#deaths dynamic shroud | Explore Tumblr Posts and Blogs

declanlikesmusic · 3 months

Text

The Best Song on I'll Try Living Like This

In May of 2015, the now legendary & iconic vaporwave trio known as death's dynamic shroud put out what would be the 12th album in their now 50+ discography of full-length records, this one on the then-prestigious Dream Catalogue label: I'll Try Living Like This, produced solely by two of its members James Webster (known as HCMJ) and Keith Rankin (known as Giant Claw). The album was produced in the midst of awaiting cassette production for what would end up being their 13th album in 2016 on Rankin's Orange Milk Records label, produced by the remaining member Tech Honors: CLASSROOM SEXXTAPE.

From the moment it came out to this very day and beyond, I'll Try Living Like This remains to be seen as death's dynamic shroud's revolutionary, genre-redefining magnum opus and it stands as one of vaporwave's most creative & experimental records to achieve this level of notoriety. There's a lot to be said about each individual track and how it pushes the boundaries of a genre so many people neglectfully view as reductive & derivative. But one tracks I want to particularly highlight is one that isn't often seen as the emotional high point that it is early on into the record.

혼자 남은 지금 꼴이

The fourth track into the record in a short streak of amazing tunes kicks off with two samples: The introductory vocal humming of Avant from his song Separated and the stretched out instrumental to AOA's Miniskirt providing the beat & chords, provided more density & reverberation added to the beat. Beyond that, you hear a whole lot going on. There's a specific recurring vocal sample that gets chopped up & glitchy throughout the song, I can't confidently tell you where that's from, it could be from Separated again for all I could tell. Above that, you hear dialogue from CSI: NY spliced in, coming from Kim Kardashian of all people, some shimmering sounds coming from the intro to Fleetwood Mac's classic song Everywhere and later on, some lesser edited samples of the Legend of Zelda Sound & Drama, which I'll touch on in a moment.

It's an incredibly dense track, but more important than what it samples it how it feels to sample these things. The Miniskirt beat, once an upbeat, sharply produced k-pop track, is paulstretched & echoed out to feel much more lethargic but equally intoxicating. I think even without the added elements, the backing track is absolutely thick & heavy. It's like walking through the city on a packed night and just slowly dragging yourself through an extremely concentrated atmosphere, an opaque fog of urban smoke & emotional weight, and it wouldn't feel that way if it didn't sound so… melancholic.

There's a sadness permeating throughout the song. The strange CSI: NY dialogue, the dragged out & buffering vocal glitches, the lonely Avant vocalizing, there's something about all of those elements, combined with the once sensual love song beat profusely slowed down, that makes the whole experience feel so depressive, like an alcoholic bender. After two and a half minutes of this, you're given even more hints to what all of this is. A Japanese dialogue sample from the aforementioned Zelda Sound Drama plays and it of course reads like a piece of Zelda drama… but one sentence sticks out:

愛が鍵です。(Love is the key.)

A little further in, the shimmering of the Everywhere sample strips away. For a moment, it feels less crowded, but still… sad. Shortly before the four minute mark, Link's cry for Zelda is heard, the beat disappears for that moment and when it cuts back in, you hear something swelling in the background. You feel an emotional tension starting to rise. Then Avant sings.

We never turned our backs on each other But now that we're separated We can't stand one another And when we were together We never turned our backs on each other But now that we're separated We can't stand one another You did me wrong

This is a breakup song. More than anything else, it's a tragic, bittersweet, heart-wrenching breakup song. The added bass synths to the beat and orchestral strings climbing further up in the background for as long as those lines are sung; it feels like the rest of the track that came before was trying to suppress its deeply sorrowing emotions before all that resistance just shatters and every ounce of grief just spills out into tears falling into the puddles of rain below. The song concludes from there and it overall changes the dynamic depths of this album's extremely abtract concepts that are as hard to define, pinpoint or deciphir as this one is, if not more so.

This wasn't my favourite song for the longest time. I mean, for a long while, it was 그대 기억에 지쳐 잠들죠, but that's more of an interlude piece that directly transitions into a reprise of this song, funnily enough, that further elaborates on that Miniskirt sample with a bit of an eccojam. But other times, it was Loving is Easy or everybody's favourite 내 마음은 떨고. It was hard to define what really makes I'll Try Living Like This's best song. Sure, the latter had probably the best production of the bunch and the most energy for it, but an emotional pique or a definitive highly was hard to come by in an album that was always so consistent but always in some way relied on its surrounding pieces or the overall album package. 혼자 남은 지금 꼴이, however, completely stands on its own. As its own song and its own emotional piece.

I think it goes ultimately unrecognised in the grand scheme of this album because of how subtle it all is. Everything I just described to you about the song is subtle in their respective degrees. You really don't come to notice its value at the face; you find it out by digesting it further & more thoroughly, giving each listen its own time to clue you in to what it's about and what it's doing here on the album. It ultimately comes across as the most rewarding song on what is considered to this day to be death's dynamic shroud's masterpiece.

One that is immeditely ruined by the vocal samples on 이보다 좋을 수는 없겠어, but believe me, we do not want to have that conversation today.

#music #music review #song review #music recommendation #song recommendation #music community #vaporwave #vaporwave music #electronic music #experimental music #plunderphonics #death's dynamic shroud #deaths dynamic shroud #post industrial #glitch music #Spotify

8 notes · View notes

declanlikesmusic · 9 months

Text

Today's Listens: Episode 005

August 10th, 2023

So I'm writing this one the morning after and that makes it seem like I didn't have time to write because I was busy that day, but the truth was, I was on a day off and I wanted to marinate on my thoughts before putting pen to paper before, oops, my mood soured at the end of the night. Hopefully I'll get back on track in the coming days, or else I might end up having to skip days for this. Yay.

Just a content warning. At least one of the album covers here has depicted nudity, with a particular instance needing to be censored. I'm using a censored cover art sourced from Spotify, yet I don't even know if that's gonna be enough for this to fly under Tumblr's radar. Let's hope.

Infinity Frequencies – Between two worlds (2018)

I started yesterday off with an Infinity Frequencies album. This artist may very well be argued as being one of, if not the greatest broken transmission producer working today, but I was hesitant to go back to this one in particular. Namely because, on previous listens, the record felt a little too ambient and sparse to really captivate me. Luckily, since my last checking-out of this album, there was this phenomenon I call the Pad Chenningtonification (patent-pending) where a popular YouTuber shouts out a record that is not the artist's best work and it becomes commonly seen as their best work. Yay. Luckily I was fresh off of finding out that their 2015 album Into the light was way better than I initially thought it was, so I got to this one with an open mind and was treated to an experience that was only just barely consistently great. This is still not their best album in my view, but I'm glad that I can at least say I pretty much loved my experience here. Check this out, but also check out Computer Death and Into the light and I guarentee, you will find yourself a fan of InFreq at the end of the day.

7.5 / 10

Highlights: Under the city, Replica encounter, Between two worlds, Synthetic remains, Obsolete request, The time that remains Unraveling

Xepter Rose – Selenitic Landscapes (2014)

This one's a little random, but if you know death's dynamic shroud in any capacity, you'll be surprised to find that one of the members James Webster has made some ambient music on the side! Just as the trio were taking off, he made a pretty decent progressive electronic experience. I'm a little biased because I really loved his Virtual Utopia Experience visual thing, but two of the best tracks here show up on that movie as well and of course, they're great here. Aside from those two and Clock Tower Ruin, I cannot say that I am fully enamoured with this one. It's often sprawling and sparse in a way that doesn't flatter it all too much for me. That said, if you like modern synth ambient music, I'd give this one a shot. I already like it, but you might love it more than I do.

7.0 / 10

Highlights: Meteor Storm, Perpetual Twilight, Pottery & Stairs, Clock Tower Ruin

Magdalena Bay – mini mix vol. 3 (2023)

I wanted to cover more music from the current year, so I rolled upon this tiny mixtape from the rising pop duo Magdalena Bay. I wasn't expecting too much out of this one, just a one-off of decent tracks, but I found myself really in love with this one! It comes off as a mini mix, duh, of new material and they're all blended together very seamlessly while still coming across as their own songs! From the underrated intro to the simultaneously catchy and almost ascendent run of cuts by the end, they've knocked this one out of the park! It's not much (again, mini) but if you need a pop palette cleanser for just a quarter of an hour, this will undeniably satiate that for you!

8.2 / 10

Highlights: Slug Song, Top Dog, Tonguetwister

Torn Hawk – Through Force of Will (2014)

This one comes from an artist that always allured me from the mysterious realms of hypnagogic pop and specifically this tape and its glitchy cover art ripping an iconic still from a movie, I can't tell which. We have elements all over this record that primarily pull from outsider house and some of the tracks here are honestly great. They don't seem that captivating at first, but as they draw on, they start to become hypnotic. I really dug this one. I don't think every track works for me, this one again straddled the line between like and love for me, especially with the ambient cuts, but if you're already a fan of hypnagogic pop and want to dive in further, I'd totally suggest this one!

7.5 / 10

Highlights:

HELLCOM – ACID MP3s (2016)

Here's where things start to turn sour for me. I adore HELLCOM, I really do. His two concept albums under this alias, spanning mere months between eachother, are among the most creative, captivating and awe-inspiring vaporwave albums in the Business Casual catalogue! I'd recommend them to anybody, even non-fans of the genre who've already dipped their toes in. However, as a big fan of the format of DJ mixes, rating the two that he's put out before moving on to HDMIRROR are difficult. Timestamping this one specifically was particularly hellish; there are tracks listed that I'm convinced don't show up here, so that made rating this nearly impossible. I pushed through it though, but not without a little bit of a headache. His plunderphonic electropop and EDM sensibilities shine through here, but in the most surreal, glitch-centric ways possible that I struggle to fully recommend unless you huge fans of those sounds. Try it at your own risk; I liked it, but the more I thought about it, the less sense it just made for me.

7.2 / 10

Highlights: She Doesn't Mind, Hunter / N-Trance Forever, TIll I Come (Remix), Everytime

Xiu Xiu – A Promise (2003)

I've always been torn on Xiu Xiu. They have albums that I fully love and I'll get to those when I do, but the reason why I haven't covered them yet was because I was very hesitant to find the right time and mood for their sophomore effort that I remembered really liking but also not knowing why. I bit the bullet and just decided to finally go for this and I really don't think this was ever meant for me. I think I was lying to myself then. Don't get it twisted, it's obviously good, but it is surreal and incredibly depressive. It's often sparse in ways that, again, don't work for me, but it can also be very noisy in ways that just don't capture me. The whole thing is completely unhinged and that's no thanks to the themes of suicide throughout that just really disconnect me from the experience. I at least appreciated the Fast Car cover and how the record was trying to start out, but as it went on, I almost stopped respecting it entirely. This is purely for fans of experimental and post-industrial music that enjoy records that are this sad and intense to listen to.

6.4 / 10

Highlights: Sad Pony Guerrilla Girl, 20,000 Deaths for Eidelyn Gonzales, 20,000 Deaths for Jamie Peterson, Fast Car

Deftones – Around the Fur (1997)

By this point, I felt like I was ready for pretty much anything after that, so I thought: fuck it, why not tackle some metal? Nu metal specifically. We have Deftones' sophomore album here, I've already enjoyed other work of theirs, especially Ohms, so what could go wrong here? Well, it definitely sounds good. The recording quality is about as good as what you'd expect from any popular subgenre of modern metal. The performances are tight as well, they honestly put a lot of thought into the energy of the record. So what gives, how come I don't love it? Well, you see, they have to be songs. This is why metal struggles a lot for me, it hardly finds any hooks or riffs that function as hooks or riffs. One of the only moments that were at all memorable to me was the first ten seconds of it and I only know it because I know it was used as a sample; I don't love this riff! The only other thing I remember was the closing track and it's pretty cool use of back-and-forth backing vocals. I found that to be cool! Otherwise, this just functioned as a metal album to me and I can sadly say not much more. If you like metal, go for it, but that's not for me.

6.4 / 10

Highlights: My Own Summer (Shove It), Mascara, Around the Fur, MX

3RA1N1AC – H1551NG PRI95 1N 5TAT1C COUTUR3 (1996)

So, how could my evening get any worse? Well, you see, I was approaching my 1,337th rating at this time, my leet rating as I was anticipating. I was given Hissing Prigs in Static Couture by a few friends and it looked like a perfect match for it! However, I am, as the doctors would say, an R slur and briefly missed that milestone when I heard Around the Fur. I didn't want to let that slide, so I cheated by swapping these two albums' placements, but I'm still gonna talk about this after Around the Fur because this was just not a good end to my night. I expected a pretty loud, semi-raucous, energetic and wild listen of a rock & punk and I'm glad to say that I've got it! But in a way that was not very good to me. At first, I thought this record was gonna be okay; not for me, but an enjoyable & worthwhile listen nonetheless, but um. It didn't even last long as that for me either. This listening experience was constantly diminishing returns and I'm too tired even now to fully express why, other than the noises, the instruments, the melodies and especially the vocals got more and more grating with each and every track. I thought by the start, I was merely losing interest and getting tired, but at a certain point, this album just lost it. By the end, this came off as completely obnoxious and irritably annoying. I know I disappointed my friends with that, but that's just how it felt to me. I'm sorry, but the way this closed my night was a complete letdown and while you're likely to enjoy it more than I do, I'd personally steer clear of it unless it interests you.

4.1 / 10

Highlights: 1ND1AN POK3R (PART 3), PU55YFOOT1N'

So yeah, I'm sorry to rant, but that sucked. I couldn't muster up writing any of that until the following morning because I was just having a hard time comprehending how sour I felt by the end of this. I want to make it clear, this is not to the fault of any of the musicians and it's definitely not the fault of the people that recommended them either. This was all just me and not having good ears. Overtime, I've started to realise that my wishlist was looking less and less appealing as I've knocked more ratings out. I don't think I'm gonna purge it, but I might just try to clean it up at some point and realise where I've gotta draw the line for some of these artists, because over 750 of them unfathomable at this point. I'll see ya next time.

6 notes · View notes