What umbrella term would accurately describe albums such as:
OPN - R+7
James Ferraro - FSV
Giant Claw - DARK WEB
Jerry Paper - Big Pop for Chameleon World
as well as PC Music's output
>lol cool bored-rillard ref m8
I'm not sure what you mean by this. Is your response the simulacra of a meme?
Ugh, let's please not ruin a legitimate area of philosophy with pseudo-intellectual kids adopting words they don't understand to give reinforcement to their slowed down Diana Ross
I think you're referring to "hifi" producing, because the only two albums somewhat similar in composition and feel you listed are Giant Claw's and OPN's albums, the rest of them just use hifi but don't sound similar
Both not true but I forgive u
From my knowledge R+7 is mostly samples (but it's not explicitly commercial samples, that was Replica) and Giant Claw is obviously all old RnB samples. FSV, PC Music, and Jerry Paper I don't think even use samples (especially sure with Jerry Paper, it explicity says so on the bandcamp, but I'm not so sure about FSV, I could imagine some samples on there [although it was my understanding it was midi sounds mainly])
The only identified sample is from a mark isham track. I'm 99% sure he used omnisphere, refx nexus, korg wavestation and the roland d50 to do the entire album. At the very least he used a wavestion and m1.
I get that, but it's like saying Björk and Haxan Cloak are similar because they collab'd. I can see the similarities, but I think they're in a different taxonomy from OPN, Ferraro and the like.
Well he probably sequenced and chopped them up within his album, the sounds still sound incredibly like samples (when they aren't obviously synths, it's usually pretty easy to tell).
could be, I mean it's still a "sample" just not of something in the public then
As much as this music tries to evaluate simulcra and hyperreality, it, most of the time, just ends up being boring. It's a valid and interesting subject area, especially in the post-internet age, but the music referenced fails to express what it means and how it feels to live in this era.
What in particular in R + 7 doesn't sound like a synth to you? I can see where you might mistake something for a sample, but at the moment I can't think of any sounds on that record that couldn't be reproduced on a keyboard.
>how it feels to live in this era
I don't think that anyone is earnestly attempting to portray that, though. I think people like Daniel Lopatin and James Ferraro have a fair amount of tongue in their cheeks when they make music like this. It's supposed to be viewed through a lens of irony imo.
Not that guy, but I don't think Dan is very talented at synthesizing sounds. I think that's the reason he stuck with his Juno 60 for so long when he could have bought a Jupiter or something grander.
Well it's part of that whole wave of post-ironic media. Accepting the fact that disingenuity as a new form of communication. That you have to practically bite your tongue off to get by these days.
This might be true.
His synths haven't really changed too terribly much. But that only proves my point: dude could play with less cheesy sounds, but he chooses not to.
Cheese isn't necessarily bad.
Nono, I'm sure he used a bit of that but no
The beginning of Americans and as well as throughout, He She is obviously samples, I hear a bit of Inside World possibly using samples, Zebra obviously, maybe a tiny part of Along, Cryo towards the end... To be honest the way he uses samples in this is totally different than Replica, it's obviously very tiny micro samples, and even on the songs I didn't list there are probably little micro samples.
ALSO just for reference, there's only one "confirmed" sample on whosampled for Replica, and he very explicity stated it's filled with samples.
>Accepting the fact that disingenuity as a new form of communication
It's not a new form of communication. It is, by definition, noncommunication, and noncommunicative music is simply poor music. If it can't express anything to me, why would I listen to it?
I never said it was new. I'm talking about how pervasive it seems to have become. Weird twitter. Ironically bad television shows. Ironically bad movies. Used to be that this was fringe stuff.
>If it can't express anything to me, why would I listen to it?
Because it got BNM. I refuse to believe that Daniel Lopatin chose to use the synths on R+7 without at least considering the fact that they sounded dated as fuck and that they would obviously stand out amongst other contemporary music for that very reason.
And yet here it is, being talked about daily the Internet over.
Don't get me wrong, I'm not shit-talking OPN. I love the guy and his entire catalogue. I realize that there is honesty in R+7 and Replica, but it's that "new" kind of honesty. The kind you have to sift for between memes, irony or whatever. Not saying he's a meme either, in case anybody tries to light me up for it.
What in the fuck are you even talking about? I get that you're trying to wax philosophic or whatever, but none of what you're saying means anything. If you'd read the thread, you'd realize that I fuckin like OPN and am only talking about a small percentage of the sounds he's used in producing his entire catalogue of music.
yeah i get you
the way i approach a lot of his stuff is like its almost a kind of hip hop
the way he uses references and stuff, it's savvy and smart, but it doesn't require the audience know it all, it can just do its thing anyway
which i think with r+7 is creating that old-feeling vibe without having any of the cheesy things that led to those sounds being considered cheesy in the first place
ie he's stripping all the crap out in a similar way to a hip hop producer pulling a break out of a track
I can vibe with that. I mean, I get that he experiments. He took those synth sounds and used them in an intelligent way. They're not devoid of context, though. It's not distracting to me when I listen to it or anything, but I'm aware of it.
I'm just going to chime in here and point out that even as OPN's sound has changed over time, his music has always explored themes of humanity's relationship with technology and media...often on multiple levels.
Look at "Sleep Dealer". It's probably the most accessible track on Replica and it's built around samples from a fucking television commercial. Moreover, the commercial in question involves a computer speaking to a person and recommending him a specific brand of chewing gum.
As for the cheap-sounding sampled instruments on R+7, I don't interpret their usage either as tongue-in-cheek irony or as an endorsement of them being particularly beautiful sounds in their own right. They're used because they evoke artificiality effectively. Much of OPN's music feels like a soundtrack to exploring different physical spaces, and R+7 in particular feels like exploring very synthetic spaces, almost like computer generated approximations of real places.
Or maybe I'm reading too far into it. In any case, I think R+7 is compositionally great and very adventurous. It's probably my favorite album of the past few years. I guess I can see why people would be put off by the sound palette but the album wouldn't make me feel exactly the way it does with different sounds. There's definitely some intentional uncanny valley thing going on.
Actually there are at leadt two, one of the vocal samples that develops into it.
Actually I thought the arguement was there weren't any samples, or very few, which is absurd.
But isn't your interpretation of the instruments in R+7 informed by your preconceived attitude toward those particular synth sounds? That they sound so uncomfortably artificial probably has much to do with our association with them and shitty, clunky early 90s tech.
I agree with how they manage to convey space, though. It's masterful.
Does anyone know if Dan responds to emails? I emailed him on his old gmail address. (His new one goes to some managers)
>But isn't your interpretation of the instruments in R+7 informed by your preconceived attitude toward those particular synth sounds?
It is, but it's not like OPN is aware of this preconceived cultural attitude. Art doesn't exist in a vacuum
It's insincere because he's building a world that 1. doesn't exist and 2. never really existed in the first place in the listener's head by using sounds that we can't help from evoking a time and place from 20 years ago. Not that it isn't brilliant.
Why do you equate playing with that cultural preconception with irony/insincerity?
I don't see how that's insincere. Are science fiction/fantasy films insincere/ironic because they portray worlds that don't exist?
I feel like you're using "irony" in a different way than I am. I don't think that OPN is winking at you with the fake children's choirs in Chrome Country. He's conscious of and playing with your preconceptions about those sounds, yes, but ultimately, he's using them to build to a moment of sincere beauty.