MUSIC: A Listening Journal

76 posts in this topic

EXTREMELY HIGH EFFORT RETRO PORN SOUNDTRACK: It's kind of surprising that I found this by watching it first, and not finding the album independently first given that Klaus Schulze was in early era Tangerine Dream and I've been familiar with them since my teens...

Somehow it does work with the futuristic, travelling on a space ship while having a chill orgy vibes. It was pretty strange at first (note: I was not prepared at all!), and then somehow the music does synchronize with the sex which is pretty fascinating. 1) Somehow it works in a trance-inducing sort of way.  2) It's just not something that you see as well. Porn music isn't really generally known for being much of anything, including music wise. It could be, but it's not.

The main actress in this film though (Catherine Ringer) gives off very strong "this is totally a performance art piece" vibes though. It definitely feels like trying. (I think she was a fairly well-known French singer/ songwriter/ musician, but I am not sure.)

It does feel pretty pretentious. But in a positive way though, haha.

There is the second one too, which I haven't listened to.

Anyway, after finding this, I got bored of looking for high effort retro pornos; originally I had been looking because I heard that some directors had taken it quite seriously, especially in the 70s (and maybe the 80s?), and I was really curious about whatever was out there. I was curious about how well it would hold up, or if it would be incredibly, long, drawn out, and pretentious in the most negative sense of that term.

But I don't think that I have patience to wade through much of it at all, haha.

Edited by modmyth
I should make my partner watch this with me.

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So, my introduction to Mos Def was this track with Massive Attack back in the day, from 2003 (100th Window era).

A classic from the late 90s. I've never actually sat down and listened to a full album though, and I can't say that I recognize his most popular songs. I just listened to this one yesterday though. I have to say, there are no standout weak points or lulls on this album. Tracks that stuck out on the first listen: Ms. Fat Booty (by far the most popular), UMI Says. The lyrics for Rock N Roll made me think about the treatment of black artists, but I had quite a few thinking moments with this album.

How do you describe the vibe of this song though? (Side Thought: did this song ever play on the radio, or was it just an underground classic that blew up pre-internet era? I don't remember hearing it, but then in the late 90s, rap was less prominent than it was in the early 2000s onward. Shows how much I know, I guess.)

So apparently the song sampled in the track above is Aretha Franklin's "One Step Ahead":

The track "Rock N Roll" made me curious about black artists who didn't get so much credit back in the day for pioneering and influencing the beginning of certain genres, especially. Since they were mentioned, I listened to Bad Brains (who also has a track called "I Against I", lyrically and song composition wise, they're not so similar, but I think it's reasonable to assume that the track name was the source of the inspiration, at least). They were punk pioneers, and I never heard of them, but then I don't know that much about punk. It's never been my thing particularly, but then I think it can be a good practice to listen to things out side your own comfort and preference zones, even if you don't end up liking it.

I think the reggae and funk elements peeking out more obviously in this album and are less under the surface. I read somewhere that the members (or was it just one or a few of them?) converted to Rastafarianism after seeing Bob Marley live.

(I also listened to "Rock for Light").

Edited by modmyth

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"KRAUTROCK-ISH": I'm not sure what fits where since the krautrock sound seems to be really all over the place as a genre classification, but I think it mainly refers to experimental music from a certain time period (late 1960s/ early 70s) and place (West Germany). So there's CAN (featured above), probably aspects of Kraftwerk (who I listened to a decent amount of as a teenager; it was interesting), Amon Duul (both I and II?), aspects of Tangerine Dream, Neu!, and others.

Anyway, so I relistened to this yesterday:

And this one, which I've never heard:

This album has been a favourite for a while though (I did not revisit it though). Again, I'm not sure if this album "fits" or not. But whatever.

This song in particular is my vibe:

If this all interests you, you should definitely listen to this album below, especially the first track. (It still sounds pretty fresh!)

For whatever reason, I did not hear this until the last handful of years, but then I also never really made an attempt to deeply explore the "genre". ("Genre" in quotes because most of this music sounds and feels very dissimilar to me. Like if you were to give me a bunch of unlabelled music, and tell me to sort into genres, it would probably be a massive fail.)

Anyway, this one first track in particular reminds me of some sort of proto post-rock, like something in sound is REALLY similar!

I find Neu! really listenable in general (as in, relatively accessible). Amon Duul (the first one especially) is hit or miss. Depends on my mood.

Edited by modmyth
I'm not gonna spam too many albums on this post.

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OTHER LISTENS: After listening to Bad Brains, Spotify was really, really insistent that I should listen to Fugazi, so I obliged the algorithm.

I listened to this and thought that it was pretty good!

And then I listened to this.

Finally I listened to this, because I've only heard a couple songs from the album and was curious about the rest. And yes, there are actually 69 songs. I didn't finish it that night. And yes... I spent most of the day listening to albums.

So... maybe I just don't have the attention span for albums this long, but especially if there is a reoccurring theme and not enough variation in sound? That doesn't help. TMI for me all at once with little pretense of a breather.

Some albums have no flow though or pretense of flow, which is fine too.

I think this song is the most popular one from the album. It does stand out, for sure.

THE UNIVERSAL TOGETHERNESS BAND: I also listened to a group that I had never heard of before. To my understanding, they either never got a record deal, or they got so little recognition during their time. They also published/ wrote a very limited amount of material, period.

It's like... some kind of soul/ funk/ disco hybrid?

An album which I haven't finished yet, because I got interrupted during my errands today:

The name is very familiar, and yet I never listened to her music or remember hearing her on the radio in the late 90s/ early 2000s.

I'm enjoying the sound/ vibe so far though.

Edited by modmyth
When I get the most into music listening, I start digging around everywhere. Spotify makes it too easy though, almost overwhelmingly so with unlimited options and pathways and such.

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UNDERRATED: MACY GRAY(?): Something that I did not appreciate when I was younger from the late 90s/ early 00s R&B period, but I moreso appreciate now. That thing is her voice. It's really unique; I can't think of anyone who sounds much like her at all. It's not that I disliked it before (I imagine some people would), but the song didn't stick to me for whatever reason.

I love the raspiness of it, and there's a certain kind of honesty and unpretentious directness as well which... how do you describe it even? It's more of a purely gut and heart level feeling.

1) I think she was most known for this song below. Does she qualify as a one hit wonder? This is the only one which I remember really well, and I don't think she got much radio airtime after this period (if at all).

This one sounds vaguely familiar to me.

Apparently she covered that one song by Radiohead that everyone loves to cover.

(The guy's expression at 1:40, haha.)

Edited by modmyth
I read that she was very strongly influenced by Billie Holiday's vocal style. ....She sounds absolutely nothing like her, from what I've heard anyway.

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I relistened to Percussions - 2011(A Four Tet side project) for the second time:

And then there's this one single:

Also this. I don't know if I liked it exactly, but it was interesting.

And finally, this one (as Nina Simone was also mentioned in Mos Def's track "Rock N' Roll", which I wrote about a few posts above). It starts with a cover of the well known Beatles' classic:

I think this was the one really stuck with me the most though. I felt like I was being grabbed, shaken, and having images dumped in my brain (not an unwelcome experience by any means!). I found it very intense though. There is this strong prophetic quality to it.

(It's considerably less optimistic than "New World Coming" which was earlier in the album...)

I also am listening to this one. I think a lot of people would probably recognize the first song, which is also the album name:

("Ne Me Quitte Pas" sounds familiar too...)

This song made me laugh. Well, this song is 1) very, extremely to the point. 2) It's hella mood too.


Edited by modmyth
The sampled vocal part of Ms. Fat Booty is stuck in my head. It was bound to happen.

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My partner picked up the habit of listening to new music and albums, at least for now. He recently listened to this, and then played it for me while I was in the kitchen making an epicly large batch of hummus.

This is my first time listening to a David Bowie album back to back. I never really got into him or had the urge to, for whatever reason.

The energy level of the songs seems to decrease significantly about 2/3rds of the way through the album.

Also: the only songs I really recognize are "Speed of Life" and "Sound and Vision".

I also listened to this one last night before bed, which was a really poor life choice since I'm prone to be really hyper and spastic late at night anyway, which unsurprisingly makes me prone to insomnia as well.

The only song I had heard before was "Get Got" within the last year or so. I have to say, the rest of the album was not what I expected based on this first song. There was far more of a noise/ industrial element than I expected, for example. And there was more screaming/ angry rapping (??) rather than... straight forward rapping like there was in "Get Got" as well. It was interesting, for sure. There were a few moments were it was like: I'm not sure that I'm enjoying this, but then I feel like a large reason why this is the case is because I feel like the people who wrote and performed it were TRYING to be grating (and even I'm not going along with that pretense fully either :P). That and it was giving me some downer vibes which is generally not my thing (but I have had my exceptions too).

I find myself wondering if people who didn't like it just don't like experimental music and elements (or just noise) by default.

Also, "Get Got" and some of the other songs were very catchy and listenable (if not extremely spastic), but that might be a very subjective thing here, IDK. (Aka. I might sometimes have an idiosyncratic idea of what "catchy" is, and sometimes my idea of catchy is very, very mainstream. Either way, it is what it is. I prefer to take music for whatever it is with an open mind and not to many preconceptions, if and however possible.)

THE CONNECTION!: There is actually a connection between Death Grips and David Bowie: apparently it was one of three outfits that he was listening to while recording his last album, Blackstar, before he died... (which tends to lend some air of credibility when a Very Important Person was listening to and endorsing someone's work, right?) The other group was Boards of Canada, and I have no idea what the third one was.

MILDLY ON TOPIC: Speaking of sharing music, my partner took an interest in the DTP (mentioned above as a headbanging dance mood) because I was vibing to it and getting changed and ready to go out. And then I thought about it, and realized that having a whole sort of ritual like that about going out (not super intentionally), assuming that I have time... that's kind odd as a grown ass adult, isn't it?

It's a very inefficient way of getting ready, by the way. But life is filled with lots of "mundane" moments, gotta make it fun, I guess. Sometimes for me I'm dancing around and singing for no specific reason at all.

Edited by modmyth
Death Grips: is this what ADHD sounds like?// It also took me over a year to notice that the girl (??) on the left on the album cover has tits, for some reason....

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So Spotify keeps recommending it to me, mostly in New Wave/ synthpop playlists. Today I decided to finally oblige. First, I listened to "Fascination" (1983).

I think that quite a few people might recognize this song, even if they don't know who it was by:

I actually recognize this one better, even though it's apparently less popular or well known, when judged by the numbers of listens on Spotify/ Youtube.

I've also been listening to this compilation album as I paint; I'm well over half way through.

RAGE AGAINST THE MACHINE: Oh. My partner played one other album today; it was Rage Against the Machine with the album by the same name, their first album in the early 90s. I had never listened them before except in a few Youtube mashups, but I never actually listened to them growing up. The first time I had heard of them was in grade 7; apparently my elementary teacher for that grade was a fan (that, and French rappers from France). Since then, I kind of associated them with white, middle class, aging dads (or men that aren't dads, but give off intense dad vibes) wearing cargo khaki shorts who started listening to them when they were younger, and then just kept listening to them... Even if that's not an actual strong representation of their fanbase demographic, haha...

(To add to the image of generic suburbia, maybe he drives a mini van or an SUV to stow away all of his kids in??) contrast that with RATM's rebellious, anti-establishment message and aggressive vibe. (And notice how political and social engagement doesn't seem to really fit into that image at all...)

I have to say though, I was expecting something that was more rap-rock, and with less of a metal vibe. What I was not expecting at all was a strong funk undertone. This makes me wonder if this was a strong element to rock in the 90s that I just never noticed before except with the Red Hot Chili Peppers, which factored greatly into the appeal of the band when I was say... 13-14 or so. It was the funky ass baselines. I also didn't know what exactly it was or what it was called (funk),or where the influences were from, just that it was catchy, energetic, and sounded good.

J asked me what I thought about them.

I said, "They're a lot easier to listen to than Death Grips."

"That is.... not very descriptive. Do you like it?"

"It's listenable. Other than that, I don't know yet."


I recently watched an interview with David Grohl (Foo Fighters, Nirvana) because Youtube was soooo insistent that I watch all of these videos just because I watched one. Apparently he used to tour with his mom after she retired, and his mom ended up writing a book about what it was like to raise a famous musicians, and she also met and talked to a lot of other mothers of famous musicians. Anyway, apparently Tom Morello's (RATM: guitar, vocals??) mother used to go up on stage with her walker at the age of 90 and yell RAGE AGAINST THE FUCKING MACHINE!!!!!!! to start shows, which is a really funny mental image that has been stuck in my head.

Edited by modmyth

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DEATHCONSCIOUSNESS IN THE EARLY AM: I picked up this album because the album art appealed to me (I've master studied it before as a painting some years ago, which is basically creating a replica in order to make sense of the painting, like doing a close reading of it). Also, the name of the act and the song names appealed to me.

It's classed as some sort of amalgamation influenced by post-punk/rock, experimental rock, shoegaze, and possibly something else???

"Have a nice life" is like the nicest (or at the very least, the most polite) way to tell someone to leave you TF alone and to never come back. Ever. Have a nice life, I've had enough of you for more than an entire lifetime, etc. ?

With wonderful song titles like: "Who Would Leave Their Son out in the Sun?", "There Is No Food" (sorry about your loss, dude.), and "Waiting for Black Metal Records to Come in the Mail" (Did you receive them? I really hope so, especially in a timely manner).

I found a place outside to sit and to watch the rain fall lightly under a fluorescent lamp attached to a telephone pole in the schoolyard by my house, and just watched it go on and on, listening to this ambient droning music in the background. Some sounds and feelings have this way of making moments stretch out, as if they are happening in a sort of glorious, lucid slow motion.

(So this painting is called "The Death of Marat"; it's an iconic image of the French Revolution, as it depicts the murdered French revolutionary. The composition itself is iconic IMO.


Also, it's one of those rare images that doesn't look bad when you reduce the headspace at the top of the painting to fit it into a square frame for an album. It's a bit more claustrophobic...

EDIT: actually, it's cropped.... interestingly... yea, I'm not sure that I like this. But it's not terrible.


ALSO: Apparently a lot of people think this sounds like the essence of depression/ hopelessness. It didn't make me feel that way, and I also wasn't miserable to start with either.

Edited by modmyth
If those albums don't come in the mail, plz send assistance.

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REVISITING KRAFTWERK (+ a mess of thoughts about the subjectivity of "taste"): a fixture of my mid-teens. Also, apparently there is no pre-Autobahn music on Spotify.

I should probably write the dates down to remember what came when (1978):

I just finished listened to this first Kraftwerk album, which is pre-Autobahn (Autobahn is considering to be their defining sound; they ditched the old fashioned instruments afterward). It sounds absolutely nothing like the Kraftwerk I knew, and probably the Kraftwerk most people know. To my understanding, they disowned their first three albums (which might get classified as Krautrock), or maybe they just stopped being able to print it because of copyright issues, IDK.

So I thought this was absolutely phenomenal (I was spellbound practically the whole time which is very rare), but then... I like droney, experimental sounds... I imagine that most listeners would probably feel one of two ways about it 1) it's weird, boring, all over the place, kind of pointless, and doesn't make any sense. 2) experimental, ahead of its time, fresh.

There is something really fresh, unpretentious, and vital about it (but I often say this about music from around this era). I feel like I have not heard this sort of sound before when its all put together, even though people tend to keep comparing it other artists labelled Krautrock of the era (e.g. Can, Tangerine Dream, Neu!, etc.) I'm not inclined to do that, for whatever it's worth.

I may also have a strong tolerance towards things being "all over the place" as well, as in, I don't perceive it that way necessarily. It might be more like: this has great scope, it's not very boxed in, the link between some sounds and ideas and others might not be explicit (but I don't necessarily need them to be... it really depends). These tend to be positive qualities, but not necessarily.

Also: I may like absolutely shameless works in progress (as they present themselves as such to me). I tend to interpret this as authentic unless it starts to feel too performative, forced, and put on for whatever reasons. I will not necessarily judge a work negatively for feeling its way through doing whatever its doing if there is some sort of deep cogency otherwise.

What makes music worth listening to is the feeling aspect more than anything else, or the spirit of a work and how it manifests. Unsurprisingly, this can be a very intangible and therefore challenging thing to define and to describe, other than to simply describe how certain elements make you feel. A lack of variety or predictability is not necessarily a factor that works in music's favour for me. But at the same time... music can also be very..... predictably unpredictable, if that makes sense.

It is also possible that music can be both experimental in attempt or spirit but just not interesting or pleasant to listen to on an extremely subjective level.

(....this really is a mess of ideas and thoughts.)

It is a really nice thing to be able to listen to an album for whatever it's worth, while having as little preconceptions and expectations as possible.  (Though it's hard to have none though, truly.)

So, onto this one too:

The opposite of what I described above:  What if something is "technically perfect", as in it's "perfect on paper", but I just... don't... give a shit? (So it appears perfect, anyway.) Like it's refined, it's well produced, the ideas are "good" and "interesting" (or interesting enough, to whatever the standards are), well articulated, everything is indisputably "good" according to most standards of what "good" is. But it's lacking a certain something still?

I guess you could call it the heart, spirit, or feel of it.

Is this kind of similar to the idea of some guy (or girl) being "perfect on paper", so they may completely fulfill the list of what "good" or ideal is (or is supposed to be), but then there is zero chemistry, interest, or intrigue in person? Maybe they are lacking a certain human or feeling something, so you may find yourself more enamoured with the idea of someone, and at times you might have to try too hard...


I think there's something similar going with my attitude toward experimentalism as well. There is something very "put on" to a lot of it too as well that sometimes turns me off, so I have found myself turning to older music (some people tend to find this an act of pretentiousness in and of itself, for sure). Like... thinking of experimentalism categorically as part of a genre or subgenre? Is this perhaps a very contemporary way of thinking about music.

Related: being into niche stuff or "unique" stuff simply for its own sake, as a primary reason. And then the opposite which is basically the same shit, different pile: hating music just because it's too basic, simple, or mainstream, etc. Just... whatever. I don't care about any of that. I like lots of "basic" stuff (or... "basic on paper"). I went through a pretty long phase of music listening where I didn't want it to be too high effort, and I was pretty "basic".

Edited by modmyth
And what is "good prentetious" as opposed to "pointless pretentious" (if "pretentious" even means anything at all)? Pure subjectivity, etc.

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ALL OF THE KRAFTWERK!!! FUN FUN FUN ON THE AUTOBAHN: These are not the lyrics, apparently! It's actually all in German, and they're saying drive, drive, drive. (Add that to the large heap of lyrics that I've misheard over the years.)


And my Jonathan Frakes style question of the moment was going to be.... does anyone actually have fun on the autobahn?

According to google and one of the guys in Kraftwerk: yes, they do. There is no speed limit, so......


Right now:

And another:


Edited by modmyth
FUN FACT: KRAFTWERK INFLUENCED EVERYTHING. Seriously, google it if music history/ geneology interests you at all.

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The early 00s// TRANCE IS BASIC (and I don't care): 1) It's pretty much entirely melody driven. It's not complicated music, structure, beat, or instrumental wise. It can get pretty trope-ish or repetitive pretty fast. It's not thinking or novelty driven music. Mostly, what you hear right away is what you get all up front, as it's not really layered or super nuanced. (Isn't this the case with techno in general though?) Anyway, it is what it is. 2) It's about dancing and feeling good, and making a beeline directly towards a certain kind of euphoric feeling (if you remember growing up in the early 00s, and possibly the late 90s, you might remember the pervasiveness of techno/ house/ trance and also the alarmism around raves, drug culture (specifically ecstasy).) So... it could be about drugs, but not necessarily so. So we said.

It featured near the beginning of a playlist (Teenage Retrospective) that I made near the beginning of my posting on here:

(Perhaps I will go through more of the music here like this.)

My brother listened to a lot of trance and electronica; it rubbed off during that time period. This was the original, which I heard played occasionally.

But it was nowhere near as popular as this version, which was a sort of trance megahit. After I stopped listening to the genre so much, I found certain types of sounds a bit grating aesthetically, like the ones that show up in this remix (but not in the original, which was a huge reason why it was still listenable to me years and years after.)

I always preferred the original though with the guitar-sound instrumental, partially because it being slower and the vocalist's ethereal voice was more drawn out, as if giving the chance for the vocals to really penetrate you. The original song fits more with the mood of the lyrics and being the pure essence of bittersweet euphoria, if there ever was one, while the remix makes it more... purely euphoric (and therefore danceable, sadness isn't exactly conducive to dancing).

Actually, I put this song on that playlist because it embodies what I loved the most about the genre. And it's NOT SO CHEESY. :P


So I discovered tonight that the original vocalist did a cover of this song last April!!

I was pretty excited. It was one of the first songs I learned how to cover when I picked up my guitar again a lot in the early 2017/2018 period for therapeutic reasons, and as a way to stay emotionally connected to myself, and feeling. It was also an exercise in pushing my vocals into the higher range, which seemed totally implausible at the time. (I'm naturally in your basic mezzo-soprano range, I'm guessing.)

Her classical guitar even looks a lot like mine. :D

I listened to a decent amount of it in while I was still in public high school with my best friend then, which was the year (14) that I started to go through a lot of different genres of music to figure out what I liked for myself, what I could properly call my own taste, seeing what stuck and what sounds spoke to me, and what did not. (That, and a lot of insane rebellion and rabblerousing.) I mostly listened to a ton of heavy metal (especially leaning toward the industrial side), trip hop, and electronic music. It was a healthy mix of new and old stuff, and radio and non radio stuff. I was really on my own when it came to listening to rock/ heavy metal for the most part (though I remember that my best friend was ok with the RHCP), but we shared the interest in all things electronic and trip hop.

For example: I was into Tool and angry-cathartic music, and she was not at all. I was way more into Massive Attack (I introduced her to the genre), and she was more into Portishead (which I have affectionately been calling for a very long period of time: "wrist slitting music". Most sad music is and has not been cathartic for me, just depressing, which was something I have never needed more of. Who does, really?) I was really into Depeche Mode (especially with its sexy angst which has always been my thing since then)... she was into Erasure (who I secretly thought was TOO CHEESY OK?).

(Is there something about your teenaged years and defining yourself directly with or against the taste of your close friends, whether it's music or something else... or is it just me?)

This is pretty silly, but we had code names for a lot of the artists that we listened to (and things in general). Like Tiesto was "wooden shoe" (because he was Dutch, lol.... as in, a clog). It was a way of talking about what we were doing and listening to in plain sight while other people would have no idea what the hell we were talking about and laughing at. (And if there is one thing that I really miss about high school best friendships, it's the seemingly endless amount of laughter and in jokes, and how close you get to people so quickly despite whatever emotional issues and experiences you might be having.)


(Hey, what are you listening to right now?


***>insert manic teenage girl cackling which seems to be scaring away the teenage boys.... (at least temporarily))<<<

(...not that I haven't had it since then, but it seems that I had often found myself veering toward: 1) adult hot mess, very creative and all over the place, not conducive to adulting. 2) being much more adult, measured, and put-together about my naturally Dionysian tendencies, which has amounted to a lot of emotional and even sexual suppression. Most of my life has been 2). Anyway, hot mess tendencies tend to create hot mess relationships across the board. There has been something to resolve here in this whole order vs. chaos thing.)

Edited by modmyth
My mother was obnoxiously paranoid about my brother taking party drugs like any good immigrant East Asian parent.// BEING AFRAID OF BEING BASIC HAS ALWAYS BEEN BASIC

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PURE CHEEZE (???)// TRANCE IS BASIC (and I don't care), again:

EDIT: I was trying to think of a good example of 1) so completely melody driven to the point of being paper-thin structure wise, major harmonics, predictability, blah blah blah 2) chasing that euphoric feeling. 3) PURE CHEESE/ EXCESSIVE SUGARY-NESS (Put the cheese back in the cheesecake factory already.)

(those instrumentals though.... I think there are quite a few people who think that the sounds have not aged so well, yea?)

The aesthetic is a lot like:



(But that's the essence of a lot of music around the late 90s/ early 00s, including happy hardcore, etc.)


Thinking about it now, a huge part of it is that a lot of music lacks a certain high energy level. Like most high energy level dance tracks; it's just not enough. I have had a playlist of dance music for the last couple years, and the highs mostly don't quite match the highs quite right, which has meant that finding the right music with the right vibe and energy level has been incredibly tough, as it's almost entirely about vibe first. (There is no trance though; I stopped listening to it.)

(What does it say about me that the music that seems to be closest to my natural highs is mainly associated with E-based chemical highs? (Minus the perhaps somewhat deliberate jarring factor and sounds that are often associated with a lot of high energy music.))

(I recall not just the lows but also the highs, and boxing in the latter in just as much as the former around my family like my very life depended on it.)

Edited by modmyth
Don't apologize for liking Plastic Angel. Who gives a shit about what you're supposed to like or not.// I guess this is the equivalent of my teenage friend who was super into black metal liking AQUA nonironically.

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MUSIC TO PAINT TO: DAVID BOWIE:  two more albums for the pile. Somehow, for reasons that I don't fully understand and therefore can't explain, connecting emotionally to music makes me feel more close and directly connected to humanity, period.

And now, this one:

"Sound and Vision" floated into my head and got stuck there within the first hour of me waking up.

Spotify autoplay:

Leave Nigel alone!!!

Edited by modmyth
1) Catchy 2) Great vibes, wow!

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I love love love love this song!!!


(So apparently this song is about BJs? I'm sorry: I don't understand the connotations here, and I'm actually not sure if not understanding it is because I'm not British... (??))

Somehow I missed it my years of listening to Caravan as a teenager. Mostly then, it was just listening to "Waterloo Lily" (1972) and "In the Land of Grey and Pink" over and over again on rotation when I was 16, and for whatever reason I never heard this banger of a tune. 1) A song from the former album shows up on my Teenage Retrospective playlist for that reason (Aristocracy). Featuring a thing which I really like, which is a slappin' bass line:

2) The lyrics to the song named after the latter album made me laugh for the weird/ quirky/ sometimes whismical quality. I guess that was a big part of the appeal of Caravan, that it was playful and that it didn't always take itself too seriously (at least, not in the spirit/ mood of it, I don't mean the musicianship).



Edited by modmyth
I am grateful that this song has not been "ruined" and so no "salvaging" has been required.// WTH is "Canterbury scene" as a genre?

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So I first listened to this one. Hammock was something very ambient that I started listening to a handful of months ago. I've never played the original game series nor heard any of the music, so I'm not sure how this music compares to the original.

(The original composer was "Dan Romer" (I'm not familiar with him at all). I try to keep track of all the composer's names when it comes to games, just like how I try my best to keep track of concept artists and other commercial artists as their work often fades into faceless obscurity compared to other music composers/ artists, and I think they deserve better than that.)

Now I'm listening to this one. This game preceded "Shadow of the Colossus" (PS1 game?) (Composer: Michuru Oshima).

I was immediately attracted to the Dali-esque cover art. And for reasons I can't fully explain, my intuition tells me that this would be a very good game! (It's not just because I like the cover, but I feel like I just know like I often do by feeling into a book cover.)



I just discovered this channel via this video, which made me laugh a lot (a happy accident). I love this man's sense of humour. It's got a great blend of obvious/blunt/"stupid" and creatively unpredictable. I also feel like I'm somehow learning a lot and also nothing at all, really.

I also watched this one:


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I have an unavoidable question lingering in my head about this album cover: what is he actually looking at?? (Also: what does his expression mean here??)

It seems like I didn't love this song as much as other people did, like it wasn't love at first listen. Yea, it's a good song but it didn't seize me.

Listening to it a second time: it's gripping me more.

This is a thing that I don't fully understand a lot of the time: why some songs grip me right away, and some don't. It's not just about catchiness or accessibility (nor is it about the opposite either, or some factor like complexity or intricacy). Sometimes it's about theme/ lyrical content/ mood... but not always.

Listening to this one now:


Edited by modmyth

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EARLY AM BORKS: things you do instead of doing other things

So Youtube recommended this MV, which I've never seen. 1) It was like faceswapping before filters. 2) I find this whole video hysterical, especially the part where he's in the limo with... himself. This type of weird tends to make me laugh.


Likewise, I'm used to seeing these visuals (especially the first image) when I'm scrolling through Aphex Twin's page on Spotify:


Then I watched this one (horroresque themes?). I don't find this particularly creepy or unsettling, not the sound or the video.

 Youtube recommended this to me. It's actually one of the better, higher effort versions of this meme I've seen, for sure.


Edited by modmyth
That is enough internet for me though.

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"THE VOICE OF GOD": I posted this in another thread on the main forum, but I have a feeling that I would like to go back to this thought later.

2 hours ago, modmyth said:

My perspective on this has essentially been the same since my mid teens, though I probably wouldn't have been able to articulate it so well.

The "Voice of God", from my perspective is pretty much entirely about soul/ spirit or "feeling" which is perfectly channelled or expressed. Nothing more and nothing less. Which means that anything that feels too obviously like good technique or craft, even if it comes out effortlessly via technique; it is not "it".

There has to be a completely artless, effortless, or weightless feel to the feel and spirit of it as well. Perhaps to the point that you forget that you are listening to a "human" who is "trying" to do anything, and that gives it a transcendental quality. Not just with effortless technique, but somehow in their realization of the spirit of it.

So, this can be an extremely subjective and perhaps intangible thing, I'm sure.

It's not at all about "singing good" for its own sake, or even singing in a expressive, open way. (And if you haven't somehow entirely transcended this, or say this was never truly a defining focus in the aesthetic of your work, then it's probably not "it" either.) But the technique perfectly matches the spirit/ expression, to the point that it feels like there is no "expression" and no "technique" as a distinct thing. So yes it tends to be "very good" or "excellent" without having the pretensions of being such. It is a thing that exists so entirely in and of itself, without reference, self-consciousness (in an inhibitory sense), and comparison at any level. It is pure in a sort childlike way.

Here is an example of "feeling"/ spirit to me, properly expressed. I think he's really underrated as a singer, but then as one half of Dead Can Dance, maybe it's hard not to be next to Lisa (shown in the next video):


Here is an older version of the first song from the 80s. Liz Fraser (Cocteau Twins) also has "it". The original version by  Tim Buckley (who wrote this song) doesn't have this quality IMO. (I've wondered before how much of it is the song itself.)

So thing is that there are probably technically better singers who also have "feeling" as well of a sort. I read up a bit about Lisa Gerrard, her style is heavily inspired by Bulgarian folk singers, and I believe that she had trouble actually keeping up with them when she had the chance to sing with them. But nevertheless, she still stands out more than they do. IMO there is something that is so heavily individuated or specific (like a very specific expression/ manifestation of "God" via a specific voice and human body, as well as personality or "soul"), but also universal/transcendental as well. But that it is so well developed in an individual expressive sense is what makes it more powerful, arguably.

This isn't meant to set up a conflict between craft/ technique and what comes naturally and effortlessly at all, as that often happens to become the case either explicitly (like either you're born with "genius" or profound talent or you're not) or more implicitly. I think that fundamentally it is a question of proper focus and priorities, openness, directness in your connection/ "embodiment" of "God", the universe, etc. But you do need enough time and experience to naturalize this fully, and even having great experience and being considered an absolute master at your craft is not enough for "it". It just means that you are naturalized more on the purely material or "human" level, but that alone does not make you the highest channel for "spirit" and feeling in what you do. You might fall just slightly short of the most essential thing, which is the spirit of it all...

...and that may be a whole world and universe to fall short of.

But then, it was never first about the physical voice or the vessel, vehicle, or packaging.

This requires a sort of refinement and development of the self (/Self), however it comes or appears.






Edited by modmyth
Perhaps this is a good example of my particular values and prioirities.

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BOWIE, CONTINUED: So, I flipped back toward early Bowie, and I'm finishing this one up now.

This is the song that really speaks to me:

(The piano is a good example of something that could very easily be too much, but somehow isn't. Instead it feels: 1) like intrigue 2) flirty vibes)

I listened to this one next:

What stands out at the moment from this album:

Also this song, and the previous song where he describes Bob Dylan as having a voice "like sand and glue".

A third one. (What on earth sort of garment is he wearing here? Is it a dress? A jacket? A robe?)


Edited by modmyth

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