Title Comment Comment Date Comment Link
Post-2000 Music I Can Get Behind

Firstly, before I recommend anything I think I should say that having a soundsystem which can fully articulate bass sounds is very important because some of the recommendations are very bass-driven. So, here are a few to check out

James Blake - James Blake (album, and an incredible one at that. Poorly understood by many who claim to like it. To qualify that comment, I mean they don't appreciate a lot of the subtler things he's doing.)
Addison Groove - Footcrab (song)
James Blake - CMYK (song)
Digital Mystikz - Neverland (song)
Aphex Twin - Windowicker (song)
Burial - Kindred EP
Joy Orbison and Boddika - Froth (song)
Burial - Untrue (album)
Burial - Burial (album)
S-X vs Ramadanman - Woo Glut (song)
Joy Orbison - Hyph Mngo (song)
Akufen - My Way (album)

To be honest, you should try and get these all at 320 if you can, but if you just want a taster to see if it's worth delving deeper then most of the songs are on youtube. Again I'll mention how focusing on things like rhythm, impulse and atmosphere will stimulate the intended response. Some of this music has little to no melody. That said, if these leave you cold then I guess it's just a taste thing and fair play for at least considering their merit.

NB. For what it's worth, a couple of recent 'rock' songs that I think are fucking fantastic

The Mars Volta - The Malkin Jewel
Battles - Futura

5/5/2012 View
101 introductory tracks to dubstep under its various guises


5/4/2012 View
Post-2000 Music I Can Get Behind

Yes, sorry to say but you're missing something. In the same way the ultra snobbish classic critics were missing something with jazz in the early 20th century, the way the jazz critics were missing it with the Stones in the 60s, and the same way the 'Classic Rock' critics were missing it with Talking Heads and Joy Division in the late 70s.

Music undergoes paradigm shifts, and staunch defenders of the 'classic' style do not take well to change.

Innovation of rock music (the broad term I'm using to include all the choices above) is still happening in the album format, but it is certainly not the driving formal force. EDM music is where much of the true innovation is coming from (not David Guetta, think more Swamp81); EDM favours 12"s and singles, not albums. This shift is much like the movement from classical structures (symphonies et cetera) to 3 minute pop-song format.

If you feel this music is still lacking, then your aesthetic criteria are simply not matched to it. Classical critics talk centrally about melody, harmony and structure (with timbre being an almost absent concept - the instruments haven't changed in a very long time (generally speaking)), whereas within popular 'rock' the focus is more on memorable tunes and unique sound. (Good) EDM is focused much more rhythm, timbre, gradual shifts and atmosphere, almost with melody being an incidental by-product. It has a lot in common with Minimalism. If you're not a fan of Steve Reich, I doubt you'll like Ricardo Villalobos.

5/4/2012 View
Albums of 2011

Great shout on Andy Stott, but this list is incomplete without Connan Mockasin - Forever Dolphin Love.

7/6/2011 View
2009-2012 Listening Log

Hell yes. Shame about the album.

6/4/2011 View
2009-2012 Listening Log

Did you like Purling Hiss?

5/24/2011 View
What I have done with my life: 2005-2010 (previously titled life-changing experiences of the last 2 years, but it outgrew that)


11/25/2010 View
What I have done with my life: 2005-2010 (previously titled life-changing experiences of the last 2 years, but it outgrew that)

Lol, douche.

11/25/2010 View
Underrated 90s albums

Slint - Spiderland

10/14/2010 View
Who Is The Grearest Rock N Roll Front Man?

Just to clarify, I was kidding! But nice reply.

8/15/2010 View
Who Is The Grearest Rock N Roll Front Man?


8/14/2010 View
Who Is The Grearest Rock N Roll Front Man?


8/13/2010 View
Movie Log, 2010-2015

I totally see your point. For instance, even if Mal is a real character who he has lost, it may be that she has divorced him and this caused him to go on a downward spiral of living in the dreamworld. It's interesting that Cobb and his team are shown the room full of people who spend more time in a day dreaming than awake, and it is certainly possible this was done to hint at the kind of life Cobb is actualyl leading.

It's a contender for his best script, but I do love Memento and The Prestige a lot too. It's easily one of my favourite blockbusters. Out of interest, seeing as you love Punch Drunk Love, do you like There Will Be Blood too? I just rewatched and it blew me out of the water, a truly astounding piece of cinema.

8/11/2010 View
Movie Log, 2010-2015

Well this is all only speculation but I'm fairly sure most (if not all) of the film is a dream; Cobb's life plays out as the dreams in the film do.

Mal (who is at this point just a part of his subconscious and is therefore himself) points out the strange and fantastical nature of being chased across the globe by 'faceless corporations' (much in the same way projections of a subject attack those in their mind). The world he inhabits centres around him (just like a dream); just look at when he in Mombassa and Watanabe's character is conveniently placed in a car as an escape route just as he has taken out some baddies. Cobb is even told by Michael Caine's character to explicitly 'come back to reality', which when we first watch the film we assume is a reference to the fact he is still an extractor, or we just dismiss it, but actually when considered within the fractured presentation of the 'real world' in the film suggests strongly that Cobb has lost his grip on reality and is permanently in a dream state.

Plus, two other characters are shown to lose their grip of reality in limbo (Mal and later Saito as an old man), so why shouldn't Cobb, who has already shown himself to be incredibly mentally unstable at this point in his life? The fact that losing yourself in the dream is dwelt on so much heavily indicates that we should at least suspect Leo of having done this.

As for the ending, it's just without a doubt a dream IMO, Nolan couldn't have made it more obvious without explicitly stating as such. For one, the kids haven't aged noticeably at all, they're wearing the same clothes, they're in the same position they were as when he last remembers them (though we now see their faces this doesn't actually mean it's real). Secondly, the move from the completion of the inception to being back in the plane/getting home is done in such a rapid pace that it almost rushes to the happy ending that Cobb feels he has earnt in completing his mission. We as the audience are yearning for this ending and so we do not instantly question it, but think about the fact that from killing himself in limbo with Saito to reuniting with his kids only a couple of minutes elapses. It just feels rushed and I do not think it is just Nolan trying to bring the film to an end, he is drawing our attention to question the 'reality' of the film itself. Furthermore, this whole thing about the totem starting to topple is irrelevant; the totem only tests whether or not you're in someone else's dream, the top can still fall in your own dream even though it doesn't spin forever in theirs. Therefore, even if the top falls, Leo can still be batshit insane in his own limbo.

Sorry if that's not entirely clear, it's been a few weeks since I last saw it so it's not quite as clear in my mind, but that's a few points as to why I don't think it's real.

8/11/2010 View
Music Log '10

Really? That's interesting, I thought it was one of their best releases, but each to their own I guess. Yeah Panda Bear's single sounds incredible I can't wait for the album.

8/11/2010 View