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The "wink wink" Thread 2010: This Time It's Personal
alli:
Interpol - Interpol
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pat101:
Can't believe this hasn't been posted. One of my absolute favourite 'ambient' records ever.
Gas - Pop
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--- Quote ---On Pop Wolfgang Voigt lightens the tone of his Gas work, adding earthly sounds and brighter melodies. The result remains stylistically ambient; in fact, the stripping away of bass beats, which had been employed on his past two albums, Zauberberg (1998) and Königsforst (1999), makes this more of a purely ambient album than an ambient techno one. Such a distinction (i.e., between ambient and ambient techno) may seem hair-splitting, but it's a key difference between Pop and its predecessors, and this is an album that aims to be different and, presumably, more accessible (if the album title is to be taken meaningfully). Even though, for the most part, there aren't any underlying rhythms of looped kick drums on Pop, there's plenty of rhythm; rather than looping low-frequency bass beats, Voigt loops mid- and high-frequency percussive sounds (for example, a tinny clanging sound on the fourth track). Actually, there's a lot going on in the mid- to high-frequency range, a variety of looped sounds -- some rhythmic, others melodic, still others simply ambient -- and these are a different set of sounds than were previously employed. In general, the seven tracks of Pop are comprised of a multi-layered set of loops that carry on seemingly to no end, though subtle nuances are constantly at play, creating a steady and sustained ambience that is forever shifting and swirling around lifelike. The final track is the most remarkable; at almost 15 minutes, it's the longest, and it's far and away the most intense and rhythmic, chugging along like a runaway train. Besides being remarkable on its own terms, this final track is a great finale and gives Pop the same sense of arc that characterized Zauberberg. While all of the Gas albums are cornerstone works, setting the stage for the style of "pop ambient" techno popularized by Kompakt in later years, Pop, along with Zauberberg, is a crowning achievement for Voigt and, as if his mission were accomplished, he chose to conclude his series of Gas albums here.
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I'll post something awesome without the whoring soon I promise...
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Plus a super-limited cassette rip of Keith Fullerton Whitman's procedurally generated synthwork. Pretty awesome stuff.
Keith Fullerton Whitman - Generator\
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Awesome!
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pat101:
Rhythm & Sound W/ The Artists [2003]
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So God-Damned good.
From Dusted Magazine
--- Quote ---Exactitude, much more so than style, distinguishes Rhythm & Sound from other dub projects. Claiming the somehow inexhaustible process of reduction as mantra, Rhythm & Sound make dub with the fewest possible elements; namely, rhythm and sound.
Such a reductive method has in fact been the basis of dub since its earliest days. The first dubs were b-side mixes of late-60's reggae singles. Producers removed the vocals, allowing the crowd to sing the original lyrics or emcees to improvise their own. Dub is a democracy whose first triumph was to ensure the inclusion of the listener as active participant in musical culture. It turns songs into spheres, accessible from all angles. Through dub, musicians, producers, and listeners enjoy equal access to shaping music.
And dub, as it became increasingly artful, also codified the role of producer as performer. This role was legitimated chiefly by King Tubby, Black Uhuru, Lee Perry, and others whose studio finessing made sound into an instrument. Rhythm and sound, from then on, were the focal points of the genre, at the exclusion of all that which became unnecessary in the process.
In short: less is more, so dub contracts. Musicians otherwise tend to expand on past concepts, augmenting those concepts with newness, holding onto the cores of some useful traditional ideas while also making them relevant to the here and now. This progression carries an obvious logic, in fact it may circumscribe the most common route of artistic betterment: artists incorporate the present by speaking to new technologies, new histories, new desires. Art consumes modernity, offering interpretation or more chaos as its eventual reconstitution. Dub, to the contrary, stares deeply into music as discrete sonic parts, exploring what is important -- what people respond to -- and discarding the debris.
For all of this precision, Rhythm & Sound focus more intently on the basics than perhaps any other dub group. Exactitude, like I say. Augustus Pablo's dubs featured the distinctive melodica, Basic Channel (an earlier project of Mark and Maurizio, who are Rhythm & Sound) combined dub with minimal Detroit techno, and Pole employed advanced technologies to produce a slick and highly representational dub. But Rhythm & Sound cannot be defined by fusion or innovation. They adhere to the original program of dub, following the path of reduction deeper and deeper into the brush.
Rhythm & Sound's new two-disc release includes Rhythm & Sound w/ the artists, a collaboration between the German producers and seven members of the Wackies crew, a group of reggae artists who recorded with Lloyd "Bullwackie" Barnes in the Bronx in the 1980's, as well as a CD of dubs, called (without pretense of course) The Versions. Recently, Rhythm & Sound have worked only with vocalist Paul St. Hilaire, so the appearance of six extra Wackies groups is a surprise and a treat.
The vocals on the artist disc sink deep into the production, with classic doses of heavy reverb and subtle alteration. All of the singers are solid, though I can't deny a soft spot for Love Joy in particular. On "Best Friend," she sings of her best friend and her lover, in rich tones that fit Rhythm and Sound's steady grooves. The melody of her song could repeat indefinitely without wearing thin. Another highlight: Cornel Campbell and Jennifer Lara perform, respectively, "King in My Empire" and "Queen in My Empire," over the same instrumental track.
The versions disc doesn't exclude the vocals entirely, but definitely sublimates them within the mixes. As opposed to earlier Rhythm & Sound work, there is less ambient grit and more direct dubbing here. These are more song songs than the ethereal pieces on some of their 12" releases and 2001's self-titled Rhythm & Sound, in that there are invariably parts and changes to accommodate the singing.
Rhythm & Sound are purists, indeed, and in good faith they continue to find more amazing possibilities in the simple philosophy which their name explains as well as any two words could. These two essential discs build on the legacy of a group who improve by looking inward, not outward, refining their own production techniques in the belief that the basics of music form an unbroken link between human consciousness and the elevation thereof.
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De_El:
Someone tell me this isn't true.
JD:
shit it looks like it
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