How to make your listener be all, "I've heard this before, WHERE HAVE I HEARD THIS BEFORE... it sounds like that song, you know, the one I loved when I was in college, or maybe when I was in high school - the one with all the atmosphere and the... chord progression, and the quiet sense of majesty, and the synthesizers intertwining with the organic instruments to create a textured, gradually clarifying soundscape. Oh yeah, it sounds like 'With or Without You.'"
Showing posts with label SoundLeaves. Show all posts
Showing posts with label SoundLeaves. Show all posts
Monday, March 25, 2013
Saturday, March 9, 2013
Annotated SoundLeaf (pomDeter = Nine Inch Nails + Carly Rae Jepsen)
How to exploit the full potential of the mashup form.
Some context might help here.
"Head Like a Hole" surfaced nearly a quarter century ago, leading off Nine Inch Nails' now-classic album Pretty Hate Machine. NIN's industrial sound wasn't new; since the early eighties, underground groups like Ministry and Big Black had been exploring the connections between electronica and punk, experimenting with layers of abrasive synthesizers, guitars, and drum machines. But Trent Reznor, NIN's founder and sole songwriter, brought industrial rock to a mass audience.
In fact, Reznor became an icon for a certain type of disaffected teenager, the type who might enjoy shouting along with lyrics like these: "Head like a hole, / Black as your soul, / I'd rather die, / Than give you control." Over the years, Reznor's brand of melodramatic angst has proven durable; NIN still has a massive, fervid, self-reproducing following. Radiohead aside, I can't think of another contemporary band that gets taken so seriously by so many.
Enter Carly Rae Jepsen. A few years ago she placed third on Canadian Idol. She wears Zooey Deschanel bangs. She makes poppy pop records, with an extra dollop of pop. "Call Me Maybe" is the poppiest of them all, and last year, even in our fractured cultural world, it was damn near impossible to go a day without hearing those pixieish vocals, those processed strings, those shy come-ons, those precise repetitions... those pixiesh vocals, those processed strings, those shy come-ones, those... "Hey, I just met you, / And this is crazy..."
Pretty much everyone ended up annoyed.
So now, with the height of Carly Rae-mania several months behind us, a little-known DJ named pomDeter has slapped "Head Like a Hole"'s vocal track on top of "Call Me Maybe"'s instrumental track to create this brilliant mashup, "Call Me a Hole." Like much of Girl Talk's and The Hood Internet's best work, it yokes together the sacred and the profane, the hip and the unhip, the deep and the shallow, the eternal and the ephemeral - and it deconstructs the crap out of those binaries.
Trent Reznor's fans tend to think of "Head Like a Hole" as a subversive text, a middle finger to the mainstream. The same fans, especially the ones still trudging through the me-vs.-world morass of being an adolescent, are likely to view Carly Rae Jepsen as an unholy emblem of corporate pop culture. But what they forget, and what "Call Me a Hole" vividly demonstrates, is that while Reznor and Jepsen may belong to different teams, they play the same sport.
"Head Like a Hole" and "Call Me Maybe" (note the matching four-syllable titles) are both in 4/4 time, and both proceed in lockstep from verse to bridge to chorus. After the second chorus, both segue into a catchy middle eight (Reznor: "Bow down before the one you serve"; Jepsen: "Before you came into my life, I missed you so bad"). And both make the most of an exaggerated quiet-loud dynamic, introducing each chorus with a blast of instrumentation: Reznor uses guitars; Jepsen, violins.
As pomDeter himself avowed, "They went together with little effort."
In short, "Call Me a Hole" takes what appear to be disjunctures and turns them into continuities. And since a lot of people are invested in the original disjunctures - rely on them, even, to maintain a sense of superiority - pomDeter's track has caused plenty of anxiety. Amid the many compliments and expressions of joy in "Call Me a Hole"'s SoundCloud comments section, there are insults, accusations, expletives, and cries of misery, a few of which I quote here with pleasure:
A wise SoundCloud commenter puts it this way: "Pop is pop is pop."
Some context might help here.
"Head Like a Hole" surfaced nearly a quarter century ago, leading off Nine Inch Nails' now-classic album Pretty Hate Machine. NIN's industrial sound wasn't new; since the early eighties, underground groups like Ministry and Big Black had been exploring the connections between electronica and punk, experimenting with layers of abrasive synthesizers, guitars, and drum machines. But Trent Reznor, NIN's founder and sole songwriter, brought industrial rock to a mass audience.
In fact, Reznor became an icon for a certain type of disaffected teenager, the type who might enjoy shouting along with lyrics like these: "Head like a hole, / Black as your soul, / I'd rather die, / Than give you control." Over the years, Reznor's brand of melodramatic angst has proven durable; NIN still has a massive, fervid, self-reproducing following. Radiohead aside, I can't think of another contemporary band that gets taken so seriously by so many.
Enter Carly Rae Jepsen. A few years ago she placed third on Canadian Idol. She wears Zooey Deschanel bangs. She makes poppy pop records, with an extra dollop of pop. "Call Me Maybe" is the poppiest of them all, and last year, even in our fractured cultural world, it was damn near impossible to go a day without hearing those pixieish vocals, those processed strings, those shy come-ons, those precise repetitions... those pixiesh vocals, those processed strings, those shy come-ones, those... "Hey, I just met you, / And this is crazy..."
Pretty much everyone ended up annoyed.
So now, with the height of Carly Rae-mania several months behind us, a little-known DJ named pomDeter has slapped "Head Like a Hole"'s vocal track on top of "Call Me Maybe"'s instrumental track to create this brilliant mashup, "Call Me a Hole." Like much of Girl Talk's and The Hood Internet's best work, it yokes together the sacred and the profane, the hip and the unhip, the deep and the shallow, the eternal and the ephemeral - and it deconstructs the crap out of those binaries.
Trent Reznor's fans tend to think of "Head Like a Hole" as a subversive text, a middle finger to the mainstream. The same fans, especially the ones still trudging through the me-vs.-world morass of being an adolescent, are likely to view Carly Rae Jepsen as an unholy emblem of corporate pop culture. But what they forget, and what "Call Me a Hole" vividly demonstrates, is that while Reznor and Jepsen may belong to different teams, they play the same sport.
"Head Like a Hole" and "Call Me Maybe" (note the matching four-syllable titles) are both in 4/4 time, and both proceed in lockstep from verse to bridge to chorus. After the second chorus, both segue into a catchy middle eight (Reznor: "Bow down before the one you serve"; Jepsen: "Before you came into my life, I missed you so bad"). And both make the most of an exaggerated quiet-loud dynamic, introducing each chorus with a blast of instrumentation: Reznor uses guitars; Jepsen, violins.
As pomDeter himself avowed, "They went together with little effort."
In short, "Call Me a Hole" takes what appear to be disjunctures and turns them into continuities. And since a lot of people are invested in the original disjunctures - rely on them, even, to maintain a sense of superiority - pomDeter's track has caused plenty of anxiety. Amid the many compliments and expressions of joy in "Call Me a Hole"'s SoundCloud comments section, there are insults, accusations, expletives, and cries of misery, a few of which I quote here with pleasure:
- "I can't unhear this! HELP"
- "To use a NIN track and fuck it up should be against the law"
- "Call me closed-minded or whatever, but I find this a bit disrespectful [of] Trent Reznor/NIN"
- "This is evil"
- "THIS IS WRONG"
- "This gave me cancer"
- "Reznor never sounded so poppy"
- "We're all going to hell, and this is the dance track that they'll play there"
- "What an awful trend, but I'm sure all her fans are ecstatic and think they're cool now"
A wise SoundCloud commenter puts it this way: "Pop is pop is pop."
Tuesday, February 26, 2013
SoundLeaf (José James)
How to get your D'Angelo fix while D'Angelo himself continues to crumble under the pressure of following up that masterpiece he made 13 years ago.
Saturday, February 16, 2013
Friday, December 14, 2012
SoundLeaf (DIIV remixed by Memory Tapes)
How to turn something good into something differently good.
(Also, how to kill the final minute-thirty of a remix.)
(Also, how to kill the final minute-thirty of a remix.)
Friday, December 7, 2012
Friday, November 30, 2012
Friday, November 23, 2012
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