i'm trying to think how i'd react at that age. it definitely wouldn't be yelling and screaming. i'd probably simply expect it to be replaced. in fact, i'd probably see the positive in getting to pick out the candy i wanted as replacement...
Wednesday, November 5, 2014
now, just wait until you have to take their cocaine away from them.
i'm trying to think how i'd react at that age. it definitely wouldn't be yelling and screaming. i'd probably simply expect it to be replaced. in fact, i'd probably see the positive in getting to pick out the candy i wanted as replacement...
i'm trying to think how i'd react at that age. it definitely wouldn't be yelling and screaming. i'd probably simply expect it to be replaced. in fact, i'd probably see the positive in getting to pick out the candy i wanted as replacement...
Joe Colasaco
Sounds like a Nirvana tune. Was this out before Nirvana started playing?
https://www.youtube.com/watch?v=Rfbn3ieVUYU
iMW3BK
No, and no it does not.
deathtokoalas
sounds a lot like the pumpkins, though. that was very much recognized at the time. chicago, not seattle.
CAKmusic
From what I've heard, Poster Chidren (another Chicago band) was an influence on both.
deathtokoalas
it's an old anecdote from steve albini who was basically full of shit and just trying to sell poster children cds to record executives; there's almost no musical similarity in anything corgan did after some of the 80s demo tapes, and even there it's pretty weak. yes, you can find some demos from about 87 or 88 that have a generic "chicago sound", but it has nothing to do with what the pumpkins sounded like by the time they were playing regular shows. it's like an 80s college rock or jangle pop type sound, not the classic pumpkins roar that hum eventually got around to ripping on.
honestly: it's albini trying to sell a box of cds gathering dust in his attic.
here's the thing: corgan was a metalhead that couldn't make it in the metal scene and ended up doing alt rock by default. the pumpkins are basically van halen meets the cure, which makes no sense relative to the cultural trends of the late 80s. it's a bizarre combination. there's no scene underlying it. it's truly nothing more than the idiosyncratic construction of a social outcast trying to piece shit together in a way that's going to get him a career out of it. and, he got lucky in finding an ace drummer....
weezer were kind of similarly constructed.
hum, though? they saw a market and they lunged at. it was smart. but it didn't work out.
(deleted post)
deathtokoalas
i think you probably want to acknowledge jane's addiction as doing something vaguely similar before them - but it's pretty vague. you can also pull out a hefty sonic youth influence but there's not much actual overlap.
the only band that i've ever heard that really foreshadows what corgan was doing was cardiacs, but i've never heard corgan cite them and i don't know if he was aware of them.
Sounds like a Nirvana tune. Was this out before Nirvana started playing?
https://www.youtube.com/watch?v=Rfbn3ieVUYU
iMW3BK
No, and no it does not.
deathtokoalas
sounds a lot like the pumpkins, though. that was very much recognized at the time. chicago, not seattle.
CAKmusic
From what I've heard, Poster Chidren (another Chicago band) was an influence on both.
deathtokoalas
it's an old anecdote from steve albini who was basically full of shit and just trying to sell poster children cds to record executives; there's almost no musical similarity in anything corgan did after some of the 80s demo tapes, and even there it's pretty weak. yes, you can find some demos from about 87 or 88 that have a generic "chicago sound", but it has nothing to do with what the pumpkins sounded like by the time they were playing regular shows. it's like an 80s college rock or jangle pop type sound, not the classic pumpkins roar that hum eventually got around to ripping on.
honestly: it's albini trying to sell a box of cds gathering dust in his attic.
here's the thing: corgan was a metalhead that couldn't make it in the metal scene and ended up doing alt rock by default. the pumpkins are basically van halen meets the cure, which makes no sense relative to the cultural trends of the late 80s. it's a bizarre combination. there's no scene underlying it. it's truly nothing more than the idiosyncratic construction of a social outcast trying to piece shit together in a way that's going to get him a career out of it. and, he got lucky in finding an ace drummer....
weezer were kind of similarly constructed.
hum, though? they saw a market and they lunged at. it was smart. but it didn't work out.
(deleted post)
deathtokoalas
i think you probably want to acknowledge jane's addiction as doing something vaguely similar before them - but it's pretty vague. you can also pull out a hefty sonic youth influence but there's not much actual overlap.
the only band that i've ever heard that really foreshadows what corgan was doing was cardiacs, but i've never heard corgan cite them and i don't know if he was aware of them.
cover art pretension fail?
maybe, but it works. i'll make sure this is good....
https://jasonparent.bandcamp.com/album/time
actually, maybe i should make a general comment about the cover art...
with few exceptions, most of it is lifted. i'd hesitate to say i have little visual art talent - i've actually been told there is talent, to my honest surprise, underlying the little bit of work that i've done - but it's not something i like to spend a lot of time with. i just don't get the kind of creative burst out of it that visual artists need to get out of it to keep doing it. i think it's no secret that paintings can fetch absurd prices, too - my insistence on focusing on the art form may act as a mental block in diving into it. that is to say that i'm not driven by the kind of profit motive that tries to pass off a picture of a soup can as a work of art.
to me, music is a purely abstract creative form, whereas i tend to interpret the visual side of something as trying to capture an idea or an expression. that is, i see the visual as something much more concrete. further, i'd never doubt it's power in doing that. visual images can be quite striking in that context. so, if i had unlimited resources, i'd generally rather make use of a good photographer than an actual visual artist. when i do fall back to actual paintings, it's usually going to be with the same kind of mindset. it's maybe a bit backwards to look for something concrete in the surreal or in impressionism, but it's how i'm going to approach it for album cover art.
so, i went with the dali for this because it's a concrete representation of the abstraction of the track; however absurd or surreal the painting may be, it's the concrete connection between a picture of a clock melting and the sound of time caving in that is the point, here.
there are a few things i tossed together in paint, often constructed from existing images - like a sample art project. they're pretty obviously discernible. and the dali there is one of a few paintings that i feel have that concrete connection. generally, though, i'm going to focus on trying to find a photographic representation of the album's content - something i feel encapsulates the sound on the disc.
none of it's credited. i'm not selling a lot of records, so it's not a problem for me right now. i come out of a plunderphonics background, and don't see a lot of problem with borrowing the images, so long as i'm not exploiting the creators. and, the truth is that i'm currently not.
i've long committed myself to tracking down the original artists if a time comes where there's serious pressings and serious sales. this will happen, if or when that happens.
for now, i'm just lifting, and i'm thinking of it in terms of sample art.
maybe, but it works. i'll make sure this is good....
https://jasonparent.bandcamp.com/album/time
actually, maybe i should make a general comment about the cover art...
with few exceptions, most of it is lifted. i'd hesitate to say i have little visual art talent - i've actually been told there is talent, to my honest surprise, underlying the little bit of work that i've done - but it's not something i like to spend a lot of time with. i just don't get the kind of creative burst out of it that visual artists need to get out of it to keep doing it. i think it's no secret that paintings can fetch absurd prices, too - my insistence on focusing on the art form may act as a mental block in diving into it. that is to say that i'm not driven by the kind of profit motive that tries to pass off a picture of a soup can as a work of art.
to me, music is a purely abstract creative form, whereas i tend to interpret the visual side of something as trying to capture an idea or an expression. that is, i see the visual as something much more concrete. further, i'd never doubt it's power in doing that. visual images can be quite striking in that context. so, if i had unlimited resources, i'd generally rather make use of a good photographer than an actual visual artist. when i do fall back to actual paintings, it's usually going to be with the same kind of mindset. it's maybe a bit backwards to look for something concrete in the surreal or in impressionism, but it's how i'm going to approach it for album cover art.
so, i went with the dali for this because it's a concrete representation of the abstraction of the track; however absurd or surreal the painting may be, it's the concrete connection between a picture of a clock melting and the sound of time caving in that is the point, here.
there are a few things i tossed together in paint, often constructed from existing images - like a sample art project. they're pretty obviously discernible. and the dali there is one of a few paintings that i feel have that concrete connection. generally, though, i'm going to focus on trying to find a photographic representation of the album's content - something i feel encapsulates the sound on the disc.
none of it's credited. i'm not selling a lot of records, so it's not a problem for me right now. i come out of a plunderphonics background, and don't see a lot of problem with borrowing the images, so long as i'm not exploiting the creators. and, the truth is that i'm currently not.
i've long committed myself to tracking down the original artists if a time comes where there's serious pressings and serious sales. this will happen, if or when that happens.
for now, i'm just lifting, and i'm thinking of it in terms of sample art.
obligatory influential on the track of the day post...
the drum machine? well, yeah. i'd never really used one before, and it became a pretty important creative tool.
(relevant tracks: confused)
http://www.youtube.com/watch?v=NZzh0heyPtI
i was dumb enough to sell it. i use an electronic kit now, and i do prefer the flexibility of a pair of sticks. but if i ever happen to stumble on one again....
the drum machine? well, yeah. i'd never really used one before, and it became a pretty important creative tool.
(relevant tracks: confused)
http://www.youtube.com/watch?v=NZzh0heyPtI
i was dumb enough to sell it. i use an electronic kit now, and i do prefer the flexibility of a pair of sticks. but if i ever happen to stumble on one again....
ah, this record...
this is an "obligatory influential on" post.
i couldn't get this version up here in canada, so i instead bought both sides of the digipack. i had 'em dubbed onto a tape for walkman use, and hours of total headfuck on the bus.
the song is kind of....not reznor's best work. it's taken on this weird fake underground ebm club cultural context. it's clear, on the disc, that it's a depraved statement from somebody that's losing it. but, i guess nobody asked the dj at the strip club for any type of analysis, and there consequently never really was much.
the density of the track gave the remixers so much room to play with, and (as he was doing regularly at the time) he really got the a list out on it...
i can't overstate the influence of this disc. fixed, also. even today, all these years later, it's still the alpha document that informs the way i structure sound.
(relevant tracks: everything)
this is an "obligatory influential on" post.
i couldn't get this version up here in canada, so i instead bought both sides of the digipack. i had 'em dubbed onto a tape for walkman use, and hours of total headfuck on the bus.
the song is kind of....not reznor's best work. it's taken on this weird fake underground ebm club cultural context. it's clear, on the disc, that it's a depraved statement from somebody that's losing it. but, i guess nobody asked the dj at the strip club for any type of analysis, and there consequently never really was much.
the density of the track gave the remixers so much room to play with, and (as he was doing regularly at the time) he really got the a list out on it...
i can't overstate the influence of this disc. fixed, also. even today, all these years later, it's still the alpha document that informs the way i structure sound.
(relevant tracks: everything)
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