I've been thinking recently about the concept of "timeless" music. Not music in the sense of it transcending time, and being just as cool/excellent/relevant now as it was 40 years ago (Beatles, Stones, etc.), but music that is timeless in that you can't really tell when it was created, and could have just as easily been produced last week as 10 years ago. "Since I Left You" is one of those types of albums - they started it in 1998, it was released in 2000, but if you put it in my hand today and said it came out last week, I wouldn't question it.
For the record, the album that inspired this line of thinking was "The Shape of Punk to Come."
This is part of what makes Aphex Twin one of my all-time favorite musicians. Listening to some of the Analogue Bubblebath and Selected Ambient Works pieces from the late 80's and early 90's and it just blows my mind that he was making that music in that day and age. Truly ahead of his time
Do the Avalanches fit in here, or are they not bleep bloopy enough? Their new "mixtape" inspired me to go listen to their debut, which I hadn't pulled out in a while, and I always forget how great it is.
The Avalanches are putting out music again?!?!?! Someone clue me in.
Also, I'll be going through all 7 pages of this thread tonight and listening to these posts. Dont know why Ive been sleeping on this thread.
Post by nodepression on Jun 23, 2012 14:54:06 GMT -5
I like it a lot as well. I've been walking around after work around dusk and it just fits my walk to get coffee by the parks and all the people hanging out on picnic blankets so well. The album has a lot of space, they leave a lot of room to sort of play around in.
And it definitely sounds a lot better than 936, but whether or not it is better is something I've been struggling with.
Post by nodepression on Jul 11, 2012 13:22:17 GMT -5
I put a bunch of stuff in my itunes while it was "checking library" for about 20 minutes in a reboot. This comes on when my itunes returns as I'm heading out the door. Immediately turn around and put on my headphones so I can play it loud. Jeez.
According to a press release, Snaith built a modular synthesizer that "plays a prominent role on this album." He writes: I'd fallen back in love with moments in small, dark clubs when a DJ puts on a piece of music that not only can you not identify but that until you heard it, you could not have conceived of it existing. In contrast to live concerts where bands predictably string together the songs from their most recent album, DJs have the potential to blindside you, be genuinely surprising. As a music producer, the parameters of dance music seem wider. The rhythmic underpinnings are liberating rather than constraining, allowing the rest of the elements to coalesce from a broad palette. He continued: I've been surprised by the number of transcendent moments that I, sober and in my mid-30s, have had in clubs in the last few years, both as a punter and as a DJ. Against my expectations, there's some magic in it still. The clichés about the collective consciousness of clubs still seems to hold water in some special cases. Set against the backdrop of bland and functional dance music and the mind-numbing predictability of the EDM barfsplosion currently gripping the corporate ravesters, there is a small world where dance music lives up to its potential to liberate, surprise, and innovate. It's there that I hope Daphni has a place.