2019 - ELECTRO

Discos, conciertos, noticias, flames, lloros y mucho HYPE.

Re: 2019 - ELECTRO

Notapor remem0rama » 15 Feb 2019 21:10

Lo próximo de Perturbator parece que tiene regustillo post-punk

psichoboy dixit: "Christina Hendricks está tan buena que cada una de sus tetas vale más que vuestras miserables vidas"
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remem0rama
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Re: 2019 - ELECTRO

Notapor Jolocho » 15 Feb 2019 21:43

AsbestosDeath escribió:
Sprnknwn escribió:Hay que joderse, a quién coño le importan Evanescence.

Esto me ha resultado doblemente sorprendente por el hecho de que (1) Evanescence sigan sacando discos (2) haya alguien que los escuche. (OO) (OO)


JAJAJAJAJAJA.
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Jolocho
 
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Re: 2019 - ELECTRO

Notapor tharandur » 18 Feb 2019 14:20

Gente, el de Ladytron es una pasada, menudo comeback más guapo :D
LlaneroSolitario escribió:Se os ha ido la mano a todos con el trap y el post-humor.
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tharandur
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Re: 2019 - ELECTRO

Notapor Jolocho » 20 Feb 2019 12:09

tharandur escribió:Gente, el de Ladytron es una pasada, menudo comeback más guapo :D

Como diría Julito Iglesias, "habrá que darle".


Dudaba si ponerlo en MÚSICA BONITA, porque me dan ganas de llorar de lo precioso que es. Escuchen, lean, sientan. A mí me parece una especie de reinterpretación arty de Macintosh Plus, con el foco muy puesto en los feels y en el abrazamiento extremo de almohada. Yo es que le doy al play y siento la misma revolution (revolución) que Anton Ego al final de Ratatouille. Catárquico at its best. Ojito a los tags.




Spoiler: mostrar
Over his first three albums, Homeshake’s Peter Sagar followed his own idiosyncratic vision, a journey that’s taken him from sturdy guitar-based indie-pop to a bleary-eyed take on lo-fi R&B. Now, with Helium, Sagar is putting down roots in aesthetic territory all his own.

It comes through not only in the gauziness of the production, but also in the vulnerability of the songs themselves. Everyone Sagar encounters here — including himself — seems to be a step removed from present reality, whether by technology (“Anything At All”), solitude (“Just Like My”), or sweet fantasy (“Like Mariah”). The record is stitched together by a series of instrumental interludes, synthesizer explorations whose haziness adds to the suspicion that this is all an uncanny dream.

Where his previous three records were recorded directly to one-inch tape in a local studio, Helium was recorded and mixed by Sagar alone in his apartment in Montreal in early 2018. Freed of the rigid editing process he’d endured before, he was able to lose himself in pursuit of tone and texture. A budding interest in ambient and experimental music pushed him to tinker with the micro-sounds that surround the songs here. It’s a far cry from the chorus-laden guitars of his earlier work. “Ever since I started introducing synthesizers into my music, I’ve gotten more interested in texture,” he says. “I’d hit a creative dead end [with guitars], so synths took over.” The warm chords of a Roland Juno 60 form the album’s base, and gave him a clean palette with which to work. “No tape hiss, no humming power outlets and shitty mixing boards,” as he puts it. “Everything just came out nice and pure.”
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