I am absolutely dumbfounded that something this hard was released in 1983. This was within a year or two of Minor Threat’s first record, and it’s bleeding from hardcore into grind/power violence. Originally I thought this was a contemporary band attempting to produce old-school / lofi hardcore because the musicianship and production (as dirty as it is) were too technical and clean. Alas, Deep Wound were formed in Westfield, Massachusetts in 1982, and the following year released the self-titled 7″ containing this ripper. As it turns out, Deep Wound’s drummer was J Mascis, who later formed Dinosaur Jr. with Deep Wound guitarist Lou Barlow. Dino Junior are cool but I instantly like this more than their entire catalog. Before knowing this record was American I was certain it had to be Scandinavian, they always seemed to be ahead of the curve in terms of more extreme interpretations of hardcore punk. The next CRITICAL HIT blog post should try to determine what the earliest recorded blastbeat was, as determined by copying + pasting the answer from someone else’s blog.
Wow, had no idea these SomethingAwful goons (if I remember correctly) did something this chill. I only knew them for their handful of ultra-aggressive gabber / acid techno tracks, like the devastating “Nothing Can Stop Torg!” as well as the Flash video for “Invasion of the Gabber Robots,” more popularly known as “All Your Base Are Belong To Us.”
Already an extremely funky and wacked-out bonkers song, Phillip Schlosser remixes it and ups the zany even more, with some punchier drums, warblier synths, and that impossible bassline cranked up to “wacko-bonzo.” I love it. I’d advise against visiting the comment section unless you want to be bummed out by a bunch of stale forced memes spread by 15-year-olds referencing their favorite YouTube celebrity’s MineCraft exploits. If I ever have kids I don’t think I want them to use any technology invented after Rutherford B. Hayes left office.
So ill. Straightforward, satisfying blend of house, techno, and acid, all produced on an Amiga computer. Crazy to think that you could’ve theoretically composed/played these MOD files in 1985.
The Amiga series of computers were released by Commodore from 1985 to 1993. All Amigas used the same sound chip, an 8-bit, 4-channel, up to 28khz PCM system called “Paula.”
Wow! Found this on Gregor Soundhome’s Detroit Techno 2016 mix. Bob Rogue is a Tokyo-based producer, while Rennie Foster is a Canadian producer who also runs the label RF. RF put out this track on the 2015 record Selektwerk v2. Detroit Techno is often described as “futuristic and cold”, while Magnetic Mag described it as “the sound of a city in decay and drifting in outer space.” This track checks all those boxes, and more. The synth lead is both dissonant and melodic, and the track swerves in and out of its own echoes like a ghost Cadillac that just rolled off a phantom assembly line. The slowly-disintegrating delay effect fully embodies the “decay” aesthetic of Detroit techno. It would be a trip to drop this at a Packard Plant rave in like 1988.
This video is bonkers, and very 1980. This must have been Daft Punk’s inspiration for the pyramids / Human After All-era maximum VHS saturation. Even though the previous statement was made in jest, maybe there’s a nugget of truthanity in it. Anyways, I wound up on this video while reading about pulse wave generation on Wikipedia… basically it’s just a bunch of square waves sent down the pipe at regular intervals. “Acoustically, the rectangular wave has been described variously as having a narrow/thin, nasal/buzzy/biting, clear, resonant, rich, round and bright sound. Pulse waves are used in many Steve Winwood songs, such as ‘While You See a Chance.'” In this case I think they’re referring to the solo / lead synth on the track, which is doing a sort of Banjo Kazooie reed / General MIDI saxaphone lick. Overall the song is very thrift store ambiance. The video has nothing to do with the song itself, unless somersalting toward an abstract pyramid as a featureless humanoid is the visual representation of “[seeing] a chance and [taking] it.” I think “Valerie” is probably Steve Winwood’s most popular song. I wonder if there’s anything besides thrift store music in his catalog. Like, what if the first Steve Winwood record was a crossover thrash record. I also wonder if “Call On Me” by Eric Prydz is more well-known than “Valerie” upon which it’s based. I just checked this blog entry’s pulse and it’s gone cold, so time to wrap it up. By the way, the previous sentence contained a comical self-referential callback via ‘pulse’ to earlier in this post/article, where I was talking about pulse waves. “They don’t make music like this any more.” Yes they do. #Hilarity #Comedy #SEO #Cloud #CloudBasedMusic #Streaming #StreamingCloud #Clowd #ScreamingClown #Fun #Circus #CircusGifts #GiftsForCircus
This is a blistering, ferociously fast rendition of Steely Dan’s post-apocalyptic prog-pop epic. The guitar solo at the end gets so intense it feels like reality is imploding in the best possible way. This is Dan at their (his) Steeliest. I feel kind of bad being able to listen to this track for free on the internet, feels like I’m steelying. “Steely Dan.” – Steely Dan
I still think it’s funny that Thomas Bangalter’s name contains the key string ‘bang.’ ‘Banger’ has become a somewhat popular term to describe a song that hits super hard, i.e. has an aggressive beat and impactful / punchy sound, typically used in the context of electronic dance music. This track is a banger, produced by perhaps the reigning king of bangers. Bangers. Bang!