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      CommentAuthorGumbi
    • CommentTimeJan 30th 2014
     permalink

    Du nouveau sur Words on Tracks ! C'est Kodomo aux commandes du dernier mix....

    https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-ak-prn2/t1/1601177_263465410487760_1627462813_n.jpg

    Playlist et mots doux :

    00'00'' 1. Skinny Puppy - Film

    - I grew up listening to Skinny Puppy, and somehow this track has always stuck with me. I love the rawness of the piece, suggesting a futuristic distopia; The pulsating synths, chord progression, and especially the voice samples running through crude effects

    02'14'' 2. Underworld - Juanita/Kiteless/To Dream Of Love

    - Probably my all time favorite Underworld track. Also possibly the longest….I love the long form development of this track. Time seems to stop; each part that comes in feels right and continues to peek my attention. The piece develops and takes me on a trip; I'm totally engulfed in it. The vocoder vocals narrate the piece perfectly. When the piano like arpeggio comes in I get goose bumps. This is a stunning piece of music. Listen to how this piece progresses through its various stages. A great example of long form development.

    18'18'' 3. Boards Of Canada - '84 Pontiac Dream

    - One of my face BOC pieces. Simple but beautiful melody against an interesting a nostalgic chord progression and gritty back beat. Great variations in the drums, and notice the interesting fx in the pauses. Also a good example of fx playing a compositional role in a piece; the reoccurring arpeggio for example. When you reach the end at 3:04; there is a real sense of having "landed"

    21'42'' 4. NIN - Kinda I Want To

    - Another song I grew up with and listened to non-stop when I was about 15. I love the deep synth pulsing part that enters at 0:55. The verse to chorus sections contrast one another in an interesting way and I absolutely love the the bridge at 2:14. This comes in as a nice surprise and the the distortion guitar with the synth and drums just sounds awesome. It makes me almost want to be 15 again.

    26'14'' 5. The Knife - A Tooth for an Eye

    - A song I've been listening to a lot lately. Really interesting poly rhythms using unique instrumentation and a great example of fantastic minimalist writing. Each part that comes in is well articulated and meaningful within the context of the whole. The transition sections that link the vocal sections build up nicely and break up the contiguous repetition of the piece. Also a good example of a less traditional song form. There is no real "chorus" or "verse".

    31'58'' 6. The Breeders - Cannonball

    - This song immediately grabs my attention with the strange fuzzy intro. The baseline that comes in after is a nice surprise and is extremely hooky. The Chorus at 1:25 has a nice juxtaposition of punk rawness and beautifully melodic with the vocals. The little details are so important; the background yelling and the guitar break rhythms really make this song standout.

    35'32'' 7. Air - Run

    - I think this song is beautiful and is an amazing example of extremely creative pop song writing. The Chorus in this song is heavenly; the last chord is especially nice. It also serves as a wonderful contrast to the Verse. The vocals are pitched up in way that feels uncomfortable in a good way. Also a good example of what you can do with vocals by just messing around with repeating slices in audio.

    39'22'' 8. A Tribe Called Quest - Electric Relaxation

    - What can I say… the beat is just so damn good. And the baseline. And the MC. Great arrangement. The rhodes like pad mutes in all the right places. A good example of sparse "wet" sounds against up front ones.

    42'41'' 9. Moderate - Seamonkey

    - Another fantastic beat. I'm pulled in by the anxiety of the tones in the intro. The beat kicks in around 0:48 and comes in on an unexpected down beat. The piece has an ominous quality to it as though a storm is coming or something. It continues to build in a very satisfying way, that leaves me wanting more at 3:40. When it kicks back in at 4:56 it feels epic. I think this is a good example of a form that is based on a single motive the repeats continuously and builds over the course of the piece.

    48'50'' 10. Orbital - Last Thing

    - A cool chord progression that is very catchy alongside a great beat and vocal hook; this is one of my favorite Oribital tracks. Nice example of variations on the theme in the last half from 3:42 to the end.

    54'01'' 11. Isolée - Beau Mot Plage

    - One of the few tracks I'm hooked on pretty much from two seconds in by that synth base. Great sounds, sparsely arranged, and a good example of creative use of drum sounds; note the noisy "glitchy" hi-hats. All the intricate variations in melody and the filter cut off going from low to high keep it fresh and interesting. The B section around 3:10 is cool but feels a little long. The combination of the glitch drums, backwards guitar and bouncy synth bass all work well together in a unique way.

    1'00'23'' 12. Biosphere - Poa Alpina

    - This is a haunting piece that to me is so strongly suggestive of an arctic landscape. I love the evolution of this piece with the alternating guitar notes continuously playing while the low drones and strings weave in and out. Another good example of a repetitive "minimalist" form that doesn't get boring.

    1'04'00'' 13. J.S. Bach - VI. Gigue from English Suite in A minor

    - I thought I would include on classical piece here. This is one of my favorite pieces by Bach; The myriad of patterns created by the chromatic motive seem endless and are continuously fascinating to me. He is really building this whole piece using just a short triplet rhythmic figure.

    Bonne écoute!

    http://www.youtube.com/watch?v=QwYGa9nloNo

    http://incongru.org/~gumbi/WordsOnTracks/WordsOnTracks_46/kodomo%20mix.mp3