PC Music thread

doesn't get much more "Nathan Barley" than this really...

[youtubehd]vNFnKFqew_M[/youtubehd]

  On 8/5/2014 at 10:21 PM, chassis said:

Some of its very catchy, some of it is awful

I'm not really particularly feeling this remix, the vocals weren't manipulated enough for my taste.

The production by AJ Cook is top notch dancepop stuff for sure.. even though the sound of PC Music stuff as a whole is kinda gimmicky, it's smart and forward thinking and has an element of classiness/sexyness. When I first heard QT months back, I was sold. Pure future shit.

All these little splinter microgenres/scenes are fascinating... glo-fi, witchhouse, seapunk, vaporwave.. now futurefunk, pc music, future house/tropical house, etc etc.. same with all the fashion things emerging.. normcore, healthgoth... but not many of these styles have penetrated the mainstream.. some may get close, but then the next thing pops off.. i feel like it's exponentially getting quicker and quicker between trends and movements and more micro lol. How to keep track of it...

Also, because a lot of it could be seen as media and journalists' way of trying to categorize certain sounds and presenting as a current "thing", while in reality, there are already so many splinters of different types of creative music being made around the world at once, one could literally grab into a pool of new songs, and look for something in common like say "new age samples turned to gangsta rap beats", and there would be a good handful. present it on a silver hipster media platter a la Vice / The Fader, label it, find the "quintessential, flagship track/artist" and turn into a "thing". From there, it grows and becomes even more of a thing when other inspired musicians/artists/producers dig on it and try to follow or even one-up (sometimes resulting in even better material within the genre than the "originators"). This is one perspective, and I'm not sure the "reality" of it is as nihilistic/random as I've made new music movements out to sound, or if in fact, there is a real collective unconsciousness consciously turning the tides of trends and sounds in which new movements emerge based on what's happening in the world, with pop culture and underground culture... or.. if it's somewhere in between the two. either way anyone wants to judge it, i actually think either perspective is exciting.. the concept of either music critics and media orchestrating or being the catalyst to new niches and new movements (In a way, theyre producers in their own right), or the collective artist unconsciousness feeding off of one another and manifesting relevant new sounds.

Even on a mainstream level, all of the sudden deep house/slowed down funk is blowing up and has already replaced the dutch house/mainroom edm eurotechno craze (thank god- that was getting pretty stale after a while). wonder if trip hop will be "next" but the world will call it something else like "drug-wave", in which that will eventually die in a year with drum n bass coming back right after but with the new term "hyperpop" haha

https://www.youtube.com/watch?v=BeSNW0vZv1o

  On 1/23/2015 at 1:24 AM, chassis said:

https://www.youtube.com/watch?v=BeSNW0vZv1o

As much as i do dig this sound, its charm is very reliant on production, mixing and mastering, like a lot of dubstep is, not that thats a bad thing.

  On 1/23/2015 at 1:56 AM, Lane Visitor said:

As much as i do dig this sound, its charm is very reliant on production, mixing and mastering, like a lot of dubstep is, not that thats a bad thing.

 

In this day & age no electronic music should be without quality production, mixing, & mastering, regardless of genre.

nice SOPHIE chune , I hope that see's the light of day soonish.

  On 1/23/2015 at 3:26 AM, autopilot said:

 

  On 1/23/2015 at 1:56 AM, Lane Visitor said:

 

As much as i do dig this sound, its charm is very reliant on production, mixing and mastering, like a lot of dubstep is, not that thats a bad thing.

 

In this day & age no electronic music should be without quality production, mixing, & mastering, regardless of genre.

Oh for sure! Agreed completely.

Just wanted to clarify, i do like this style of music and pc music's material.. Just mentioning that i think most of what i like about it is the slick futuristic production.

  On 1/24/2015 at 12:32 AM, ieafs said:

 

  On 1/23/2015 at 1:56 AM, Lane Visitor said:

 

  On 1/23/2015 at 1:24 AM, chassis said:

https://www.youtube.com/watch?v=BeSNW0vZv1o

As much as i do dig this sound, its charm is very reliant on production, mixing and mastering, like a lot of dubstep is, not that thats a bad thing.

 

this is good fun

 

i think the sophie stuff works so well because of the interplay between the vocals and the music/production. plus there's more of an element of sickly sweetness (esp those slow night slugs portamento times) which helps it transcend any triteness.

 

agreed!

Been looking for the ID on this tune for ages. Been online for 6 months

AG cook remix on this free EP

https://karmellozaurelius.bandcamp.com/album/bud-air-remixes

  On 5/3/2015 at 4:49 PM, chassis said:

Been looking for the ID on this tune for ages. Been online for 6 months

 

ah wicked, finally, i also really want the song thats after this one on the sophie boiler room

  On 1/23/2015 at 3:26 AM, autopilot said:

 

  On 1/23/2015 at 1:56 AM, Lane Visitor said:

As much as i do dig this sound, its charm is very reliant on production, mixing and mastering, like a lot of dubstep is, not that thats a bad thing.

 

 

In this day & age no electronic music should be without quality production, mixing, & mastering, regardless of genre.

 

true in general, but what happens when engineering/mastering techniques have an incredible amount of 2010-2015 'character' to them that makes it very much a product of a certain time period? that seems to be a really fucking big problem that most people trying to jump into this zeitgeist don't seem to care about or pay attention to. A shit ton of 'high production' electronic music that came out in the last 10 years is going to sound dated as fuck 10 years out, whereas stuff that Aphex made on his soundcloud dump hot/overdriven straight to cassette tape still has a timeless quality to it (because he wasn't trying to imitate the production methods of the time). So basically what i'm saying is there is a big difference between say a mastering engineer in the business for a long time like Noel Summerville, the stuff he masters can fit virtually in any time period, its amazing work. Other mastering engineers seem fixated on the loudness wars and who can get that special 2015 era compressed mix sound, and i think thats really really dumb.

its also amusing to me a lot of electronic music right now hits at such low frequencies, for example since things are so club centric now a lot of dance music you hear has 40-50hz bass tones happening all over it. And while its nice to think (like the dub warriors did in the 70s) that people will eventually have subwoofers big enough to playback this stuff properly, it again seems like a product of a specic point in time where people aren't thinking ahead. I like my bass to be audible and clean in my car, in my home studio system not just in a fucking club. Stuff that has this sort of massive club friendly bass in it in the way that im talking about is already started to sound dated to me.

Well yeah, soundsystem & club music is written for those environments. It's not meant for laptop speakers or cars.

Personally I think those Aphex Soundcloud songs all sounded quite dated. They had shitty 90s mixdowns and were completely eclipsed in quality by the last 15 years of electronic music. Nothing timeless about them.

  On 5/9/2015 at 1:09 AM, autopilot said:

 

Personally I think those Aphex Soundcloud songs all sounded quite dated. They had shitty 90s mixdowns and were completely eclipsed in quality by the last 15 years of electronic music. Nothing timeless about them.

to each his own then, i couldn't disagree more strongly. 'completely eclipsed' is a laughable overstatement

  On 5/8/2015 at 10:23 PM, John Ehrlichman said:

 

its also amusing to me a lot of electronic music right now hits at such low frequencies, for example since things are so club centric now a lot of dance music you hear has 40-50hz bass tones happening all over it. And while its nice to think (like the dub warriors did in the 70s) that people will eventually have subwoofers big enough to playback this stuff properly, it again seems like a product of a specic point in time where people aren't thinking ahead. I like my bass to be audible and clean in my car, in my home studio system not just in a fucking club. Stuff that has this sort of massive club friendly bass in it in the way that im talking about is already started to sound dated to me.

I know man about that bass! I'm big on the post-dubstep 130bpm stuff but you cannot listen to it on anything other than speakers with sub. like i tried to show this track to my friend in his car and @0:50 the tune is pretty much based on the sub bass. but in his car it just sounded like a dubby drum track with nothing happening. lol

Yeah 130 is killing it right now...

https://www.youtube.com/watch?v=oxo26RC_BRs

What kind of self-respecting electronic music fan doesn't have proper bass representation in their setup these days anyway? Everything from Quartistice to old Prodigy & Meat Beat sounds about 100x better with a sub or some nice monitors.

  On 5/8/2015 at 10:23 PM, John Ehrlichman said:

 

  On 1/23/2015 at 3:26 AM, autopilot said:

 

  On 1/23/2015 at 1:56 AM, Lane Visitor said:

As much as i do dig this sound, its charm is very reliant on production, mixing and mastering, like a lot of dubstep is, not that thats a bad thing.

 

 

In this day & age no electronic music should be without quality production, mixing, & mastering, regardless of genre.

 

true in general, but what happens when engineering/mastering techniques have an incredible amount of 2010-2015 'character' to them that makes it very much a product of a certain time period? that seems to be a really fucking big problem that most people trying to jump into this zeitgeist don't seem to care about or pay attention to. A shit ton of 'high production' electronic music that came out in the last 10 years is going to sound dated as fuck 10 years out, whereas stuff that Aphex made on his soundcloud dump hot/overdriven straight to cassette tape still has a timeless quality to it (because he wasn't trying to imitate the production methods of the time). So basically what i'm saying is there is a big difference between say a mastering engineer in the business for a long time like Noel Summerville, the stuff he masters can fit virtually in any time period, its amazing work. Other mastering engineers seem fixated on the loudness wars and who can get that special 2015 era compressed mix sound, and i think thats really really dumb.

 

its also amusing to me a lot of electronic music right now hits at such low frequencies, for example since things are so club centric now a lot of dance music you hear has 40-50hz bass tones happening all over it. And while its nice to think (like the dub warriors did in the 70s) that people will eventually have subwoofers big enough to playback this stuff properly, it again seems like a product of a specic point in time where people aren't thinking ahead. I like my bass to be audible and clean in my car, in my home studio system not just in a fucking club. Stuff that has this sort of massive club friendly bass in it in the way that im talking about is already started to sound dated to me.

 

I'm not sure "thinking ahead" is such a big worry, depends on your prerogative. What's wrong with producing for what's in front of you.

Some of the best tunes around were, and sound like they were, made in the 60s, 70s, 80s and 90s. Having a time stamp on your sound is not a bad thing. "Timeless" is a matter of opinion.

A PC Music compilation came up on RA reviews to much drama. Listened through it but can't say I still really "get it". Though I'm kind of adverse to micro-genres in general but not really sure why, I guess I feel like they exist for the sake of existing (Kind of like how I find reading about vaporwave is much more interesting than the music itself), and PC Music kind of amplifies that to me, but I think there's more to it than that.

Nah there isn't more to it than that, you hit the nail on the head. This & vaporwave are a bunch of people who've found they can coast on an uninteresting sonic trend (popularized by blogs & messageboards like this) to minor celebrity, despite not actually having the skill to make music interesting enough to not be confined to such a narrowly defined micro-genre.