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Post by Deleted on Jun 25, 2015 20:36:54 GMT
here is the instrumentl without diplo
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Post by friopi on Jun 26, 2015 21:39:27 GMT
The instrumental has a weirdly different feeling for me compared to the official version... Kind of foreboding almost in some parts?
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Post by Deleted on Jun 28, 2015 13:44:52 GMT
did you fuckers even look? our boy's right here at 2:07 next to diplo. yeah after alexander wang does a spin and before beyonce vogues for some reason are u sure
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Post by ¬ on Jun 28, 2015 15:30:25 GMT
that's clearly finn diesel, come on guys
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Post by friopi on Jun 28, 2015 16:33:51 GMT
Doesn't look like either of them to me.
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Post by oc on Jun 28, 2015 18:39:57 GMT
It's like a game of Where's Wally.
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Post by dr on Jun 30, 2015 4:10:15 GMT
Diplo 1:17 I believe. I believe Madonna steals his girls lol. go madge!
suspect SOPHIE is a red herring here
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Post by youknownow on Jul 2, 2015 18:16:53 GMT
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Post by guesting on Jul 5, 2015 15:25:25 GMT
I know it's a bit of a cliche by this point to say that the Diplo-y bits are rubbish, but JEEEZ, that instrumental really brings out how limp they are. You have all that musicality and euphoria in the main song, then you make the drop this lazy, lowest common denominator thing with the same drum patterns and the same 'aggro' bass you've heard in a million other songs lol & the fact that the people in the comments are saying shit like "omg this drop is so sick dude" god damn.. this is actually probs really bad for SOPHIE now that I think about it..i feel like some big stars wouldnt want to go anywhere near him just based off the reception this got
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Post by ignatz on Jul 5, 2015 19:03:32 GMT
I doubt it's that big a deal - his connection wasnt really publicized that much. Plus his career isn't built on producing for stars or anything. Even if the big label A&R guys decided for some reason they didn't trust him, he'd still have a shot at a huge career given how amazing his original work is.
What I'm more worried about is seeing Sophie, A. G. Cook etc get ripped off without credit, like what happened with seapunk and how it was basically stolen wholesale by Azealia Banks. It's a little different in this case of course, but at the moment Sophie & PCM etc are unknown enough that if some new pop artist came out with an offbeat track full of squelchy sparkly sounds, most people wouldn't catch or care that it was a cheap imitation.
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Post by conor on Jul 7, 2015 22:24:38 GMT
Sophie will be fine. Having a production credit on a Madonna single is important enough in itself, and I'd imagine more people will wanna work with him off the back of the Liz song. I'd imagine by this point he's got a fairly decent publishing deal to write/produce more songs with major label artists. In the eyes of the music industry, he's a credible musician whose involvement in a song can give a pop musician some 'buzz', while also producing catchy songs that people actually like and which make money in the mainstream. I just hope that working with pop musicians he has the freedom to do more weird stuff in addition to more traditional housey stuff like nothing more to say.
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Post by sullivantoph on Sept 8, 2015 16:49:00 GMT
Okay, very odd question. So do we know that the part (chorus for lack of a better term in my head) that everyone seems to not like is actually Diplo? The reason that I ask I was listening to SOPHIE's set from Fortune Sound last year, the last track in the set (shock, its unreleased) has one sound in it that sounds pretty similar. In the full set, it comes in at 1:00:58. It's not the same sound I don't think, but it's reminiscent enough where I couldn't not think of it. Just curious about thoughts from anyone else.
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Post by Dvnots on Sept 8, 2015 19:48:09 GMT
Okay, very odd question. So do we know that the part (chorus for lack of a better term in my head) that everyone seems to not like is actually Diplo? The reason that I ask I was listening to SOPHIE's set from Fortune Sound last year, the last track in the set (shock, its unreleased) has one sound in it that sounds pretty similar. In the full set, it comes in at 1:00:58. It's not the same sound I don't think, but it's reminiscent enough where I couldn't not think of it. Just curious about thoughts from anyone else. I love that track, I wish he played it more often. The synth is kinda similar but it's very strange and thick. In Diplo's chorus, it's very thin and reminiscent of Diplo's other synths. It's not even terrible, it just doesn't fit with the rest of the song. However the thick trappy outro, the one that's very atonal, is very SOPHIE.
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Post by friopi on Sept 9, 2015 15:47:40 GMT
I mean, I'm sure they both had some input into the whole song, but to me that part sounds very typically diplo. Just off the top of my head, compare this at about 3:00 youtu.be/BrOemqgtpsgThis youtu.be/IpVMz3XFk0AAOr this youtu.be/jLfmrNw8ygoOr just the diplo version of Hey QT. It's not so much a particular synth as it is sort of a song structure, like the whole concept of a house song with a dubstep/trap breakdown. Diplo's not the only person using this trope at all, it was really popular for a while, but it's definitely characteristic of him. IMO it was fun back in 2010-2012 ish but now sounds dated and predictable. I liked that I Blame Coco remix and Set It Off but the Drunk in Love remix is meh for the same reasons I don't like that part of Bitch I'm Madonna. Someone with a better music vocabulary could probably explain this better lol.
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Post by sullivantoph on Sept 11, 2015 23:50:43 GMT
Okay, very odd question. So do we know that the part (chorus for lack of a better term in my head) that everyone seems to not like is actually Diplo? The reason that I ask I was listening to SOPHIE's set from Fortune Sound last year, the last track in the set (shock, its unreleased) has one sound in it that sounds pretty similar. In the full set, it comes in at 1:00:58. It's not the same sound I don't think, but it's reminiscent enough where I couldn't not think of it. Just curious about thoughts from anyone else. I love that track, I wish he played it more often. The synth is kinda similar but it's very strange and thick. In Diplo's chorus, it's very thin and reminiscent of Diplo's other synths. It's not even terrible, it just doesn't fit with the rest of the song. However the thick trappy outro, the one that's very atonal, is very SOPHIE. Totally agreed on it not fitting in the song, and that very oddly placed last atonal synth has SOPHIE written all over it. The whole time in that song I was waiting for something particularly of SOPHIE's nature that I could explicitly put my finger on, and that last 13 seconds was like "found him" (although I'm sure he had input all over too).
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