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Impossible Nothing - Phonemenomicon (2016)
8/10
Texas' mysterious Impossible Nothing painstakingly constructed the monumental four-hour tour de force of Phonemenomicon (2016), consisting of 26 ten-minute collages (each one lasts exactly 10:00). Why 26? Because each piece is titled after a letter of the alphabet.
A alone contains more ideas than the average three-minute song, lined up to compose a cinematic score with sections that are sentimental and sections that are pure fun. B plunders hip-hop music to create a hypnotic syncopated industrial clockwork. C begins like a lame sample of a lame funk-soul song but soon becomes a harrowing psychodrama... except for returning to a funk-soul party. D deconstructs jazz with a dizzying multitude of colliding fragments. E toys with a pounding Afro-funk shuffle but quickly delves into constantly mutating machine music and towards the end blends in a powerful punch of riff and drumming. F dissolves reggae steps into a molasses of warped electronica that at the end is hijacked by a jazz jam. G targets what sounds like the soundtrack of a thriller, but then takes a detour into a surreal exotic chant, only to end with a more magniloquent cinematic theme. H is another tribute to euphoric soul music of the 1960s with a great break/solo of distorted keyboards at the seven-minute mark. A similar breathtaking solo opens I.
J first disintegrates funk-jazz of the 1960s, then shoots a hysterical techno missile, then sets in motion cold machine music, then rediscovers humanity in a soaring synth drone and sounds of the beach.
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>>71653053
M concocts a romantic trumpet melody over mechanical polyrhythms that turns into a funk orgy and a videogame sonata. A female shouter has to duel with a rapper, an accordion and a big band in N, one of the virtuoso pieces littered with all sorts of incidents.
K is pure dancefloor, while S ends in a frenzied state of panic. By the standards of this operation, P is ambient music: the source cannot be identified and all we hear is a hypnotic sequence of beats and chords; a very captivating pieces of instrumental dance music, that towards the end morphs into a sort of xylophone melody. Musique concrete artist Pierre Henry should have done this.
Slavic-gypsy music and dubstep are the ingredients of O. R intones a spastic reggae dancehall beat and a petulant keyboard launches into an anthemic melody played at triple speed. Three more minutes and the piece is invaded by alien noise so that, when the petulant keyboard resumes, it feels like UFO music. T is an even more creative take on reggae rhythm as played by an army of sentient industrial machines. W dishes out some Hendrix-ian chaos mixed with vocal harmonies of the ancient past and ends in a festive beach party. X paints another surrealistic exotic panorama, this one with Indian and klezmer overtones. Z sounds like a synth-pop take on Los Del Rio's dance craze Macarena by electronic funk-jazz guru Herbie Hancock, slowly contaminated by a horn fanfare and by an ecstatic hippy chant. Whenever the artist injects humor or satire, the project evokes the Residents, but clearly a lot more science went into these four hours of superhuman cut and paste.
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>The Life Of Pablo (Def Jam, 2016), another wildly overrated album that in reality lacks inspiration and mainly delivers cliches. This album is a social event: the guests, the producers, the samples and the songwriters prevail over the real music. This is just a patchwork of half-baked ideas. Too often West tries to dress up boring beats, boring lyrics and boring melodies with boring arrangements.
>The genre-hopping Lemonade (Parkwood Entertainment, 2016) was another attempt to promote her to auteur. All the media hype does little to make this album more than a marketing project. In fact, it's even less musical than Beyonce. She's a mediocre singer and an awful songwriter, and no amount of production work can fully hide that.
>As usual with Bowie, Blackstar (RCA, 2016), produced again by Tony Visconti,, is mostly image and very little about the music. This is trivial "music" that any amateur could make, except that most amateurs would be ashamed to release it.
HOW IS HE ALLOWED TO GET AWAY WITH THIS
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>>71653109
muh overrated top 40 music
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>>71653109
>Deads all three of them even though one is already dead
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>>71653109
None of the three you listed exceed the one hour mark let alone even reach it.
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>>71653109
>This is trivial "music" that any amateur could make, except that most amateurs would be ashamed to release it.
Obliterated
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>Has Best ofs lists for Art, Poetry, Literature, Comic Art (animation) and presentation on video games he did in 2016
Scaruffi might be inhuman
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>>71653371
where is his best video game list???
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>>71653053
>Texas' """"""""""mysterious""""""""""
I'm sensing a conspiracy here.
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>>71653394
http://www.scaruffi.com/art/videogames_files/frame.html
It's not a best of, its a presentation on the history of video games. Most of it is a list of notable games that came out in each year.
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>>71653371
He is like 65 years old, he's had plenty of time to digest and analyze lots of media
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>>71653467
>he included No Man's Sky in the 2016 list
wew
has he actually played all of those games? the thought of him playing Undertale is kinda amusing to me for some reason
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>>71653538
>has he actually played all of those games?
Doubt
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>>71653467
this shit literally looks like it was designed by a middle schooler in MS Office
>>71653538
I think he included them for their innovations in concept, rather than their actually quality (at least in the case of No Man's Sky).
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