Rayman Pirate-Community

Gabriella Cilmi - Save the lies

Thomas Bergersen - Rada

Arvil Lavigne > Bitchin' summer

I've never really been much of an Avril fan, but I've got quite into her latest album. Too bad there's a no touching rule! (meet 'nd greet joke)

Gorillaz - Superfast Jellyfish (Reverse)

THEdragon wrote:Gorillaz - Superfast Jellyfish (Reverse)

?tsafkaerb rof emit ni tsuJ

Dark Lum Lord wrote:Radiohead - Exit Music (to a Film)

Very nice, one of the best songs off one of their best albums.

https://www.youtube.com/watch?v=C6xVKcvze74

Adsolution wrote:Very nice, one of the best songs off one of their best albums.

Agreed. Wondering, what do you think of Kid A? I haven't heard all of it yet, and it's - mostly - not my cup of tea though the feel and atmosphere is an aspect that is, but their musical flexibility has to be appreciated considering how much they'd changed from Pablo Honey to Kid A. Don't even sound like the same band.

Actually, I've still plenty more to hear from them in general. I've listened through all of OK Computer many times and love it to death though I still consider myself a newcomer to Radiohead, since other than that I've only head some of Pablo Honey, Kid A, and In Rainbows.

Dark Lum Lord wrote:Agreed. Wondering, what do you think of Kid A?

I didn't like it much at first - interestingly enough, Amnesiac (Kid A's sibling album released a year later) is even weirder (it's probably Radiohead's wierdest album), was the first album of theirs I got into. So if Kid A was more accessible, why didn't it resonate with me at first? I'd say the answer lies in that there's something almost uncanny-valley-like about it, but purposefully so. Whereas Amnesiac was meant to be complete gibberish in meaning, Kid A is still likely one of their most thematically coherent albums. The electronic infusion is so unique, it took me a while to get used to, but now it's like obsession to my ears.

Off the album, I'd suggest taking a listen to Optimistic for a great 'rock' song, and Treefingers, a dazzlingly beautiful four-minute ambient track.

Dark Lum Lord wrote:Actually, I've still plenty more to hear from them in general. I've listened through all of OK Computer many times and love it to death though I still consider myself a newcomer to Radiohead, since other than that I've only head some of Pablo Honey, Kid A, and In Rainbows.

Well, you picked a good place to start. If you get the chance, I'd suggest listening to the entirety of the ten-song In Rainbows straight through from beginning to end, it's one of those albums that in itself is like one large composition. It's just perfect, and the best way to appreciate it is all at once. Artistically, I think In Rainbows is potentially the band's highest point so far, which is great, considering it came out as recently as 2007 and Pablo Honey was '93.

I'm surprisingly impressed by the melody in this vocaloid song:

Today's another one of those days wherein I'd like to do something (Go somewhere, see someone, write something, or at least pick up the phone) but instead I'm bed-locked with music playing and my laptop in front of me, rendering everything else pointless. Shite though, I still have to get up for drinks and shits and giggles. Speaking of music, need at least enough albums to fill up that shelf. That fucking shelf.

And suddenly I realized that I forgot to catch Adventure Time earlier. But enough about my period.



^ I always felt like that could've made a perfect alternate soundtrack to Rayman 2. Don't ask, I occasionally listen to music while playing games, and I always have specific albums in connection with specific games because of this, even if it's beyond ironic (I.e. I have Rayman 3 associated with Wish You Were Here, Crash Bandicoot [Original] with Facelift, Crash Twinsanity with the laughably unfitting ...And Justice For All; speaking of, I feel like Pretty Hate Machine - or anything else by NIN - would fit Abe's Oddysee/Exoddus the most out of all my games, since those two already have industrial noises/ambient as soundtracks).

Adsolution wrote:I didn't like it much at first - interestingly enough, Amnesiac (Kid A's sibling album released a year later) is even weirder (it's probably Radiohead's wierdest album), was the first album of theirs I got into. So if Kid A was more accessible, why didn't it resonate with me at first? I'd say the answer lies in that there's something almost uncanny-valley-like about it, but purposefully so. Whereas Amnesiac was meant to be complete gibberish in meaning, Kid A is still likely one of their most thematically coherent albums. The electronic infusion is so unique, it took me a while to get used to, but now it's like obsession to my ears.

Off the album, I'd suggest taking a listen to Optimistic for a great 'rock' song, and Treefingers, a dazzlingly beautiful four-minute ambient track.

I'll have to look into those suggestions (And I will, considering the fact that I've nothing to do and Radiohead = alt senpai).

Adsolution wrote:Well, you picked a good place to start. If you get the chance, I'd suggest listening to the entirety of the ten-song In Rainbows straight through from beginning to end, it's one of those albums that in itself is like one large composition. It's just perfect, and the best way to appreciate it is all at once. Artistically, I think In Rainbows is potentially the band's highest point so far, which is great, considering it came out as recently as 2007 and Pablo Honey was '93.

Also interesting is In Rainbow's connection to OK Computer. But yes, I will follow up on listening to all of it eventually.

Daft Punk - Make Love (HLM Remix)

In Utero >>> Bleach >>>>>>>>>>>>>>>>>>>>>>>>>>>>> Nevermind

I like a lot of power pop/punk stuff like this, I just often wish the production was more interesting. It's really static and flat for the most part, which only feels passable in something like a car stereo - it begins somewhere, then stays there. It just makes me admire Rich Costey even more (he produced a lot of alternative/experimental rock like Muse, Nine Inch Nails, Arctic Monkeys, Fiona Apple, and so on). My reference for what this kind of mix could have sounded like is the choruses to Muse's Time is Running Out or City of Delusion, those are some hard-hitting, punchy and beefy guitar productions by him.

Adsolution wrote:

I like a lot of power pop/punk stuff like this, I just often wish the production was more interesting. It's really static and flat for the most part, which only feels passable in something like a car stereo - it begins somewhere, then stays there. It just makes me admire Rich Costey even more (he produced a lot of alternative/experimental rock like Muse, Nine Inch Nails, Arctic Monkeys, Fiona Apple, and so on). My reference for what this kind of mix could have sounded like is the choruses to Muse's Time is Running Out or City of Delusion, those are some hard-hitting, punchy and beefy guitar productions by him.

Meh, I could never get into pop-punk because it's too boring and clean-cut. And I'm also not a fan of the production - it seems too perfect and radio-friendly for me, the guitars just don't have enough distortion and/or personality, or enough layers either (I say the last part as a huge fan of the layered music of bands like Smashing Pumpkins and Nine Inch Nails). Still not quite as cringe-inducing as, say, the ironically radio-friendly production of post-grunge (Yuck), for me, though. Then again, pop-punk's production too is atrocious considering the raw sound that most true punk bands have, and the whole concept of pop-punk in general is a laughable oxymoron. Though post-punk and goth rock, both stemming from pop-punk, generally have more clean productions than punk or hardcore punk, it's completely passable considering the fact that they provide interesting, artsy and angsty twists on punk with guitars used as nice textures, great basslines, and often haunting keyboards, mixed in with brooding vocals and lyrics that have a large range though are pretty much universally angst-ridden.

Dark Lum Lord wrote:Meh, I could never get into pop-punk because it's too boring and clean-cut. And I'm also not a fan of the production - it seems too perfect and radio-friendly for me, the guitars just don't have enough distortion and/or personality, or enough layers either (I say the last part as a huge fan of the layered music of bands like Smashing Pumpkins and Nine Inch Nails). Still not quite as cringe-inducing as, say, the ironically radio-friendly production of post-grunge (Yuck), for me, though. Then again, pop-punk's production too is atrocious considering the raw sound that most true punk bands have, and the whole concept of pop-punk in general is a laughable oxymoron. Though post-punk and goth rock, both stemming from pop-punk, generally have more clean productions than punk or hardcore punk, it's completely passable considering the fact that they provide interesting, artsy and angsty twists on punk with guitars used as nice textures, great basslines, and often haunting keyboards, mixed in with brooding vocals and lyrics that have a large range though are pretty much universally angst-ridden.

I completely agree. I should rephrase what I said to 'I like some', since I don't really listen to it very much. What I do hear is that some bands like Sleeping With Sirens have some legitimately good compositions, like this song for instance, it's actually somewhat bone-chilling when I play it over in my head later, the production is just so damn disappointing. I feel if they took those compositions and layered a more edgy, angry tone and production on them, it would be really great.