with teeth was shit. theres 3 good songs on it. well, they're good after they grow on you. Ahh yes, but at least downward spiral has stood the test of time.zazamoth wrote:I wonder if thats anything like the last NiN Album!? ..I hated it at first and after I listened to it again, i was still ticked off at being made to wait five years to hear it!!..to be fair it did sound good live!..bad Trent !! BAD!!! grrrrfatrabbit wrote:I hated it at first, but it's really grown on me, and I think it's really good.
Give it some time maybe?
Great now i need to go and find my Squarepusher stuff
latest squarepusher album
spreader of butter
i love "hello everything". i actually just woke up from a dream where tom jenkinson was my best friend! even if i couldnt understand what he said all the time. the accent ..
anyway.. i dont like to see how he lately do his best to prove the whole world he's a genius. it seems to be more important to him since "ultravisitor".
"hello everything" will be the album that will finally hit more "conventional" listeners. its very catchy.
anyway.. i dont like to see how he lately do his best to prove the whole world he's a genius. it seems to be more important to him since "ultravisitor". "hello everything" will be the album that will finally hit more "conventional" listeners. its very catchy.
What the hell are you talking about?Johnisfaster wrote:this is some better playing here http://www.youtube.com/watch?v=OF-95DW2 ... ed&search=
the video up top doesn't show very impressive playing at all in my mind. he might as well be slapping a punk bassline.
With a lazy glance it may seem clumsy, but it's very precise and harder than it sounds.
I like this vid: http://www.youtube.com/watch?v=ppAd3stS ... ed&search=
Andre 3000 sounds like that "Internet is a series of tubes... err, yes tubes.." guy.
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muscleandhate
- Posts: 693
- Joined: Wed Aug 16, 2006 5:54 pm
See i liked the fragile when i first heard it. ok it's not as good as the downward spiral, but still it's really good.. where as the hand that feeds... was just an insult...FIVE years for that...it's first Nin album i didn't buy. I will say this, it did work really well live..but then again most simple three chord 4/4 jump along beat songs do ...add six pints in to the mixure and your laughingMeef Chaloin wrote:yeah im still struggling to get in to that, something's just very different. Fragile took quite a while though so maybe there's hope yet. Perhaps its cos he's gone sober now, a little stimulant does people like that goodzazamoth wrote:I wonder if thats anything like the last NiN Album!? ..I hated it at first and after I listened to it again, i was still ticked off at being made to wait five years to hear it!!..to be fair it did sound good live!..bad Trent !! BAD!!! grrrr
I say bring back Charlie Clouser!!!!!!..listen to void where his keyboards should have been...lol
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https://www.facebook.com/SeraphSin
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Regarding the album not sounding much different then previous albums, this is from the November issue of XLR8R:
--------------------------
After over a decades worth of conditioning, you'd be forgiven for assuming Squarepusher's latest would mark yet another left turn, perhaps something more deeply rooted in one of his loves, like improvisational jazz or music concrete. But the irony of the newly released Hello Everything is that, if it does elicit surprise, it will be because it sounds exactly like everything he's ever done before.
This is certainly no bad thing. As evidenced by the title, Hello Everything represents Jenkinson's attempt to rectify his many signature sounds and song styles into a larger whole. The end result is one of the most magnanimous records of his career, but it's hardly a sign that his exploratory instincts are fading.
-----------------------------
And regarding the relatively untouched amen break that is used on "Hello Meow":
------------------------------
We asked Squarepusher what message he hoped this (untouched amen break) would convey, especially to some of his more hardcore fans, and he broke it down for us.
"The reason that the amen break is untouched on that track is that it didn't need to be processed or chopped up to make the track work as a whole. My principle heritage as a musician is from playing bass in various groups as a teenager-this left me with the sense that it is only worth playing what is necessary to make the piece as a whole hang together. No matter what the musical terrain-whether it is electronic, jazz-based, or electro-acoustic - unnecessary musical information is the first mistake that an insensitive musician will make. What that illustrates is that you are not confident in what you have played and thus feel obliged to keep rephrasing it. It is wise to let silence speak, which is, of-course, necessary to form the contrast with non-silent musical events.
"As far as what anyone would think about me leaving the break untouched, who cares? Nonetheless, I understand your point - it is clear that a lot of people interested in electronic music have a "box-ticking" mentality, whereby a track has to fulfill certain material criteria to be worthy of attention. I see tis as a grave problem. For me, it is traceable back to a commodity oriented society that has only specifications and statistics as its tools to discern value. Maybe this is appropriate to cars, golf clubs, or sex aids, but I maintain that music will never entirely yield to this reductive approach.
"One of my attitudes is to try to make music that invalidates the categories imposed by the box-ticking process. I sensed this a long time ago, which is one of the reasons I tried to deliberately divide opinion on my work with Music is Rotted one Note. I like to keep playing this game by putting together albums that will hopefully frustrate any listener who is only interested in having their own aural agenda fulfilled. I demand more of my audience than that. I demand that the listener pays critical attention not only to my ideas, but also to their own. Ultimately, I don;t care about being a good artist; it is much more significant to me to try to get a few people to address how manufactured and lazy our attitudes to music are. Maybe my methods are crude but, if nothing else, it illustrates that I have a high estimation of my listeners.
"I am the first to admit the usefulness of categories in music. They are bound up in our entire approach to the world. Anyone who dreams of music without categorical boundaries is missing the fact that rules are what makes the game playable. In a world of pure contemplation, categories may fall away, but that is not a world where music can exist, depending as it does on contrasts, negated as such by pure sameness. It seems sensible to see the category as a touchstone - a venerable source of the accumulated experiences of others 0 but also to make forays beyond it;refer but not defer."
--------------------------------------
That's all from the November issues of XLR8R. Now, I'm not into Squarepusher like that, but I took the time on this lazy Sunday morning to go ahead and type all of this up for you, verbatim from the mag, because I know a lot of you are into his stuff. Also, I think he has a lot of interesting ideas, most of which I really agree with. So, I just figured I would share as it will hopefully spark some lively discussion.
--------------------------
After over a decades worth of conditioning, you'd be forgiven for assuming Squarepusher's latest would mark yet another left turn, perhaps something more deeply rooted in one of his loves, like improvisational jazz or music concrete. But the irony of the newly released Hello Everything is that, if it does elicit surprise, it will be because it sounds exactly like everything he's ever done before.
This is certainly no bad thing. As evidenced by the title, Hello Everything represents Jenkinson's attempt to rectify his many signature sounds and song styles into a larger whole. The end result is one of the most magnanimous records of his career, but it's hardly a sign that his exploratory instincts are fading.
-----------------------------
And regarding the relatively untouched amen break that is used on "Hello Meow":
------------------------------
We asked Squarepusher what message he hoped this (untouched amen break) would convey, especially to some of his more hardcore fans, and he broke it down for us.
"The reason that the amen break is untouched on that track is that it didn't need to be processed or chopped up to make the track work as a whole. My principle heritage as a musician is from playing bass in various groups as a teenager-this left me with the sense that it is only worth playing what is necessary to make the piece as a whole hang together. No matter what the musical terrain-whether it is electronic, jazz-based, or electro-acoustic - unnecessary musical information is the first mistake that an insensitive musician will make. What that illustrates is that you are not confident in what you have played and thus feel obliged to keep rephrasing it. It is wise to let silence speak, which is, of-course, necessary to form the contrast with non-silent musical events.
"As far as what anyone would think about me leaving the break untouched, who cares? Nonetheless, I understand your point - it is clear that a lot of people interested in electronic music have a "box-ticking" mentality, whereby a track has to fulfill certain material criteria to be worthy of attention. I see tis as a grave problem. For me, it is traceable back to a commodity oriented society that has only specifications and statistics as its tools to discern value. Maybe this is appropriate to cars, golf clubs, or sex aids, but I maintain that music will never entirely yield to this reductive approach.
"One of my attitudes is to try to make music that invalidates the categories imposed by the box-ticking process. I sensed this a long time ago, which is one of the reasons I tried to deliberately divide opinion on my work with Music is Rotted one Note. I like to keep playing this game by putting together albums that will hopefully frustrate any listener who is only interested in having their own aural agenda fulfilled. I demand more of my audience than that. I demand that the listener pays critical attention not only to my ideas, but also to their own. Ultimately, I don;t care about being a good artist; it is much more significant to me to try to get a few people to address how manufactured and lazy our attitudes to music are. Maybe my methods are crude but, if nothing else, it illustrates that I have a high estimation of my listeners.
"I am the first to admit the usefulness of categories in music. They are bound up in our entire approach to the world. Anyone who dreams of music without categorical boundaries is missing the fact that rules are what makes the game playable. In a world of pure contemplation, categories may fall away, but that is not a world where music can exist, depending as it does on contrasts, negated as such by pure sameness. It seems sensible to see the category as a touchstone - a venerable source of the accumulated experiences of others 0 but also to make forays beyond it;refer but not defer."
--------------------------------------
That's all from the November issues of XLR8R. Now, I'm not into Squarepusher like that, but I took the time on this lazy Sunday morning to go ahead and type all of this up for you, verbatim from the mag, because I know a lot of you are into his stuff. Also, I think he has a lot of interesting ideas, most of which I really agree with. So, I just figured I would share as it will hopefully spark some lively discussion.
Great effort in typing that up!
See also a Q&A with him here (multiple pages):
http://www.bbc.co.uk/dna/collective/A16410791
And Electric Proms performance:
http://www.bbc.co.uk/electricproms/squarepusher/
See also a Q&A with him here (multiple pages):
http://www.bbc.co.uk/dna/collective/A16410791
And Electric Proms performance:
http://www.bbc.co.uk/electricproms/squarepusher/
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dj superflat
- Posts: 1279
- Joined: Wed Nov 02, 2005 5:31 pm
- Location: leadville, CO
thx very much for all the typing. i like all the conceptual thinking about music (so long as it doesn't get in the way of the music). though i think some of the objection to having an unprocessed amen in the midst of the rest of what he does is aesthetic -- people think it doesn't really fit, rather than simply thinking square has to glitch up everything he touches.
yeah, thanks for taking the time to type the article.
i must say that i respect his viewpoint. but i half agree with what he says about leaving the amen break untouched.
i mean i agree with the fact the un-necessarily musical material must be avoided, but then, i despise the idea of taking old receipes and not adding anything new to them.
and i'm surprised to hear him talk like that.
i must say that i respect his viewpoint. but i half agree with what he says about leaving the amen break untouched.
i mean i agree with the fact the un-necessarily musical material must be avoided, but then, i despise the idea of taking old receipes and not adding anything new to them.
and i'm surprised to hear him talk like that.