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Post by Deleted on Nov 6, 2015 20:50:09 GMT
yeah this really separates the wheat from the tares imo (not my observation) as u could possibly guess its my favourite song ever associated with this cheeky lot I really like this (one of the best on Product 4 sure) (if not the best actually) but isn't it a bit elitist to say it 'separates the wheat from the tares'... If people want the more accessible stuff and find this disorientating this why not let them? Does it make them less of a true fan ?
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Post by ¬ on Nov 6, 2015 21:02:26 GMT
yeah this really separates the wheat from the tares imo (not my observation) as u could possibly guess its my favourite song ever associated with this cheeky lot I really like this (one of the best on Product 4 sure) (if not the best actually) but isn't it a bit elitist to say it 'separates the wheat from the tares'... If people want the more accessible stuff and find this disorientating this why not let them? Does it make them less of a true fan ? Of course not, I was being a little facetious. I would think it's a shame if they wrote it off solely because it's not like his pop stuff but of course I wouldn't really care
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Post by Deleted on Nov 7, 2015 0:25:28 GMT
When your ears start hurting after listening to L.O.V.E. too many times:
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Post by Deleted on Nov 7, 2015 1:06:22 GMT
L.O.V.E. is my favorite, together with HARD, VYZEE and MSMSMSM. It's a four-way-tie. Then my second favorites are the other ones, in another four-way-tie. No particular order in any case. I can't force myself to do this. I would literally have a meltdown.
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blarf
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Post by blarf on Nov 7, 2015 2:19:07 GMT
Bittersweetness as I shredded my acoustic nerves with L.O.V.E. on repeat at work (my fave Soundcloud comment: the guy who shouts FUCK ME UP at the intro. Perfect) This is so life-affirming, but who do I know that I can possibly share it with?
that's why there's this forum
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Post by Okcomptr on Nov 7, 2015 20:44:28 GMT
Regardless of its actual enjoyability, the concept surrounding this song is absolute genius from my standpoint. Love is comprised of 90% excruciating pressure/pain/sadness/annoying moments, while the other 10% is what you wait and hope for, the endure the tough times for; the beautiful, intimate moments that you live for. L.O.V.E. captures this sentiment perfectly and I feel it deeply
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Post by jopefunk on Nov 9, 2015 10:31:29 GMT
Regardless of its actual enjoyability, the concept surrounding this song is absolute genius from my standpoint. Love is comprised of 90% excruciating pressure/pain/sadness/annoying moments, while the other 10% is what you wait and hope for, the endure the tough times for; the beautiful, intimate moments that you live for. L.O.V.E. captures this sentiment perfectly and I feel it deeply You're right! I have the same feeling as well. Here's my initial analysis: The mainstream dance trend for the last few years has been all about the bass and the drop and how "rude" or "dirty" the bass can be and how everybody hungers for that bass. So, SOPHIE gives the audience exactly what they want: a track that's just pure bass. Only, he covers it with this noise that I'd say 99% of people will find disgusting/annoying/un-listenable. So, you get what you've always wanted but you can't really enjoy it. Hah, what a curveball! Also, the track doesn't have a danceable beat/kickdrum, so there's no way to dance to this (I think people have witnessed this on his gigs). But, he combines this with the "JUMP!" -sample (From where is that btw?Some old rap song I bet..) which pretty invites you to jump on command. To jump, aka dance, to this song with no beat, which is already annoying you at the same time. I find the juxtaposition here amazing! It creates such a conflicting feeling inside your head. And all this connects with the fact that people have become accustomed to waiting for every new SOPHIE track to be better than the previous and always superbly danceable. But he drops this track now to break people's expectations and all the comments on the internet speak for themselves. Even the track's cover breaks people's expectation of the slide-continuum. Way to go SOPHIE! I really like this track! Edit: Forgot to mention one more conflicting part: The so-called "McDonalds salad advert music" -parts which of course are overly joyous. Those parts, tossed in a track that's otherwise completely sounding very scary/horrorish. Even the "Jump!" -part is kinda horrorish, a "jump-scare" if you will. If you don't pay attention to when it's coming, it will scare you cos' it's kinda loud. Like when people expect it to come after the whole LLLLOOOVVVEEE-part, put then it comes anyway a few times without that part. Brilliant design here! My head's just spinning..
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Post by dr on Nov 10, 2015 6:15:16 GMT
Also, the track doesn't have a danceable beat/kickdrum, so there's no way to dance to this I dig yr analysis but take issue w/ this statement, the L's O's V's and E's as well as the JUMP happen to fall into a countable rhythmic pattern that I find quite easy to move to! sure it's more like rhythmic seizing than proper "dancing" but don't knock it til you try it
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blarf
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Post by blarf on Nov 11, 2015 4:02:51 GMT
Even the "Jump!" -part is kinda horrorish, a "jump-scare" if you will. If you don't pay attention to when it's coming, it will scare you cos' it's kinda loud. Like when people expect it to come after the whole LLLLOOOVVVEEE-part, put then it comes anyway a few times without that part. Brilliant design here! A pummeling this dense needs to breathe. I like it as both the blowoff valve resolving the pressure from the L-L-L parts and something to give you a foothold in the absence of a chord progression or a drum fill, sort of a mile marker for the song. the "JUMP!" -sample (From where is that btw?Some old rap song I bet..) I don't think it's this but all I'm saying is if you open up Kris Kross in Audacity and lower the pitch a half-step
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Post by mosss on Nov 11, 2015 15:17:04 GMT
Even the "Jump!" -part is kinda horrorish, a "jump-scare" if you will. If you don't pay attention to when it's coming, it will scare you cos' it's kinda loud. Like when people expect it to come after the whole LLLLOOOVVVEEE-part, put then it comes anyway a few times without that part. Brilliant design here! A pummeling this dense needs to breathe. I like it as both the blowoff valve resolving the pressure from the L-L-L parts and something to give you a foothold in the absence of a chord progression or a drum fill, sort of a mile marker for the song. the "JUMP!" -sample (From where is that btw?Some old rap song I bet..) I don't think it's this but all I'm saying is if you open up Kris Kross in Audacity and lower the pitch a half-step I honestly don't think it's a sample.
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Post by Deleted on Nov 11, 2015 15:38:55 GMT
I honestly don't think it's a sample. That makes at least two of us.
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Post by mosss on Nov 11, 2015 20:06:12 GMT
I honestly don't think it's a sample. That makes at least two of us. SOPHIE hardly samples anything so it'd be really odd if he sampled something for an official release.
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Post by Dvnots on Nov 11, 2015 20:39:01 GMT
Also, the track doesn't have a danceable beat/kickdrum, so there's no way to dance to this I dig yr analysis but take issue w/ this statement, the L's O's V's and E's as well as the JUMP happen to fall into a countable rhythmic pattern that I find quite easy to move to! sure it's more like rhythmic seizing than proper "dancing" but don't knock it til you try it Yeah. The letters are in dotted sixteenth notes and the whole song is at exactly 144 Bpm. Even the noise parts without vocals, the drone always stops on the 8th beat after the drone starts (and the JUMP lands on that same beat when it's present). It's in 4/4 time signature, too. The song IMO is fairly danceable; I made a step mania chart for it that fit fine Edit: to clarify, I love jopefunk's analysis as well; I just disagreed with that particular statement
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