinyl sounds great. Wasn't able to pick half as much details with the poor-quality leaks around. Im really liking those subtle layers and pads over the breaks of that new track.

 

Impossible is a strong word.

 

And the implication is that this person has access to SP's loops and that they were processed in a different way than where we have originally heard them, not so much that it was sampled off his work.

 

For example in maelstrom you can hear sections that are the same drum loop from the end of greenways trajectory... where it sounds like the drum note ALMOST finishes but then reverses.... I will post tracks and times in the steinvord vs old squarepusher (mostly from go plastic) to show my point.

 

I will post later.

 

You don't really need to do that because I know where you are coming from and seems like a waste of time, and im telling you those are not the same breaks. When a break like the amen has been heavily processed already like Tom did on those records, you are only going to fuck it up and make it sound bad if you try to change it. This is a pretty basic premise that anyone that works with audio knows. You sound kinda amateur at your judgement. Im actually a professional mastering engineer and i've been working with sounds profesionally for a decade. What you will prove is that the arrangement is at times extremely reminiscent of the GP SP era, but this proves nothing on the actual matter. I know there is those bits here and there on Maelstrom that are just so similar to the way Tom arranged it at some places on GP, but the thing is the actual track has a weight of it's own. Don't worry GP is my fav' release of all time and I know that record better than you could. My advice is you are overanalizing and over-obsessing with comparing this guy to other tracks and missing the actual work. Just chill and enjoy a great record mate . This is the internet after all.

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Hugh Mughnus Grand Master

Hugh Mughnus

Posted
Posted

there has been a lot of VERY good hyper edited jungle/breakcore etc going around for the past 10 years

 

steinvord follows that "classic drill n bass" tradition. haven't heard such creative use of the amen since pusher. some jodey kendrick tracks fall into the same pot. just my two cents.

 

i dont understand, when you say you havent heard such a 'creative' use of the amen break... how are you using the word creative? because you sure as hell aren't using it to mean an original take on the amen break or pushing the envelope in any way (50% of the thread seem to think they recognize squarepusher samples in it, can you think of anything less 'original' than that if this artist really has nothing to do with those guys?)

 

edit: to me it's like listening to a 3tronik track and saying 'i havent heard such a creative use of glitch since autechre'

 

often i will walk into a watmm thread where the discussion seems to be of the 'up is down' 'black is white' variety, this is one of those times!

 

I've already explained how it's impossible that you can just go and straight sample entire *clean* drumloops from SP tracks (GP-ultravisitor circa), when those tracks are specially buried into all kinds of reverbs and digital noise all the time. I find specially amusing that someone claimed the ontrack break was sampled off that Squarepusher track, when the amen on that track as a completely different tone and compression settings (insanely squashed vs a more transient-defined breakbeat that's used on ontrack).

Now, if you are somehow implying (as someone did) that Steinvord had access to SP processed breaks, samples, hardware, whatever... well, that's as much of a fucked up theory to think about as any other.

 

Plus some of the stuff on this thing simply isn't inside Aphex-Squarepusher's styles that i've heard before. This track "cyg x-1" (I think formerly known as untitled 11) is a really really good track, but has too much of an steady beat and rhythm to it. It's some kind of techno-jungle weird thing with lots of different sounds and layers. Cyg x-1 is a good name for this thing since it feels like something out of space (those pads). At the highest moment of the track there is a little sound that specially blew my mind, it's like as if something was crossing from my right headphone into my left headphone through my skull, that was a pretty badass effect and caught me off attention. Did anyone notice what im talking about? This track specially shows that there is potential. At the end of the day if this is some random guy and he did tracks like this at 16-17 means he's sitting on a lot of unreleased material and what do we know how does that sound like.

Oh and yeah, this vinyl sounds great. Wasn't able to pick half as much details with the poor-quality leaks around. Im really liking those subtle layers and pads over the breaks of that new track.

 

Impossible is a strong word.

 

And the implication is that this person has access to SP's loops and that they were processed in a different way than where we have originally heard them, not so much that it was sampled off his work.

 

For example in maelstrom you can hear sections that are the same drum loop from the end of greenways trajectory... where it sounds like the drum note ALMOST finishes but then reverses.... I will post tracks and times in the steinvord vs old squarepusher (mostly from go plastic) to show my point.

 

I will post later.

 

You don't really need to do that because I know where you are coming from and seems like a waste of time, and im telling you those are not the same breaks. When a break like the amen has been heavily processed already like Tom did on those records, you are only going to fuck it up and make it sound bad if you try to change it. This is a pretty basic premise that anyone that works with audio knows. You sound kinda amateur at your judgement. Im actually a professional mastering engineer and i've been working with sounds profesionally for a decade. What you will prove is that the arrangement is at times extremely reminiscent of the GP SP era, but this proves nothing on the actual matter. I know there is those bits here and there on Maelstrom that are just so similar to the way Tom arranged it at some places on GP, but the thing is the actual track has a weight of it's own. Don't worry GP is my fav' release of all time and I know that record better than you could. My advice is you are overanalizing and over-obsessing with comparing this guy to other tracks and missing the actual work. Just chill and enjoy a great record mate . This is the internet after all.

 

I'm not sure, my posts seemed fairly short and to the point, I don't think it's overanalytical. It was a response to your multi paragraph post. I also never said once I wasn't enjoying the record for what it is. In addition to that, this particular thread is dedicated to the discussion of the artist at hand and because the discussion currently was in regards to the identity of the artist and the structure of the music I was describing it in the only way a person can: relativity to something I know.

 

I appreciate your expertise. But I too have listened to these albums for hundreds and hundreds of hours and know them inside and out so your judgement that A) you know the tracks better and B) I'm some sort of amateur comes off a little pretentious.

 

But, after all you are a professional in the industry for decades and I've heard your mastering work everywhere, so I concede you are the superior human being.

 

Have a great Friday night. :)

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Guest rotchnock

Guest rotchnock

Posted
Posted

Just stumbled onto this thread and I have no idea why you aspies are posting hamburgers, but I just finished my first listen and this just sounds great. It's such a replayable EP. Im sure I missed half the thing the first time. The vinyl sounds great compared to those really crappy samples. Hope this stuff gets a proper digital release aswell.

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Lucas Veteran

Lucas

Posted
Posted

I think it isn't. Such a shame. Like, the idea is good but all the movie sits on this idea and it's imo quite superficial in the end. But I was waiting for it hard because I thought there was a little bit of genius in Steak and wanted to see something more accomplished.

 

maybe this will be for the next ones

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Ivan Ooze Grand Master

Ivan Ooze

Posted
Posted

I think it isn't. Such a shame. Like, the idea is good but all the movie sits on this idea and it's imo quite superficial in the end. But I was waiting for it hard because I thought there was a little bit of genius in Steak and wanted to see something more accomplished.

 

maybe this will be for the next ones

Rubber 2: cannibal fresh condom

 

edit: someone update the rephlex website for the love of god, i want to burn these tracks

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