Vaporwave

[Lane Visitor]

http://beerontherug.bandcamp.com/album/home listen to "Loading"

 

http://beerontherug.bandcamp.com/album/clearskies listen to "Rec Virtura"

 

Whoa.. crazy! Never noticed those are the same melody..

 

Hmm it's like a Prism Corp theme, tying both releases together.. haha that makes it even more awesome to me

Edited March 6, 2014 by Lane Visitor

[sheatheman]

I'm pretty sure it's the same sample at different speeds. The whole track is just a sample.

[Lane Visitor]

I'm pretty sure it's the same sample at different speeds. The whole track is just a sample.

 

hmm wow.. i wonder if anyone can find the source material?

 

although i kind of like that i dont know where it came from and if it came from anywhere.. keeps the mystique. thats the problem with vaporwave lol with the good sample-based stuff, you dont really wanna know what the original source was, in order to keep it magical.

 

strange dilemma...

[joshuatxuk]

 

I'm pretty sure it's the same sample at different speeds. The whole track is just a sample.

 

hmm wow.. i wonder if anyone can find the source material?

 

although i kind of like that i dont know where it came from and if it came from anywhere.. keeps the mystique. thats the problem with vaporwave lol with the good sample-based stuff, you dont really wanna know what the original source was, in order to keep it magical.

 

strange dilemma...

 

 

yeah I either love completely obscure samples or very deliberate use of trademark samples I recognize immediately (which is at the core of classic rave, hip-hop, turntablism, etc)

 

nothing can describe that ephipany of hearing a sample source and absolutely freaking out in joy

Also, it'd be funny if that track was a midi melody he composed and then "sampled" later

 

self-sampling? portishead pressed their own dubplates for that effect

[Lane Visitor]

 

self-sampling? portishead pressed their own dubplates for that effect

 

 

A testament to their greatness (:

[sheatheman]

I have only ever self sampled.

[Lane Visitor]

I have only ever self sampled.

 

A testament to your greatness

[joshuatxuk]

 

I have only ever self sampled.

 

A testament to your greatness

 

 

[sheatheman]

That makes me want to eat Poptarts in the morning. No, Toaster Strudels.

[gmanyo]

i usually just sample rick astley

[Cryptowen]

Rick Assley would be a good name for a guy who makes tracks out of old porn music & white guy rnb

 

also acoustep would be a good name for a new genre in which talented electronic musicians with no classical training attempt to create music using only acoustic instruments they've never played before, all in one live take

[Lane Visitor]

also acoustep would be a good name for a new genre in which talented electronic musicians with no classical training attempt to create music using only acoustic instruments they've never played before, all in one live take

 

lolol ... ive actually thought it would funny to do some kind dubstep genre, where it was the type of styles, buildups, drops, nuances that exist in dubstep, but the instruments being used were not dubstep synths, but rather acoustic guitars, jazz drums, etc, maybe even a few horns... some sounds from a dx7 or whatever.. anything non dubstep like lol it would sound like a trainwreck!

Edited March 7, 2014 by Lane Visitor

[prdctvsm]

... . . ... . . . ∵⃝

http://macinsoft.bandcamp.com/

[Alcofribas]

 

also acoustep would be a good name for a new genre in which talented electronic musicians with no classical training attempt to create music using only acoustic instruments they've never played before, all in one live take

 

lolol ... ive actually thought it would funny to do some kind dubstep genre, where it was the type of styles, buildups, drops, nuances that exist in dubstep, but the instruments being used were not dubstep synths, but rather acoustic guitars, jazz drums, etc, maybe even a few horns... some sounds from a dx7 or whatever.. anything non dubstep like lol it would sound like a trainwreck!

wait, did you say alcostep?

 

lush

[Lane Visitor]

lol

[Lane Visitor]

Just got THE most vaped out spam in my junkmail! Check it out:

 

 

 

 

"Hello,

This is the second time i am sending you this mail, Please can you help me re-profile fund? I am Ms Teresa Au, HSBC Hong Kong, head of corporate sustainability Asia pacific region. A sum of (USD$23,200,000.00) (Twenty three million, two Hundred Thousand dollars) Million was deposited by our Late customer who died without declaring any next of kin before his death in 2006.

My suggestion to you is to stand as the next of kin to Fadel Ahmed. We shall share in the ratio of 50% for me, 50% for you. Please contact me via this e- mail: mrs_tere2@126.com. Thanks

Regards
Mrs Teresa Au."

[funkaholic]

vaporwave based around japanese 80s music

https://soundcloud.com/betahifi

[joshuatxuk]

Just got THE most vaped out spam in my junkmail! Check it out:

 

 

 

 

"Hello,

This is the second time i am sending you this mail, Please can you help me re-profile fund? I am Ms Teresa Au, HSBC Hong Kong, head of corporate sustainability Asia pacific region. A sum of (USD$23,200,000.00) (Twenty three million, two Hundred Thousand dollars) Million was deposited by our Late customer who died without declaring any next of kin before his death in 2006.

 

My suggestion to you is to stand as the next of kin to Fadel Ahmed. We shall share in the ratio of 50% for me, 50% for you. Please contact me via this e- mail: mrs_tere2@126.com. Thanks

 

Regards

Mrs Teresa Au."

 

amazing; this could make for a good backstory to some fake vaporwave kickstarter or something

[Lane Visitor]

 

Just got THE most vaped out spam in my junkmail! Check it out:

 

 

 

 

"Hello,

This is the second time i am sending you this mail, Please can you help me re-profile fund? I am Ms Teresa Au, HSBC Hong Kong, head of corporate sustainability Asia pacific region. A sum of (USD$23,200,000.00) (Twenty three million, two Hundred Thousand dollars) Million was deposited by our Late customer who died without declaring any next of kin before his death in 2006.

 

My suggestion to you is to stand as the next of kin to Fadel Ahmed. We shall share in the ratio of 50% for me, 50% for you. Please contact me via this e- mail: mrs_tere2@126.com. Thanks

 

Regards

Mrs Teresa Au."

 

amazing; this could make for a good backstory to some fake vaporwave kickstarter or something

 

 

hahahaha yes!

[joshuatxuk]

vaporwave based around japanese 80s music

https://soundcloud.com/betahifi

 

 

[joshuatxuk]

March 2007

 

 

December 2011

 

 

May 2012

 

 

 

 

 

http://pitchfork.com/features/resonant-frequency/6555-resonant-frequency-44/

 

 

History tells me the doo-wop hit "I Only Have Eyes for You" by the Flamingos was released in 1959, but I don't believe it. Not that I could tell you when it's from, exactly. It's a very slippery song and its place in the chronology could be shifted either way.

I remember hearing it on the radio in the 1970s, and I probably assumed it was current, another nugget of AM gold. Something like a Carpenters single, maybe, a sha-la-la-la, a whoa-oh-oh-oh that still shines. But at the same time, it also sounds like it comes from much earlier. From before it was recorded, even. It's the kind of song that seems like it was always there. It was written in the 30s, so maybe that's part of it. It just seems like what I imagine music from 1959 to be. Does it really sound like two years after "Jailhouse Rock"? And then there's the issue of the Flamingos themselves. In the day, I figured at least one woman was in that clutch of voices. They were all black, too, another surprise that came many years later.

So yeah, I can't get a handle on this song. Forgive my confusion; I knew this would be tough. I love this song deeply, but I find it difficult to talk about. I'm thinking it's because so much of my initial listening and processing happened when my vocabulary was limited to a few hundred words. You don't analyze songs in kindergarten; they just sort of seep into you, and the feelings they impart don't have names. Somehow, with this song in particular, I got stuck back there. "I Only Have Eyes For You" did strange things to me then that continue to linger. I can count four or five different feelings going on at once, and it's hard to integrate them satisfactorily.

The song creeps me out, obviously, but I assume it does that for everybody. It's the David Lynch thing, I suppose; not that he invented disquieting nostalgia, he just perfected it. I can picture something awful happening while this song plays; there's menace there, which might explain why it makes me feel a little sick. Yes, this song, which I love, also makes me queasy. I'm talking about a faint but very real physical response. When I hear "I Only Have Eyes For You", I want to reach for the mouthwash. It's partly the creepiness, the bad things I can imagine happening, but also the naked sentimentality. The chorus is just so over the top, so saccharine. So we have a song that is beautiful, disorienting, creepy, sentimental, and nauseating: pretty much exactly what I imagine dying to be like. That works: This song is death. Whenever it comes on the radio or plays in an advertisement, "I Only Have Eyes For You" swallows me completely.

One thing "I Only Have Eyes For You" doesn't do, not even a little, is make me think of a woman. I hear nothing like love or even lust inside here. Could be because I heard it so early, but there's some other dissociative stuff happening: To be honest, I can barely even hear the lyrics. Whatever part of my brain processes musical texture, it completely shouts down the one trying to process the words. It's all about the sound, this single; every bit of its impact comes from the production. The reverb on the vocals, however the genius engineer made it happen in 1959, is for me the sum of this record's content. The echo on the "shoo-bop shoo-bop" is beautiful beyond anything I could ever hope to express in writing. And that's the crux of what I'm getting at here: Crazy as it seems, everything I mentioned up above, and thousands of words more, it's all held inside this one sonic effect.

I stop to think about "I Only Have Eyes For You", if only for a moment, nearly every time I hear it. I poke at it to see if I can figure out why it means so much, how what most would consider a charming one-off plucked from a Time-Life Crusin' Through the 50s comp can be so devastating. And for the past few years, I've wanted to write about it. But I kept putting it off. Somehow, words-- at least ones I could come with-- seemed too crude for this thing I was trying to get at. I was pretty sure I could never make anyone else understand what the hell I was talking about. My failure brought to mind a couple lines from Mercury Rev's "Holes": "That big blue open sea/ That can't be crossed/ That can't be climbed." In relation to this song, that's where I've sat, for years, looking out at the horizon. So I resigned myself. It would just be me and "I Only Have Eyes for You" and that's it. A little secret I would share with myself.

And then I heard something very unexpected that pulled me out of this private place. This month Kompakt will issue From Here We Go Sublime, the debut full-length by Swedish producer Axel Willner, who records as the Field. It's a brilliant album that scatters clever samples of pop songs throughout-- check the reference to Lionel Richie's "Hello" in "A Paw in My Face". The record is one track after another of billowy, blissed-out techno. But the title track, which closes the album, is something else.

It begins by alternating between two samples, each clipped abruptly so only a single piano note and then a vocal "doo" repeat over and over, a CD skipping Oval-style. Something was immediately familiar. I kept inching closer to recognition over the next few bars, which included another sample that sounded like a cluster of voices the size of a bouquet being stuffed through a hole in a fence the size of a quarter, vibrant colors spilling on the ground. Still, I couldn't quite place it. But then, in the track's final section, the processing gives way to a loop of the "shoo-bop shoo-bop" section of "I Only Have Eyes For You" and it becomes obvious-- How did I not hear it earlier?-- that all the samples on the track were ripped from the song. THE song. Then Willner slows it down, and starts chopping things up finer, until finally those Flamingos implode and a cloud of feathers floats up to stars that, yes, are out tonight: Oh. My. God.

It was like some separated-at-birth thing, this shock of recognition that came when I heard "From Here We Go Sublime". Willner had cracked "I Only Have Eyes For You" open like an egg, done away with the words-- I knew they were extraneous-- and turned up the wattage on that unnamable thing I heard glowing inside. Willner hears "I Only Have Eyes for You" on my wavelength; those thoughts and ideas and feelings I thought were transmitted to me alone, or at the very least figured were too obtuse to share with anyone else, he knows them too. And he found a much better medium for expressing them. On that score it turns out I was right all along: words fail. The sonic character of this single, with the huge wall of feeling looming behind it, is best explained with more sound. That big blue open sea, which had stretched before me for 30 years, this guy built a bridge across it.

 

 

P.S. I first heard this song here

 

 

 

[VIII]

vaporwave sucks

[Guest AsylumSeaker]

A favorite of mine:

 

https://soundcloud.com/lindsheaven/installation-zone?in=lindsheaven/sets/ntsc-memories-2013

 

 

 

Some vaporwave is more sustainable than other vaporwave. I still listen to Floral Shoppe all the time, for example, but other stuff from that period got old quickly.

Adam Harper wrote in his highly commendable book Infinite Music that a musical genre or style “is a musical object composed as a democratic collaboration by a dynamic community spanning time and space.” I feel that vaporwave is a really good example of this. I mean all genres or styles sort of operate that way, but I think it's different in the case of vaporwave and a lot of internet micro-genre things in that there's a much more conscious effort by the community involved to build something cohesive. That's how they can take off so fast. It's less of an organic evolution taking place over time in some particular geographic location like most electronic genres have evolved historically, and more a case of a bunch of people who know each other on tumblr or whevever being like "hey, let's all build something together." I mean they might never have that actual conversation, but someone comes up with a sound and then others follow suite and they collect the music in one place and expand on it and promote it in a relatively organised fashion. I think communities of musicians are starting to take over a lot of the functions of organisation that record labels used to do, basically.

 

It makes the whole thing sort of artificial in that there's a lot of design behind the shape and direction of the genre as a whole, but this isn't necessarily a bad thing. It's about a community of people developing and presenting their collective musical project in the same way that an individual musician would develop and present their own project.

Edited March 13, 2014 by AsylumSeaker

[joshuatxuk]

vaporwave sucks

 

[joshuatxuk]

A favorite of mine:

 

https://soundcloud.com/lindsheaven/installation-zone?in=lindsheaven/sets/ntsc-memories-2013

 

 

 

Some vaporwave is more sustainable than other vaporwave. I still listen to Floral Shoppe all the time, for example, but other stuff from that period got old quickly.

 

Adam Harper wrote in his highly commendable book Infinite Music that a musical genre or style “is a musical object composed as a democratic collaboration by a dynamic community spanning time and space.” I feel that vaporwave is a really good example of this. I mean all genres or styles sort of operate that way, but I think it's different in the case of vaporwave and a lot of internet micro-genre things in that there's a much more conscious effort by the community involved to build something cohesive. That's how they can take off so fast. It's less of an organic evolution taking place over time in some particular geographic location like most electronic genres have evolved historically, and more a case of a bunch of people who know each other on tumblr or whevever being like "hey, let's all build something together." I mean they might never have that actual conversation, but someone comes up with a sound and then others follow suite and they collect the music in one place and expand on it and promote it in a relatively organised fashion. I think communities of musicians are starting to take over a lot of the functions of organisation that record labels used to do, basically.

 

It makes the whole thing sort of artificial in that there's a lot of design behind the shape and direction of the genre as a whole, but this isn't necessarily a bad thing. It's about a community of people developing and presenting their collective musical project in the same way that an individual musician would develop and present their own project.

 

Excellent analysis, that's exactly why I went from my initial dismissal/skepticism to really digging the genre and scene. The substance of the community really shines, it's like we've returned to the days of DIY pre-internet, which was less conscious emulation/influence between artists and more of a unity over ethos. Vaporwave has a very deceiving sense of superficiality to it (something that plagued other trends like synthpop, chillwave, "dubstep," witch house, etc) so I assumed it'd be full of aping/copying for the sake of quick success but at it's core is a lot of sincerity and heart. It's a very fun, unpretentious movement.

Edited March 13, 2014 by joshuatx