Quit spamming the forum with duplicate threads you useless piece of trash.

Can someone just make a Big Hoodoo solo edit of this?

ABK is waaaaay past his prime.

The dude looks like the head vampire in the movie 30 Days of Night now.

Hypnotized Ninja said
I hope a full length comes soon and not just a one and done single  

Yea, its dropping on the same day as Killas new album, pfffff.

Iris The Tranny juggalette said
…and the first rule of music is, you don’t hear sounds, you hear differences in sounds.

I thought the first rule was to respect the silence that serves as the foundation of creativity.

King Lucem Ferre said

Iris The Tranny juggalette said
…and the first rule of music is, you don’t hear sounds, you hear differences in sounds.

I thought the first rule was to respect the silence that serves as the foundation of creativity.  

lmaooooooooooooooooooooooooooooo

jesus, I can’t believe you still remember that. That was like 6 years ago.

Edit: Someone put it on reddit a year ago, so that’s a bit more recent. 

Anyways

JiffyLong said
Wait there’s rules in this shit?   

I was just stating fact, music theory, the most undeniable part of music theory actually, because it is just a scientific fact that you hear differences in sound, the sound on its own means nothing to you, it is the difference that means everything.

If you just play one note on anything, and nothing else, it does not give off any “emotion” which is what all scales and chords are built to give. The only exception is notes that have a strong, distinct “timbre”,

but that is also just apart of the Levitin effect where your ear is used to that note being in one particular way, so when you hear it in a different way, maybe being set to a different tuning, like all that A=432 bullshit, the original term Levitin effect being the way that people who have heard a song many times can identify the key because their ear is used to the original key, so even when the pitch of the notes give off a feeling, like being more “warm”, it’s only because you’re hearing the difference between that key and the original key. 

Always remember in any form of making songs that people hear differences in sound, that’s actually why I advocate for clean vocals in genres like deathcore, and fast parts in Trap music, because, for the deathcore example, when you hear the clean, and usually very high, clean parts will make the distorted vocals feel suuuuuuuuper heavy. And then going fast at a part of a trap song makes that speed feel like the fastest fucking thing in the world, even if it’s not. Ouija does this amazingly.. 

That ends my Ted Talk. 

randy gall said
man abks Face looks like a close  up cam.ra amed at the back of  my balls  

Correct.

JiffyLong said
I dunno. Dude clearly is following no rules and he’s a straight legend. 

Styrofoam Chicken is my favorite it’s an accurate representation of my brain on drugs  

The “rules of music” aren’t something you follow, the one I named is just actual literal undeniable fact, and it can applied into your music making, music theory isn’t something that places restrictions on you that can be broken (some teachers will put arbitrary shit, but that’s kinda gone by this point in music) when I said rule I just meant something that always will be and doesn’t change, which is one way to use the word rule, music theory is not a list of what you can’t do, it’s a list of ways to do what you want, it’s a list of tools. And yet again, the example I gave is just literal fact. If you actually want to know what “breaking the rules” would sound like, give a toddler a piano, there you go, pure chromatic notes. 

JiffyLong said

That’s a really good idea. I just might do that. It’ll be the most beautiful thing I ever heard.   

I should also mention that what you linked is like 100% a demonstration of what I was talking about, that being the effect of differences in sound, what you sent was written to be as dissonant as possible, and being pattern-less, the effect it gives off is a result of differences is sound being what you hear. 

Furthermore, that’s not where the theory ends for it, the 3rd and 2nd songs you linked would count as minimalist noise music. Which for whatever reason one of my old music teachers was obsessed with. And the way you perceive it is actually kinda complicated, so it goes like this, the part of it that is minimalist is the repetition of it, and the part that is noise, well no shit, its the constant and layering sounds. And one very important “rule” is this, “repetition legitimizes” when you hear something that sounds like an accident, if it is repeated it brings an element of feeling intentional, and feeling intentional is more than important with these songs, you want EVERYTHING to feel intentional. Moving on when you hear the same thing over and over again, your mind does one of two things, fixate on it and look for patterns, or just start to ignore it all together and then you’ll probably get annoyed that it’s happening. But the first one is what happens in minimalist noise music, it sounds like a tonal nonsense, chromatic notes not following any real scale, but because it keeps repeating your mind desperately searches for a pattern even though there isn’t a discernible scale, this searching for logic in a constant stream of sound is where your experience of listening to it comes from. If you aren’t joking and you genuinely love these, that’s the reason why, you like the experience of hearing something outside the realm of logic while your ear tries desperately to make sense out of it. These are, like I said before, called Chromatic notes, notes that do not follow a logical scale, which are usually used in nothing, but I happen to know certain deathmental, thrash, and grind music will use it to get an effect of intense chaos. 

There was a performance piece once performed where some crazy person who was probably driven insane after living through fucking hell during ww2, just set up a million fucking metronomes and set them off at random times. And, despite being ridiculously stupid, it does fuck with your mind, it’s been recreated now and some people describe it scaring them, because it takes them to an uncanny place where their mind can’t grasp what’s happening. 

The first song works on a level of creating an uncanny feeling as well, something that sounds close to being discernible but is just not, and could easily be seen as kinda creepy, this uncanny feeling is also present in the other songs, because that is the effect that Chromatic notes gives you

These songs are built on chromatic notes to give an uncanny, unnatural and chaotic sound, and you could easily call that a rule, chromatic notes sound “wrong” these songs are built on sounding “wrong” so it drives your mind crazy, that’s the intention. 

And finally, I will point out that a strong understanding of scales, chords, and orchestration can, and probably did, bolster this uncanny feeling if you’re good at making it sound like you just hit random notes, while actually basing it on fucking up pre-existing scales and chord progressions. Which I think there’s a good chance that the artist you linked did.

I know I sound like a fucking lunatic but that’s music for ya.

Iris The Tranny juggalette said
If you aren’t joking

Hell naw I ain’t joking. 

I never really broke down songs like that though (although it’s an interesting way to look at it I suppose), I just follow what my ear hears. If it sounds good then I like it.