Analog > Digital > Analog
by ThisAdamKing on May.01, 2012, under Electronic Wonder, Organic Oddcentrics, Science of Sound
I had one of those moments of existential despair for the modern age this morning when I read a quick blurb about how a premier screening of the new Avengers movie was postponed today because the projectionist accidentally deleted the film from the digital projector. So you know, I had one of those flashes where I realized that the easier and easier it becomes to access information and material, the seemingly easier it becomes to also lose things just as quickly. Back in the day, that guy would have had to accidentally set the film on fire for the thing to just disappear like that. Now he thinks he’s confirming “boob” on words-with-friends and actually sends a full-feature film into the nether-world. We’ve still gotta turn 2 keys at the same time to launch nukes, right? Let’s fucking hope so. Anyway, nothing like a little Tuesday imposed fear of Kurzweilian fear to make me find a killer link…
So I’m trying to think about folks who are still advancing into the modern age while they embrace the techniques of yesteryear. I think of my friends who are adamant about recording only to 2-inch tape… I think of Stephen Malkmus‘s utter disdain for ProTools… I think of RZA running all of Wu-Tang‘s beats through analog mixers… and I think of Dan Deacon. It’s been 3 years since Deacon released the epic and seminal album Bromst, and while his ‘electronic’ music has always had a very natural, organic, breathing feel to it, it wasn’t until this album that he really began to involve actual instrumentation into his compositions. Over the past few years, the album has only become more of an enigma to me as I’ve contemplated his different routes of composing and what ‘real’ instruments he utilized to get his sounds. The thing is a masterpiece, and the world will be thoroughly blessed if he can make something ever again of equal caliber – the crazy part is I think he can. Anyway, even after I interviewed him about the album when it came out, more questions have only arisen upon further listens. Luckily, those bastards over at Pitchfork have finally decided to put up the video they made of Deacon in the studio in Montana working on this album, and it is one of the greatest things I’ve ever seen.
Besides using a house with a natural steel reverb plank installed, Deacon does something that I couldn’t find any instance of ever being done before. He composed massively rapid piano lines, that are not only too complex for one human to actually play on piano, but are too fast for a piano’s hammers to be able to recover and make a sequence of notes in the correct order. But to give the illusion of just such impossibilities happening, they digitally wire the key tracks into an actual player piano. I suppose after many rigorous hours, he and another player could have practiced the parts so that they could play the sequential impossibilities, but then there still would need to be layers of those parts put on top of one another so you can have the rapid firing effect succeed. Basically, a piano just won’t let you hit a note as fast as they needed.
Anyway, the video is amazing, and I posted it below but I’ve also posted the link to the pitchfork page with the other short videos assembled from this same recording session. Dan Deacon is an honest-to-goodness musical genius in our modern age, and sometimes just hearing the man ramble on is a blessing.
That’s What It Is Brah Brah
by ThisAdamKing on Apr.30, 2012, under The Hip Hop
Nothing like a bit of unlikely inspiration to get you out of your Monday funk. If you’re on top of your viral music clips, then I’m sure you’re already aware of the legendary Iron Mic Battle between Eli Porter and Envy. The school day rap battle filmed for an Atlanta high-school blew up 5 years ago with the completely absurd lines that Eli threw down. The kid obviously has some sort of mild retardation, but the earnest nature of which he attempts to actually free-style is a modern example of how simple moments can affect the lives of millions these days – at present the rap battle has over 4 million hits. Here’s the clip:
At first glance, the whole thing is completely hilarious. The awkward pause after Eli’s line “I did it” has become a thing of legend, let alone the infamous line – “I’m like Rosie O’Donnell at a bi-sexual bridal shower.” However, the further you analyze the whole situation, the more Eli stands out as a creature expanding through a forever recorded moment of human divinity. Seriously, these are the moments that make you realize the unlimited possibilities of experience in our modern age. I love the fucking kid, and thank God somebody else did enough to make a 30-minute, top-quality produced movie about the whole scene. It’s pretty much genius. First it brings a sly grin to your face, then it makes you die laughing, then it makes you pause and say, “Goddamn 2012 is a good time to be alive.” And once again, white nerds seem to have the most insightful things to say about the inner workings of the hip-hop world.
This One Time On Angel Dust…
by ThisAdamKing on Apr.29, 2012, under 2012 Songs, Freaky Shit
Back on it! Ok, so a lot has happened in my month hiatus from the blogosphere, and as much as I’m ready to rant and rave about a holographic Tupac, I’m actually much more excited about David Lynch starting to make his own music videos. The genius, absurdist director has always had an odd toe curled into the music world, but his most profound leap surely came with his involvement in the 2010 Danger Mouse & Sparklehorse album - Dark Night of the Soul. Not only is the album artwork a profound echo of the morbid beauty within the music, but he also provides vocals to two of the album’s epic tracks. Here’s my favorite: “Star Eyes (I Can’t Catch It)”
And yeah that’s right – I said album artwork – this is a key album to hold in at least some sort of true physical release. Anyway, after the delicate lofts of that tune, we now turn to the complete heart-quivering insanity of his newest work: “Crazy Clown Time.” This new 7 minute video is basically like someone said: Hey Dave, I’m really on the fly right now, but was wondering if you could impart all the confused despair of subjected reality upon me that your feature films do while I make a cup of coffee? I doubt anyone would really have the desire to put this track on their iPod – well, maybe for a Halloween party or something. That’s not true either, there’s always somebody who just loves listening to the craziest shit ever. But the main thing is that the video is a direct link to the song – the lyrics are a literal description of what’s happening in the video, which is totally the most demented back-yard party of all time. Just give it a go – if you’re a Lynch fan, then it will be just what you expected – if you like roller coasters and haunted houses than it will be a blast the first time around – the rest of you may have a hard time getting past the screaming guy with his head on fire.
