Thursday, March 6, 2014
yeah, i'm fixing some panning issues i previously missed altogether and going to just double that last guitar to get some more definition.
on the one hand, i want to get the backing tracks right because i'm going to export it to wave when i build the guitar parts up. i don't want to deal with trying to get the equipment to play back midi and audio at the same time with decent latency. the external mixer i bought was designed for audio, and can handle a heavy load of it at low latency, but isn't responding well to a stack of 30 vst instruments running sequences. if it was a different project and i cared more, i'd dump the load off to external hardware. i have an extra head (for an electronic kit) that can function as a drum machine. but i know it'll just be easier *and more stable* if i bounce the midi into one audio track and build fresh from it. that means i want to get it right. i mean, i can always go back and redo it but....
on the other hand, i don't really care a lot about what the guitars in this version sound like. it's more of an experiment for me, for future reference, to see what i can actually do with the technology nowadays.
'cause the reality for years was that you could get pretty good pianos and flutes and violins out of synths but there was simply no way to get a guitar to sound good at all except to play it through an amp. then there were amp simulators. and now they've got giant databases of samples that you can hook the sequencer right into and that sound relatively good.
the acoustic sound is better than it used to be, but still not so good. i'm getting the impression, though, that plugging a sampled paul into guitar rig and triggering it with a sequencer has the potential to provide some otherwise unattainable sounds, simply by the nature of what a staff of music is vs what a fretboard is. where the possibilities get really fun is mixing that approach with live playing...
so, i got what i wanted out of that. but this track needs live playing and that's what i'm more interested in.
on the one hand, i want to get the backing tracks right because i'm going to export it to wave when i build the guitar parts up. i don't want to deal with trying to get the equipment to play back midi and audio at the same time with decent latency. the external mixer i bought was designed for audio, and can handle a heavy load of it at low latency, but isn't responding well to a stack of 30 vst instruments running sequences. if it was a different project and i cared more, i'd dump the load off to external hardware. i have an extra head (for an electronic kit) that can function as a drum machine. but i know it'll just be easier *and more stable* if i bounce the midi into one audio track and build fresh from it. that means i want to get it right. i mean, i can always go back and redo it but....
on the other hand, i don't really care a lot about what the guitars in this version sound like. it's more of an experiment for me, for future reference, to see what i can actually do with the technology nowadays.
'cause the reality for years was that you could get pretty good pianos and flutes and violins out of synths but there was simply no way to get a guitar to sound good at all except to play it through an amp. then there were amp simulators. and now they've got giant databases of samples that you can hook the sequencer right into and that sound relatively good.
the acoustic sound is better than it used to be, but still not so good. i'm getting the impression, though, that plugging a sampled paul into guitar rig and triggering it with a sequencer has the potential to provide some otherwise unattainable sounds, simply by the nature of what a staff of music is vs what a fretboard is. where the possibilities get really fun is mixing that approach with live playing...
so, i got what i wanted out of that. but this track needs live playing and that's what i'm more interested in.
uploading a tentative vst version of stuck in the middle of an alley closing in on all sides
i'll probably revisit this, but i'm uploading it as is for now.
in addition to being the core of what will be the finished track, it's interesting to point out just how good computer music can sound nowadays. excluding the introduction, i didn't play a single note in this song. the guitars are all played through midi-based vst instruments and put into digital amp models and digital effects emulators. it's really rather remarkable how far the technology has come....
written in early 2001. initially rendered mar 6, 2014.
http://jasonparent.bandcamp.com/track/vst-mix
in addition to being the core of what will be the finished track, it's interesting to point out just how good computer music can sound nowadays. excluding the introduction, i didn't play a single note in this song. the guitars are all played through midi-based vst instruments and put into digital amp models and digital effects emulators. it's really rather remarkable how far the technology has come....
written in early 2001. initially rendered mar 6, 2014.
http://jasonparent.bandcamp.com/track/vst-mix
Wednesday, March 5, 2014
spoke too soon. the drums sounded good, but the latency got really bad with more tracks...
i have a dozen drivers to try. i'm going to hope that the problem is that they're windows 7 drivers. they advertise these things as xp/7, but there's a big difference. a few tracks, it would sound fine, but do anything complicated...
so i think i need to find a middle point.
i have a dozen drivers to try. i'm going to hope that the problem is that they're windows 7 drivers. they advertise these things as xp/7, but there's a big difference. a few tracks, it would sound fine, but do anything complicated...
so i think i need to find a middle point.
fuck you, cubase.
changing your soundcard out doesn't mean deleting all the tracks that are attached to the previous soundcard. and, no, i didn't think to back it up or check that all the tracks were there before i saved it. honestly. what the fuck?
that's a lot of work that just disappeared. not happy about it.
i was in the process of building the track back up from scratch, anyways. i didn't lose any notes. and i'm not sure what i would have kept and what i would have replaced. it's just sound font info.
but, damn it, that reference was nice to have.
ugh.
need cigarettes.
at the least the vst instruments are still there. but, now i need to write out thirty vst settings by hand before i start again...
this track is actually straining the card. i mean, that's a lot of vst instruments running all at once, which is why i switched the card from the m-audio to the alesis in the first place.
grargh. a lost day, nothing worse.
it's all the guitar tracks that are just killing it. they each need their own instrument. it should be less of a problem once i get the guitars played out manually.
changing your soundcard out doesn't mean deleting all the tracks that are attached to the previous soundcard. and, no, i didn't think to back it up or check that all the tracks were there before i saved it. honestly. what the fuck?
that's a lot of work that just disappeared. not happy about it.
i was in the process of building the track back up from scratch, anyways. i didn't lose any notes. and i'm not sure what i would have kept and what i would have replaced. it's just sound font info.
but, damn it, that reference was nice to have.
ugh.
need cigarettes.
at the least the vst instruments are still there. but, now i need to write out thirty vst settings by hand before i start again...
this track is actually straining the card. i mean, that's a lot of vst instruments running all at once, which is why i switched the card from the m-audio to the alesis in the first place.
grargh. a lost day, nothing worse.
it's all the guitar tracks that are just killing it. they each need their own instrument. it should be less of a problem once i get the guitars played out manually.
i'm closing off my second-phase playlist as existing between my zeroth and second symphony.
phase three was a short serious music phase, whereas phase four was a psychedelic folk project that got a little out of hand. to be properly contemporary, i'd have to label it as 'freak-folk' (although i had no idea such a thing existed at the time). four should up quick but three needs some love.
https://www.youtube.com/watch?v=C65VadHnXN4&list=PL3JSjmqp0cbtYmywctLw8KaXgXG3A2ZOF
actually, that's premature - there's two further tracks to add, that i'm working on right now.
headstart on the serious phase (all overlap right now):
https://www.youtube.com/watch?v=hZ-2_duUjaw&list=PL3JSjmqp0cbuMnSLyxGUzsdB_vip3GPbH
it looks like the phases are going to be roughly 3-5 hour chunks. the number of tracks and track lengths are going to vary substantially, but that's going to remain roughly constant. there's also going to consistently be some overlap. that's a time length that allows an idea to be fully developed over a few "albums".
phase five is the trivial group phase, which ran from about '03 to about '06. after that, there's actually not much that i've completed. the proverbs project i started in '06 is only about a quarter finished.
and that's a long time, actually. eight years. yikes.
getting there...
i'm really hoping there's not another eight year black hole, but life's a funny thing.
phase three was a short serious music phase, whereas phase four was a psychedelic folk project that got a little out of hand. to be properly contemporary, i'd have to label it as 'freak-folk' (although i had no idea such a thing existed at the time). four should up quick but three needs some love.
https://www.youtube.com/watch?v=C65VadHnXN4&list=PL3JSjmqp0cbtYmywctLw8KaXgXG3A2ZOF
actually, that's premature - there's two further tracks to add, that i'm working on right now.
headstart on the serious phase (all overlap right now):
https://www.youtube.com/watch?v=hZ-2_duUjaw&list=PL3JSjmqp0cbuMnSLyxGUzsdB_vip3GPbH
it looks like the phases are going to be roughly 3-5 hour chunks. the number of tracks and track lengths are going to vary substantially, but that's going to remain roughly constant. there's also going to consistently be some overlap. that's a time length that allows an idea to be fully developed over a few "albums".
phase five is the trivial group phase, which ran from about '03 to about '06. after that, there's actually not much that i've completed. the proverbs project i started in '06 is only about a quarter finished.
and that's a long time, actually. eight years. yikes.
getting there...
i'm really hoping there's not another eight year black hole, but life's a funny thing.
Monday, March 3, 2014
uploading symphony 5 to youtube
i skipped ahead one ep to get this up. this is the ep i'll be finishing after i finish the ep i'm finishing. but this is the completed version...
===========
the core of this was written in my parent's basement in the spring of 2001. planning on going to a rave that weekend, i had previously purchased a large amount of drugs; i was, however, forced to stay in due to having a calculus test that sunday (the rave was out of town). well, my parents were gone for the weekend, most of my friends were out of town and i had a massive stash of drugs...
it is quite literally a symphony of psilocybin induced madness, written directly into an ancient, hacked score-writing program while i was tripping.
in the spring semester of 2006, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. all guitars were played live, while the sequenced sections were played on better equipment than i had available at home. the ambient sections at the beginning and end of the track were also written in 2006.
https://www.youtube.com/watch?v=sXD4R9R0UNI
===========
the core of this was written in my parent's basement in the spring of 2001. planning on going to a rave that weekend, i had previously purchased a large amount of drugs; i was, however, forced to stay in due to having a calculus test that sunday (the rave was out of town). well, my parents were gone for the weekend, most of my friends were out of town and i had a massive stash of drugs...
it is quite literally a symphony of psilocybin induced madness, written directly into an ancient, hacked score-writing program while i was tripping.
in the spring semester of 2006, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. all guitars were played live, while the sequenced sections were played on better equipment than i had available at home. the ambient sections at the beginning and end of the track were also written in 2006.
https://www.youtube.com/watch?v=sXD4R9R0UNI
re-uploading inrisampled to avoid the false copyright claim
re-upped this to get around it. assholes...
======
this is a collage of a bunch of primitive sample art experimentation i did in the late 90s, using the ridiculous piece of software they called the windows sound recorder on win 9x machines, along with cool edit as a tone generator. os tools and shareware available to a 16 year-old. in hindsight, i think it's a sort of bizarre masterpiece.
i had to cut off a few seconds of the bambi-like symphonic introduction because a parasitic bourgeois entity known as 'adrev' wished to put an ad on the video. it's true that the piece is composed of samples, but they weren't able to identify the sample they were claiming. rather, i think their claim was bullshit, but they wouldn't budge with it.
this is my art, not anybody else's. fuck those guys.
https://www.youtube.com/watch?v=HeRFfBTqlEQ
======
this is a collage of a bunch of primitive sample art experimentation i did in the late 90s, using the ridiculous piece of software they called the windows sound recorder on win 9x machines, along with cool edit as a tone generator. os tools and shareware available to a 16 year-old. in hindsight, i think it's a sort of bizarre masterpiece.
i had to cut off a few seconds of the bambi-like symphonic introduction because a parasitic bourgeois entity known as 'adrev' wished to put an ad on the video. it's true that the piece is composed of samples, but they weren't able to identify the sample they were claiming. rather, i think their claim was bullshit, but they wouldn't budge with it.
this is my art, not anybody else's. fuck those guys.
https://www.youtube.com/watch?v=HeRFfBTqlEQ
Sunday, March 2, 2014
two coats of epoxy. one to bond, one to fill cracks. seems to have been successful. but i'm letting it sit a few more days because i basically give up if it doesn't hold.
hugely messy, too. going to need to sand it....
what happened was a little piece of plastic broke off the headband on my phones. they're modular. meaning the ear muff parts hook into an adjustable roller type idea. it's the roller that snapped a piece off.
the phones work and everything. really, if my head wasn't absurdly small..
...but, as i have the cranial circumference of an eight year old, i have to adjust it to it's tightest setting, which means the phones are continually falling off.
i'll test it in the morning. when it's back together, i'm going to spend a good month solely on the sound.
hugely messy, too. going to need to sand it....
what happened was a little piece of plastic broke off the headband on my phones. they're modular. meaning the ear muff parts hook into an adjustable roller type idea. it's the roller that snapped a piece off.
the phones work and everything. really, if my head wasn't absurdly small..
...but, as i have the cranial circumference of an eight year old, i have to adjust it to it's tightest setting, which means the phones are continually falling off.
i'll test it in the morning. when it's back together, i'm going to spend a good month solely on the sound.
Saturday, March 1, 2014
deathtokoalas
it's funny how many things jump out immediately when listening to this.
- my generation
- smoke on the water
- born to be wild
somebody else could probably list a dozen more. aleph document...
Bernhardt Glock
are you related to pete townshend? the similarities are overwhelming :-)
deathtokoalas
i'm a little hungover in the shot...
"a young pete townshend" is one of a handful of rock stars that people suggested i looked a little like when i was a lot younger, but it's actually something i haven't heard in a really long time. like, since i was about 14.
since then, it's been other rock stars, but i'm not giving you any ideas.
it's funny how many things jump out immediately when listening to this.
- my generation
- smoke on the water
- born to be wild
somebody else could probably list a dozen more. aleph document...
Bernhardt Glock
are you related to pete townshend? the similarities are overwhelming :-)
deathtokoalas
i'm a little hungover in the shot...
"a young pete townshend" is one of a handful of rock stars that people suggested i looked a little like when i was a lot younger, but it's actually something i haven't heard in a really long time. like, since i was about 14.
since then, it's been other rock stars, but i'm not giving you any ideas.
Friday, February 28, 2014
the last rap news (22) was especially awesome
the copernicus section is something else.
second heliocentric revolution, indeed.
too many fools, though.
second heliocentric revolution, indeed.
too many fools, though.
Thursday, February 27, 2014
(most of february from the music page was deleted in some kind of ram-freeze that took the whole computer down with firefox. there is active code of some sort
on facebook that causes word documents to seize up and crash when pasted
into them. largely preliminary discussion of “stuck”, which is sad mostly due to the beginning exploratory discussion of vstis. realguitar & reallpc & bandstand were downloaded on feb 12, 2014. something else that happened was that the brace on my sennheisers snapped.)
Wednesday, February 26, 2014
immediate reaction to the new st vincent record
deathtokoalas
i'm not really willing to point any fingers at david byrne. my perception of what was going on there was that byrne essentially hired her to write songs for him. she seemed to be the dominant artist in the arrangement. by far. it's sort of annoying that byrne's inflated sense of importance got a refill from this.
rather, it seems like she's been listening to a lot of tuneyards and is trying to integrate more of an idm/electronic sound into her style. it's a good idea on paper. certainly, radiohead could have delved a lot deeper into the warp records catalog than they actually did. but what i'm getting on the first few listens is that it's come with a trade-off in a lesser amount of attention paid to the arrangements. well, sometimes we just want to clear our heads.
there's some goodness, no doubt. but it sounds like a transition album to me.
Anon Woll
Except she has said before it was a 50/50 process when it came to the songwriting. He came up with the big band idea and they went from there.
deathtokoalas
well, conceptually, maybe, but i think that's being extremely generous insofar as the idea of songwriting is concerned. i really don't think that david byrne has the slightest idea how to write those kinds of horn parts. insofar as what she's saying is true, that sounds like byrne vaguely describing an idea and annie actually writing it out - which is a process that used to be called "commissioning a composer".
something else that crossed my mind repeatedly was "wow. annie clark is really a big upgrade over adrian belew.". and i'm actually a substantial belew fan.
the point is simply that this "hanging around with david byrne too much" stuff is really backwards. and maybe even a little sexist.
Anon Woll
I think that you got my words twisted. He proposed the idea of making the record with a horn section and touring with it and she went "that sounds fun, let's do it", then they both composed and wrote lyrics on the album, like a near 50/50 split.
I am not totally defending David Byrne or anything or gonna be part of the "WOW pffft look what she picked up from him" crowd because this actually reminded me a bit of "Marrow" more than a "Love This Giant" song, with that kind of constant staccato and almost march-y kind of feel in all of the non-chorus parts. I just am saying he deserves slightly more credit than "dude who hired St. Vincent to write songs for him". She is her own artist and has been developing her stage and studio craft for years and years now. And yeah, it is backwards and most likely sexist. Sucks but whatever. Looks like she may be the most successful with this record so haters can eat it.
BubbaZen10
I think David could handle those horn parts. And while i'm actually impressed with her playing, putting her on a par with Adrian Belew? REALLY? Maybe i haven't seen enough of her playing, but that sure seems like a stretch. I really am liking it a lot though. Been a while since some new(er) music grabbed my attention like this.
And btw, wtf did koalas ever do to you??!! ;)
William Sanders
I'm mostly sure that talk of a Byrne influence stems from her change in appearance, an added vibe of eccentricity that includes her use of choreographed dancing/movements during her live show. Byrne implemented the dancing on the Love This Giant tour and she liked the added dynamic, so she's doing it on her own now. That seems like influence to me.
As for the notion of sexism, you're forgetting the stark contrast in legendary status between the two songwriter/performers. Byrne has been a legend longer than Annie has been playing guitar. You can "think" whatever you'd like about who came up with what arrangements, or you can "think" Byrne's not capable of creating those kinds of horn parts, but since you don't actually know any of this, you come off as less than intelligent.
deathtokoalas
her appearance hasn't changed at all, and you're not doing a very good job at comprehending what i wrote. the obvious truth is that david byrne is not a musician in any sense, let alone the kind of trained musician that clearly wrote those parts. he blatantly has absolutely no idea whatsoever how to sing in key, let alone how to write those kinds of horn parts. in a situation where you have a very capable and educated person on one side and what is basically a lucky opportunistic hack on the other it's not difficult to figure who is doing all of the actual labour.
again, if you'd try a little harder to understand the dynamics involved, you'd realize that byrne has no claim to "legendary status" at all. what he's done throughout his career is piggy back on other people's ideas. the idea that there's some kind of hierarchical difference is precisely the sexist bullshit that i'm calling out: she's a musician and he isn't. you're only claiming otherwise due to a perceived gender misbalance. so, it would do you some good to try and understand the situation properly in terms of balances of power and media interpretation before you start accusing other people of deficits of intelligence.
the foolish thing to think in this situation is that byrne was anything other than the lucky recipient of an eccentric woman fawning over somebody she had a crush on in her teenage years. so, i'll state it in easier to understand terms for you: the idea that byrne is a legend and st. vincent is not is precisely the sexist bullshit that needs to be called out. rather, annie clark is one of the most talented and interesting musicians of our era, and david byrne is a has been that was never more than an overrated hack that took credit for other people's ideas when he was something to begin with.
is that easier for you to understand?
BubbaZen10
Longer than she's been playing guitar?? Hell man, how old is that gal? Try longer than she's been alive! ;)
The "people turn your tv on and throw it out the window" part definitely reminds me a bit of "Burnin' Down the House." (that descending part is similar) She's working with the guy, and is probably a fan of his music, so i'm sure there's an influence there, but i definitely hear a lot of other influences coming from her that maybe people don't pick up on. I really see and hear some Cabaret Voltaire in both the video and some of the sounds.
deathtokoalas
yeah.
i think annie's a huge nin fan, personally.
to put it another way, if we were talking about an eno/byrne collaboration, or a byrne/belew collaboration, it would be all about how byrne was hanging out while they did all the work. but when it's a young, attractive woman? it's his superior legendary essence that's managed to rub off a little on the lucky gal.
and that's bullshit.
William Sanders
I stopped reading after "her appearance hasn't changed at all".
I did catch a little of your ramble not far from where I type. Annie Clark will be a legend, she's as talented or more so than Byrne, but she's still young and working towards it. There's a difference, unlike yourself I'm not hellbent on making this an issue of sexism. I won't be supplying the false sense of vindication for you today. Take care.
deathtokoalas
too many words for you, william? not used to reading that much at the same time?
there's no need to get your boxers all unironed about it, either. it's just the way the world works.
BubbaZen10
Man, let me make this clear; i can see a few influences from Byrne's old days, but since i just recently got into this gal and this band, i have looked at other videos on here, and i personally think that, musically, Annie wipes the floor with David Byrne. This is one talented person. (but David IS a better musician than you are giving him credit for here, most certainly)
For real man, NIN definitely in there! I hear a lot of different things coming from her. She's sharp, and has obviously absorbed a lot, like a good musician would. I get how some fans on here are baggin' on this song, and i get why. It's never fun when a band you love goes a little pop or mainsteam to attract new people (like me) but this is just a good damn song, period.
Now, about her being better than Adrian Belew? BULLSHIT!! I saw him with King Crimson in the 80's. She's good. VERY good. She is not at that level yet! ;)
Btw, The Cabs are who Trent ripped off!!!!!! ;)
I think you'll appreciate this song. Look up Sensoria by Cabaret Voltaire. You'll hear it a little i think. She does a backing vocal line that reminds me of that song.
That is the REAL shit man. Where a lot that you probably like came from. Music-wise, and video-wise. That video was in the MomA. Groundbreaking stuff.
deathtokoalas
trent took a bit from cabaret voltaire in his earliest incarnation, as well as a lot from ministry, bits from coil and foetus and neubauten and a substantial amount from bowie - and he's trying to look like ogre from skinny puppy. i had my industrial phase in the mid to late 90s. and you can hear a bit of that in her sequencing.
but the bit that reznor added himself was this sort of quirkiness. well, it was expanded on in some of the remixes as well. i can really hear that in her writing at points, especially her guitar playing, and it's very much his idiosyncrasy. i guess there's a continuity there in belew.
i mean, we all have influences. i don't deny that byrne probably was one on annie. she's definitely electro-pop in the broad sense that runs from lundgren through to bowie, byrne, anderson, reznor and beyond. it's just the way the argument is being thrown out that is difficult to stomach.
rather, i hope byrne is able to take something away from his time working with annie.
BubbaZen10
Oh, i have no doubt she has reinvigorated him!
The fact you knew who the Cabs were gets you many internet points!
William Sanders
You're too emotionally biased in your assessments, that's why you say so many absurd things. I have no time for that.
BubbaZen10
Absurd things said are like, MY FAVORITE THINGS!!
I have no time for the too serious shit myself.
I have time koala killer, or whatever the fuck your name is, but make it quick, i have an appointment at 3. TICK TOCK!
deathtokoalas
that was the perfectly sexist remark, william. i'm sort of proud of you, actually.
William Sanders
Of course it was, everything is to you.
BubbaZen10
Ok, how much more will you put into this? How far will you push a feminist?
She's made valid points. Anyone who says this chick is riding on Byrne's coattails needs to look into her more. This is one very talented person, and Koalahater might be right that it's actually HIM riding HER coattails at this point.
deathtokoalas
i missed a couple of posts.
i actually think her playing is really underrated. i don't want to do this "on par with" thing. i'm going to state though that i'm an abstract guitarist myself (i have some stuff up on my page if you'd like to click through), and it's a big part of my interest in st. vincent's work. she has progressive streaks, but she's more in a post-punk tradition, and that generally means toning done the excesses. but she did go to berkeley, and her instrument was guitar, and it does come out fairly clearly. she runs off her riffs in a kind of effortless, not flashy way, though - which is definitely not "belewish". she's kind of more of a blues/metal guitarist by instinct. i know that sounds bizarre initially, but if you deconstruct it carefully it comes out pretty clearly. that's more in the sabbath or maiden side of things.
in a broad sense, though, her effects heavy approach has it's origins in the belew and fripp school of guitar. it sounds to me like it's been through a few steps on the way there. there's one specific thing she does often that is very belew and it's this kind of glissando trick through heavy distortion. it's leaning towards the kind of effects belew is known for. and, it comes out in a stylistic sense as well: belew was the guitarist on a lot of the music that preceded this and sounds similar to it: bowie, talking heads, laurie anderson, nine inch nails. and, yeah, a bit of crimson, too. when we're talking about byrne specifically? it's a comparison that's hard to ignore, given how much belew added to byrne's work.
it does sort of intersect with the sexism, though. it's still a little unsettling to see an attractive woman play like annie does. as much as i might like carrie brownstein, and as many heads as pj harvey may have turned, that level of playing wasn't really there. in the end, i think normalizing female shredding is something that's going to be a part of her legacy. there's a clip from a few years ago where she runs off the riffs to surgeon that's worth watching and demonstrates what i'm getting at. as much as it's distracting from the music, and as much as she's clearly trying to avoid that, i'm not aware of any kind of precedent.
i lost my own train of thought, though. by "upgrade", i meant in terms of general musicality and depth of musical knowledge. there's no use in comparing them directly and ranking one higher than the other. there's a similarity in the way they approach the instrument, but they're pretty different in terms of writing.
part of me does kind of want to hear her do a really flashy guitar record, though.
William Sanders
I thought I was done, people keep bringing me back in. Saying Clark is riding Byrne's coattails is absurd, just as saying Byrne basically hired Clark as the songwriter for their collaboration is absurd, or insinuating that Byrne can't create melodies with horns based on nothing more than a gut-induced hunch is absurd. We can celebrate both artists without shitting on one of them, koalas should give it a try.
deathtokoalas
byrne was involved with some interesting records in the 80s, but he doesn't deserve a lot of credit for them - as bowie doesn't deserve much credit for the second half of low (he wasn't even in the recording studio when it was created) and neither mccartney nor lennon can really honestly take credit for george martin's work. it would be time consuming to develop this argument here, but people that are familiar with the other works of eno, belew, harrison and weymouth can hear where the genius really originated
augusts1
You should brush up on Byrne's discography. He composed the score for Twyla Tharp's ballet 'The Catherine Wheel' in '81 & a classical instrumental album called 'The Forest' in '91(both of which I own). He also collaborated w/Ryuichi Sakamoto for the amazing soundtrack to Bertolucci's The Last Emperor in '87. And those 3 are just the tip of the iceberg for his creations apart from his regular albums. He's done plenty of other film work too.
So your assertion that Byrne is a hack & using Clark for his own sexist gain since he has no talent of his own holds no water. at. all. Btw, check his Wiki page to find more of his work referenced there. And I'm a recent convert to Clark mainly because of her involvement w/Byrne.
deathtokoalas
again, if you look at the credits on those records, and you listen to the other work by the artists that did most of the work, it's easy to hear that byrne was not responsible for very much of the interesting components. guitar, vocals & the odd simplistic fill on another instrument. the rest of it is handled by the production teams, which (like bowie) he had a bit of an ear for.
well, and the gigolo dancing. byrne is EXCELLENT at gigolo dancing...
LicoriceLain
Or maybe they simply have very similar musical sensibilities...
grubbymanz
idk i think she is really influenced by byrne and could not say who really arranged what. if you listen to an album like feelings like maybe wicked little doll, and some of the other more synth funky things there is nothing on their collab album that couldn't have been on that album, before she was even putting out music. Also her neurotic pop thing, i bet she was really influenced by byrne and t heads and would not be so quick to consider arrangements on their joint album to be hers based on her recent output,when her style is informed so much by the person she was collaborating with.
i'm not really willing to point any fingers at david byrne. my perception of what was going on there was that byrne essentially hired her to write songs for him. she seemed to be the dominant artist in the arrangement. by far. it's sort of annoying that byrne's inflated sense of importance got a refill from this.
rather, it seems like she's been listening to a lot of tuneyards and is trying to integrate more of an idm/electronic sound into her style. it's a good idea on paper. certainly, radiohead could have delved a lot deeper into the warp records catalog than they actually did. but what i'm getting on the first few listens is that it's come with a trade-off in a lesser amount of attention paid to the arrangements. well, sometimes we just want to clear our heads.
there's some goodness, no doubt. but it sounds like a transition album to me.
Anon Woll
Except she has said before it was a 50/50 process when it came to the songwriting. He came up with the big band idea and they went from there.
deathtokoalas
well, conceptually, maybe, but i think that's being extremely generous insofar as the idea of songwriting is concerned. i really don't think that david byrne has the slightest idea how to write those kinds of horn parts. insofar as what she's saying is true, that sounds like byrne vaguely describing an idea and annie actually writing it out - which is a process that used to be called "commissioning a composer".
something else that crossed my mind repeatedly was "wow. annie clark is really a big upgrade over adrian belew.". and i'm actually a substantial belew fan.
the point is simply that this "hanging around with david byrne too much" stuff is really backwards. and maybe even a little sexist.
Anon Woll
I think that you got my words twisted. He proposed the idea of making the record with a horn section and touring with it and she went "that sounds fun, let's do it", then they both composed and wrote lyrics on the album, like a near 50/50 split.
I am not totally defending David Byrne or anything or gonna be part of the "WOW pffft look what she picked up from him" crowd because this actually reminded me a bit of "Marrow" more than a "Love This Giant" song, with that kind of constant staccato and almost march-y kind of feel in all of the non-chorus parts. I just am saying he deserves slightly more credit than "dude who hired St. Vincent to write songs for him". She is her own artist and has been developing her stage and studio craft for years and years now. And yeah, it is backwards and most likely sexist. Sucks but whatever. Looks like she may be the most successful with this record so haters can eat it.
BubbaZen10
I think David could handle those horn parts. And while i'm actually impressed with her playing, putting her on a par with Adrian Belew? REALLY? Maybe i haven't seen enough of her playing, but that sure seems like a stretch. I really am liking it a lot though. Been a while since some new(er) music grabbed my attention like this.
And btw, wtf did koalas ever do to you??!! ;)
William Sanders
I'm mostly sure that talk of a Byrne influence stems from her change in appearance, an added vibe of eccentricity that includes her use of choreographed dancing/movements during her live show. Byrne implemented the dancing on the Love This Giant tour and she liked the added dynamic, so she's doing it on her own now. That seems like influence to me.
As for the notion of sexism, you're forgetting the stark contrast in legendary status between the two songwriter/performers. Byrne has been a legend longer than Annie has been playing guitar. You can "think" whatever you'd like about who came up with what arrangements, or you can "think" Byrne's not capable of creating those kinds of horn parts, but since you don't actually know any of this, you come off as less than intelligent.
deathtokoalas
her appearance hasn't changed at all, and you're not doing a very good job at comprehending what i wrote. the obvious truth is that david byrne is not a musician in any sense, let alone the kind of trained musician that clearly wrote those parts. he blatantly has absolutely no idea whatsoever how to sing in key, let alone how to write those kinds of horn parts. in a situation where you have a very capable and educated person on one side and what is basically a lucky opportunistic hack on the other it's not difficult to figure who is doing all of the actual labour.
again, if you'd try a little harder to understand the dynamics involved, you'd realize that byrne has no claim to "legendary status" at all. what he's done throughout his career is piggy back on other people's ideas. the idea that there's some kind of hierarchical difference is precisely the sexist bullshit that i'm calling out: she's a musician and he isn't. you're only claiming otherwise due to a perceived gender misbalance. so, it would do you some good to try and understand the situation properly in terms of balances of power and media interpretation before you start accusing other people of deficits of intelligence.
the foolish thing to think in this situation is that byrne was anything other than the lucky recipient of an eccentric woman fawning over somebody she had a crush on in her teenage years. so, i'll state it in easier to understand terms for you: the idea that byrne is a legend and st. vincent is not is precisely the sexist bullshit that needs to be called out. rather, annie clark is one of the most talented and interesting musicians of our era, and david byrne is a has been that was never more than an overrated hack that took credit for other people's ideas when he was something to begin with.
is that easier for you to understand?
BubbaZen10
Longer than she's been playing guitar?? Hell man, how old is that gal? Try longer than she's been alive! ;)
The "people turn your tv on and throw it out the window" part definitely reminds me a bit of "Burnin' Down the House." (that descending part is similar) She's working with the guy, and is probably a fan of his music, so i'm sure there's an influence there, but i definitely hear a lot of other influences coming from her that maybe people don't pick up on. I really see and hear some Cabaret Voltaire in both the video and some of the sounds.
yeah.
i think annie's a huge nin fan, personally.
to put it another way, if we were talking about an eno/byrne collaboration, or a byrne/belew collaboration, it would be all about how byrne was hanging out while they did all the work. but when it's a young, attractive woman? it's his superior legendary essence that's managed to rub off a little on the lucky gal.
and that's bullshit.
William Sanders
I stopped reading after "her appearance hasn't changed at all".
I did catch a little of your ramble not far from where I type. Annie Clark will be a legend, she's as talented or more so than Byrne, but she's still young and working towards it. There's a difference, unlike yourself I'm not hellbent on making this an issue of sexism. I won't be supplying the false sense of vindication for you today. Take care.
deathtokoalas
too many words for you, william? not used to reading that much at the same time?
there's no need to get your boxers all unironed about it, either. it's just the way the world works.
BubbaZen10
Man, let me make this clear; i can see a few influences from Byrne's old days, but since i just recently got into this gal and this band, i have looked at other videos on here, and i personally think that, musically, Annie wipes the floor with David Byrne. This is one talented person. (but David IS a better musician than you are giving him credit for here, most certainly)
For real man, NIN definitely in there! I hear a lot of different things coming from her. She's sharp, and has obviously absorbed a lot, like a good musician would. I get how some fans on here are baggin' on this song, and i get why. It's never fun when a band you love goes a little pop or mainsteam to attract new people (like me) but this is just a good damn song, period.
Now, about her being better than Adrian Belew? BULLSHIT!! I saw him with King Crimson in the 80's. She's good. VERY good. She is not at that level yet! ;)
Btw, The Cabs are who Trent ripped off!!!!!! ;)
I think you'll appreciate this song. Look up Sensoria by Cabaret Voltaire. You'll hear it a little i think. She does a backing vocal line that reminds me of that song.
That is the REAL shit man. Where a lot that you probably like came from. Music-wise, and video-wise. That video was in the MomA. Groundbreaking stuff.
deathtokoalas
trent took a bit from cabaret voltaire in his earliest incarnation, as well as a lot from ministry, bits from coil and foetus and neubauten and a substantial amount from bowie - and he's trying to look like ogre from skinny puppy. i had my industrial phase in the mid to late 90s. and you can hear a bit of that in her sequencing.
but the bit that reznor added himself was this sort of quirkiness. well, it was expanded on in some of the remixes as well. i can really hear that in her writing at points, especially her guitar playing, and it's very much his idiosyncrasy. i guess there's a continuity there in belew.
i mean, we all have influences. i don't deny that byrne probably was one on annie. she's definitely electro-pop in the broad sense that runs from lundgren through to bowie, byrne, anderson, reznor and beyond. it's just the way the argument is being thrown out that is difficult to stomach.
rather, i hope byrne is able to take something away from his time working with annie.
BubbaZen10
Oh, i have no doubt she has reinvigorated him!
The fact you knew who the Cabs were gets you many internet points!
William Sanders
You're too emotionally biased in your assessments, that's why you say so many absurd things. I have no time for that.
BubbaZen10
Absurd things said are like, MY FAVORITE THINGS!!
I have no time for the too serious shit myself.
I have time koala killer, or whatever the fuck your name is, but make it quick, i have an appointment at 3. TICK TOCK!
deathtokoalas
that was the perfectly sexist remark, william. i'm sort of proud of you, actually.
William Sanders
Of course it was, everything is to you.
BubbaZen10
Ok, how much more will you put into this? How far will you push a feminist?
She's made valid points. Anyone who says this chick is riding on Byrne's coattails needs to look into her more. This is one very talented person, and Koalahater might be right that it's actually HIM riding HER coattails at this point.
deathtokoalas
i missed a couple of posts.
i actually think her playing is really underrated. i don't want to do this "on par with" thing. i'm going to state though that i'm an abstract guitarist myself (i have some stuff up on my page if you'd like to click through), and it's a big part of my interest in st. vincent's work. she has progressive streaks, but she's more in a post-punk tradition, and that generally means toning done the excesses. but she did go to berkeley, and her instrument was guitar, and it does come out fairly clearly. she runs off her riffs in a kind of effortless, not flashy way, though - which is definitely not "belewish". she's kind of more of a blues/metal guitarist by instinct. i know that sounds bizarre initially, but if you deconstruct it carefully it comes out pretty clearly. that's more in the sabbath or maiden side of things.
in a broad sense, though, her effects heavy approach has it's origins in the belew and fripp school of guitar. it sounds to me like it's been through a few steps on the way there. there's one specific thing she does often that is very belew and it's this kind of glissando trick through heavy distortion. it's leaning towards the kind of effects belew is known for. and, it comes out in a stylistic sense as well: belew was the guitarist on a lot of the music that preceded this and sounds similar to it: bowie, talking heads, laurie anderson, nine inch nails. and, yeah, a bit of crimson, too. when we're talking about byrne specifically? it's a comparison that's hard to ignore, given how much belew added to byrne's work.
it does sort of intersect with the sexism, though. it's still a little unsettling to see an attractive woman play like annie does. as much as i might like carrie brownstein, and as many heads as pj harvey may have turned, that level of playing wasn't really there. in the end, i think normalizing female shredding is something that's going to be a part of her legacy. there's a clip from a few years ago where she runs off the riffs to surgeon that's worth watching and demonstrates what i'm getting at. as much as it's distracting from the music, and as much as she's clearly trying to avoid that, i'm not aware of any kind of precedent.
i lost my own train of thought, though. by "upgrade", i meant in terms of general musicality and depth of musical knowledge. there's no use in comparing them directly and ranking one higher than the other. there's a similarity in the way they approach the instrument, but they're pretty different in terms of writing.
part of me does kind of want to hear her do a really flashy guitar record, though.
William Sanders
I thought I was done, people keep bringing me back in. Saying Clark is riding Byrne's coattails is absurd, just as saying Byrne basically hired Clark as the songwriter for their collaboration is absurd, or insinuating that Byrne can't create melodies with horns based on nothing more than a gut-induced hunch is absurd. We can celebrate both artists without shitting on one of them, koalas should give it a try.
deathtokoalas
byrne was involved with some interesting records in the 80s, but he doesn't deserve a lot of credit for them - as bowie doesn't deserve much credit for the second half of low (he wasn't even in the recording studio when it was created) and neither mccartney nor lennon can really honestly take credit for george martin's work. it would be time consuming to develop this argument here, but people that are familiar with the other works of eno, belew, harrison and weymouth can hear where the genius really originated
augusts1
You should brush up on Byrne's discography. He composed the score for Twyla Tharp's ballet 'The Catherine Wheel' in '81 & a classical instrumental album called 'The Forest' in '91(both of which I own). He also collaborated w/Ryuichi Sakamoto for the amazing soundtrack to Bertolucci's The Last Emperor in '87. And those 3 are just the tip of the iceberg for his creations apart from his regular albums. He's done plenty of other film work too.
So your assertion that Byrne is a hack & using Clark for his own sexist gain since he has no talent of his own holds no water. at. all. Btw, check his Wiki page to find more of his work referenced there. And I'm a recent convert to Clark mainly because of her involvement w/Byrne.
deathtokoalas
again, if you look at the credits on those records, and you listen to the other work by the artists that did most of the work, it's easy to hear that byrne was not responsible for very much of the interesting components. guitar, vocals & the odd simplistic fill on another instrument. the rest of it is handled by the production teams, which (like bowie) he had a bit of an ear for.
well, and the gigolo dancing. byrne is EXCELLENT at gigolo dancing...
LicoriceLain
Or maybe they simply have very similar musical sensibilities...
grubbymanz
idk i think she is really influenced by byrne and could not say who really arranged what. if you listen to an album like feelings like maybe wicked little doll, and some of the other more synth funky things there is nothing on their collab album that couldn't have been on that album, before she was even putting out music. Also her neurotic pop thing, i bet she was really influenced by byrne and t heads and would not be so quick to consider arrangements on their joint album to be hers based on her recent output,when her style is informed so much by the person she was collaborating with.
Tuesday, February 25, 2014
continuing the discussion with sennheiser
jessica
hi.
sorry to bring up a ghost thread, but i'm a little concerned about the cord that got here. it arrived when it did back in december, and i've been ecstatic about it since. but i've been noticing for the last several weeks that the left side of the cord again comes in and out.
i've swapped the inputs on the phones a few times and am convinced it's the cord, rather than the phones. the red/right in is flawless regardless of which phone it's plugged into, but the black/left one slowly fades over long periods regardless of which phone it's plugged into. often, merely touching it is enough to reset it.
i ultimately think it's a contact issue. that is to say that i think that the metal on the cord is sort of falling out. maybe it's a hundredth of a mm smaller in diameter. and i'd actually be willing to believe it's a production thing if you told me that. it's very obvious that there's not a short in the cord. but it's also obvious that if i keep messing with it one will develop.
i'm just wondering if you have any information that might be of interest. would you be able to verify that there is a small difference in the size of the metal plug going into the phones, over all these decades? is it possible i got a mild defect that's a tad small?
phones:
sennheiser 440-II (ireland)
cord:
069427
Cable steel 3m jack3.5/jack6.3
sennheiser
Hi Jessica,
No problems, please don't apologise!
I am rather surprised that a cable so new could be defective, but it's not unheard of. That's why you've got a 3 month warranty. Before we get into the whole rigomorol surrounding replacement, I'm bound to ask if the cable polarity has always been respected, you'll notice one pin is fatter than the other. If the cable has been forced in backwards, then the problem may not actually be the cable!
Just asking!
Please let me know about that, and we'll proceed from there!
Cheers,
jessica
i've definitely been careful about polarity - letters always on the outside. i'm certain it's not that. and, as mentioned, it does it with both phones on the black side, and only on the black side.
the entire idea of a warranty completely slipped my mind. it's getting to the end of the three months. so, how does that process work?
(pause)
i'm just a little concerned because you were always previously quick to apply.
i have to say that i don't want to send this cord back. it seems like there's something wrong, but it's a minor adjustment and i know now i can replace the cord when i need to.
but if it is under warranty, i kind of feel entitled to it.
again: if i have to send it back, then forget it. it's not worth the trouble.
also, do you have any information about possible manufacturing mismatches?
sennheiser
Hi Jessica,
My apologies for the delay in response! I was out on holidays.
If you'd be so kind, please provide your address (to save time trying to find it in the computer...) and parts will send you out a new one. No need to return the other, just toss it.
hi.
sorry to bring up a ghost thread, but i'm a little concerned about the cord that got here. it arrived when it did back in december, and i've been ecstatic about it since. but i've been noticing for the last several weeks that the left side of the cord again comes in and out.
i've swapped the inputs on the phones a few times and am convinced it's the cord, rather than the phones. the red/right in is flawless regardless of which phone it's plugged into, but the black/left one slowly fades over long periods regardless of which phone it's plugged into. often, merely touching it is enough to reset it.
i ultimately think it's a contact issue. that is to say that i think that the metal on the cord is sort of falling out. maybe it's a hundredth of a mm smaller in diameter. and i'd actually be willing to believe it's a production thing if you told me that. it's very obvious that there's not a short in the cord. but it's also obvious that if i keep messing with it one will develop.
i'm just wondering if you have any information that might be of interest. would you be able to verify that there is a small difference in the size of the metal plug going into the phones, over all these decades? is it possible i got a mild defect that's a tad small?
phones:
sennheiser 440-II (ireland)
cord:
069427
Cable steel 3m jack3.5/jack6.3
sennheiser
Hi Jessica,
No problems, please don't apologise!
I am rather surprised that a cable so new could be defective, but it's not unheard of. That's why you've got a 3 month warranty. Before we get into the whole rigomorol surrounding replacement, I'm bound to ask if the cable polarity has always been respected, you'll notice one pin is fatter than the other. If the cable has been forced in backwards, then the problem may not actually be the cable!
Just asking!
Please let me know about that, and we'll proceed from there!
Cheers,
jessica
i've definitely been careful about polarity - letters always on the outside. i'm certain it's not that. and, as mentioned, it does it with both phones on the black side, and only on the black side.
the entire idea of a warranty completely slipped my mind. it's getting to the end of the three months. so, how does that process work?
(pause)
i'm just a little concerned because you were always previously quick to apply.
i have to say that i don't want to send this cord back. it seems like there's something wrong, but it's a minor adjustment and i know now i can replace the cord when i need to.
but if it is under warranty, i kind of feel entitled to it.
again: if i have to send it back, then forget it. it's not worth the trouble.
also, do you have any information about possible manufacturing mismatches?
sennheiser
Hi Jessica,
My apologies for the delay in response! I was out on holidays.
If you'd be so kind, please provide your address (to save time trying to find it in the computer...) and parts will send you out a new one. No need to return the other, just toss it.
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