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#juke aesthetic
pearlcaddy · 2 years
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jukeboxsource challenge ♫ favorite quotes
soulmatism expressed through their relationship with music
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vintage-tigre · 6 months
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thedeathdeelers · 1 year
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hello from the other side
a juke au that may never exist (but now with a short oneshot), ft. a lovely @pink-flame moodboard <3
julie will always remember with perfect clarity the last time she had walked into a record store — it was the day before her mom’s diagnosis, the last day she had any semblance of control over her life. they had spent all day looking through old records, only to stumble upon an old journal full of undiscovered songs that got both molina women excited at the prospect of unearthing new music — a goldmine.
but then rose got sick…and everything changed.
fast forward a year later, and julie isn’t the same anymore. she shies away from record stores, from instruments and music; anything that might remind her of her late mother. but exactly a year and a day after her loss, julie finds herself standing in their sacred space, looking around the once vibrant garage-turned-studio and tries hard to avoid the large and imposing piano at the center of the studio. and that’s when she sees it — an old, familiar looking scratched up journal.
julie spends the rest of her evening flipping through the pages, reading every single song until she finds herself wanting more. barely managing to decipher the name scribbled on the front page, julie looks up one Luke Patterson in hopes to find more songs, more music, more anything — but instead finds that the once young rising star died back in 1995. with an aching heart for her fellow musician, julie clutches the notebook close to her heart, closing her eyes and takes a moment to mourn the young soul taken away so soon — only to snap them back open with the sudden sounds of a guitar playing next to her.
eyes wide and body frozen, she finds herself staring at a young boy her age, strumming on his acoustic while staring intently at the journal on his lap…one that looked suspiciously similar to the journal julie was currently holding onto.
she clears her throat, tries to get the boy’s attention but quickly realises he can’t actually see or hear her. looking around she finally takes stock of her surroundings, shocked to find herself in an altered version of her family studio.
the boy next to her flickers once, and her attention is back on him. he’s struggling to write a song — one she recognises from her version of the journal — and julie can’t help but watch on in fascination as he works on it, scratching and scribbling away, fully unaware of her presence.
but just as he’s about to finish penning the final verse, he flickers out of existence, and julie is thrust back into her own reality— her own time?
this continues to happen for the next several weeks; julie slowly easing back into the music world by getting glimpses into the life of what appears to be 1995’s Luke Patterson diligently working on his music, never once aware of Julie’s existence.
that is until one day, he looks up — and looks straight at her.
will these two finally meet, impossibly crossing time and space and bridging the gap that’s been keeping them from reaching out to each other?
will this be the catalyst for julie’s way back to music?
and most importantly, will she be able to save him before they both run out of time?
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Julie Molina
“I was so afraid to play it. Anything involving music reminds me of her. And then I woke up this morning...realizing that's why I should play it. To keep her memory alive.”
- Bright
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speed-knights · 11 months
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NISMO
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damagcdsouls · 2 years
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                                 Julie Molina & Luke Patterson
                  “Together we create the perfect harmony.”
fanart credit
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jukemaid · 1 year
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at any rate i decided kaguya picaro is my main persona and have gone out of my way to train her to keep up with the current level dudes i guillotine. i care her
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graph100 · 2 years
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hey so i love the breakcore music style n stuff, but like whats the aesthetic for it??? like is there a certain way to like dress or stuff??? idk i always like eyecandy and i want to know what to associate w my fav music
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fordtato · 9 months
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The Gravity Falls Timeline
All of this is based on my video, but I assume not many people will want to sit through 2.5 hours of me working this out, so here's a condensed written version.
Some rules I set for myself: If the actual name of an IP, a person or an event is referenced in J3/the Show, I included it into my math for my timeline (ex: references to Ronald Reagan or The Eurythmics, or other REAL WORLD figures). If a REFERENCE is made without the actual name being referenced (ex: in the Journal, Ford mentions Phantom Bustifiers, a reference to Ghostbusters, a movie that didn’t come out in our world until 1984), I did not put that into this timeline (I know what year Ghostbusters came out, but not which year Phantom Bustifiers came out).
With that in mind, let’s begin:
The Stans are born June 15 1951.
Evidence: 
Their Bar Mitzvah happened when they were 12 (not 13, as is typical) and their birthday is on June 15th. Because a Bar Mitzvah is dependent on one’s birthday on the Hebrew calendar and not the Gregorian calendar, this means that their 13th Hebrew birthday must land on a date that is BEFORE their 13th Gregorian birthday, something that is typically more rare (the Hebrew birthday is usually AFTER one’s typically celebrated birthday).
The only viable year where this applies is 1951, when their birthday lands on Sivan 11, resulting in a 13th Hebrew birthday in May of 1964, BEFORE their 13th birthday on June 15th
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The Stans find the Stan O War in spring of 1964 at age 12 (or 1961, if you think they were 10)
Evidence:
There are two viable dates for when they find the Stan o War, depending on if they’re 10 (the same age Stan was when he started writing Lil Stanley in the Lost Legends comics) or 12 (the same age as Dipper and Mabel). I think that the way the artist drew the young Stan twins in the Lil Stanley comic looks (age 10) looks slightly younger than how they look in the series (and they are designed a little differently than they look in the Jersey Devil comic, when we KNOW they have the Stan O War already), but there is evidence for both sides.
I lean toward them being 12 because they pull out a sharpie, which wasn’t invented until 64, but there is a reference to a Bruce Springsteen song in a magazine in Lost Legends, quoted by someone named “Brucey S, age 11” and Bruce Springsteen would have been 11 in 1961, so this might be 1961 (or the magazine Ford is reading from might be an old magazine.) I went with 1964, because I think 12 parallelled the ages of Dipper and Mabel better. 
Stan gets kicked out in spring of 1969 right before they turned 18. Ford starts at Backupsmore in the fall semester.
Evidence: 
Stan makes a reference to Jackie O, which means Jackie Kennedy already remarried to be Jackie Onnassis, and is also still in the public eye, something that would be progressively less common after 1969 (she also happened to visit New Jersey in spring of 1969 and that would have made state headlines, something which is probably a coincidence, but nonetheless very interesting).
Furthermore, there is a portrait of Nixon in the principal’s office, and he would have been sworn in in early 1969. 
I think 1969 is more likely than 1970 because ‘69 gives more wiggle room for Shermie to be the baby (more on that later) and for Ford to get at least one PhD.
-Stan dates Carla “Hotpants” McCorkle,(reconnecting for another date after the one at the theater in their teenage years), probably in 1971 (if this “hallucinatey” date even happened at all; if you dont think it happened at all, disregard). 
Evidence:
We know this is a later date, when stan is an adult, because his design matches the designs on one of his fake IDs from his years on the run. It was likely 1971 because that is when the term “hotpants” was used to describe those short shorts.
The hippie aesthetic also started dying down after 1972 after the Manson attacks, so I picked 71 for the Juke Joint date.
Ford graduated from Backupsmore at the very earliest 1974, MAYBE early 1975.
Evidence:
In the journal it says he went to Gravity Falls in 1975, but we know he couldn’t have graduated earlier than 74, because we know that he played DDnMoreD in college, and he says in the journal that it was copyrighted in 1974. He also says Stanley always mocked him for playing it, which literally isn’t possible, so he’s either misremembering Stanley mocking him for an EARLIER TTRPG, or this copyright is for a later edition (though I think it must be the former, since DDnMD is a clear reference to DnD which WAS copyrighted in 1974. Still. Up to you.)
This means he completed his PhD in 6 years (or, three years ahead of schedule as described in the series). I believe many of his other PhDs were honorary degrees, and didn't bother working them into this timeline. He got them later.
Stan joins Rico’s gang in the late 70s
Evidence: 
Sometime in the late 70s, Stan gets tangled up in what is implied to be the Colombian cartel, which would have been most active in the late 70s, between 75 and 79. Following his trajectory on the map in ATOTS showing his path across the country, he headed below the border toward the end of that trackline, so it was probably later on.
Ford started Journal 3 in 1981, shortly after meeting Bill in 1981. 
Evidence: 
He says he discovered his muse in 1981 in J3. He also says he is starting J3 six years after he started investigating Gravity Falls (which he did in 75). He also says early on in J3 that he is in his 30s, and he would have turned 30 in June of 1981, three days before he started J3.
There is some fuckery here on how he’s known his muse for “two years” midway J3, and the way I explain that in the video is that the first part of J3 spans nearly 2 years, and there is ample evidence that he wrote many pages out of order. This might be a page from later on in 1982, early 83, instead of mid-81. 
We know that Reagan was already in office at this point.
 Fiddleford shows up in July of 1982. Fiddleford begins making the memory gun after the Gremloblin incident later that year. 
Evidence:
We know at least a year has passed because if you track the months, they go from June, to August, and then later on down to July again when Fiddleford is called. As for the Gremloblin incident, it happened relatively close to the bunker incident (which would have been closer to summer, since it was still hot outside) but it was followed closely by the carnival, where they had squash for sale, and squash are in season after September, typically. 
First Portal Test is on January 18, 1983
Fiddleford falls through the portal, his head poking through, on January 18 1983, the day after the confrontation he had with Ford in the diner. 
Late February, 1983 - The Portal Incident
Evidence:
There are three many reasons I chose this date. Firstly, we know it is 1983 not just because it follows the trajectory of earlier dates, but because we know that Ford has heard The Eurythmics’ chart topper “Sweet Dreams Are Made of This” because when he returns he says he is looking forward to their next one, and that came out in January of 83’, before he would have been sucked through.
Secondly, five weeks after January 18th, it would still be snowy in up-mountain Oregon where Ford is, but not that snowy in New Mexico where Stan is when he gets the post card.
Thirdly, we know at least 5-6 weeks have passed because Ford describes about this many weeks during his “paranoid era” in the journal (more than one instance of “a couple weeks, several weeks, a few weeks”, etc.). 
In the year 2000, Dipper and Mabel are born. 
Evidence:
I know most people think it’s 1999. And that is fine, but I have ample evidence that the show takes place in 2013, not 2012 (see below), so 2000 would have to work for their birthday.
But 2000 also gives a little bit of wiggle room to Shermie being the baby. (If you don’t think Shermie is the baby, disregard this section). If Shermie IS the baby, then if he was born in spring of 1969 (late 68 at the earliest), then you can barely fit two generations of Pines in the space between 1969 and 2000. It would mean that both Shermie and his kid would need to be 15 when they had a kid, which is … not great, but not impossible? I dunno man, take it up with Hirsch. (Or just assume the baby is Shermie’s kid. Follow your dreams).
In 2013, Dipper and Mabel visit their Grunkle Stan in Gravity Falls. 
Evidence: 
The Northwest ghost died in what is described in the journal as “The Great Flood of 1863”. The Northwests are trying to keep this flood under wraps in J3, because they don’t want people finding out about the lumberjacks killed in the flood. The Northwest Ghost swore with his dying breath to come back 150 yrs after his death. 150 years later from 1863, is 2013.
The 1040 form that Stan is filling out his Tax Fraud note on in the truth-telling ep is a 2012 form. To file tax returns, you use w2s 1040s labeled under the PREVIOUS year
Sevral Timez shouts "2013"
1983 is 30 years before 2013. 
Note: This would mean that the Stans are 62 at the end of the summer, which might mean that they are "pushing 70" as Stan describes himself.
Anyways, here's the full video if you have 2.5 hours. Otherwise, enjoy this resource!
youtube
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We just picked this car up last week with 100k on it and named her Chelsea! She's my daily commuter and doing great so far. Got a pre-purchase inspection and everything was fine, no recalls.
What do you think of her and what might I expect from her care in the next few years?
ooooh nissan juke! a lot of people found them ugly but i always liked them, i was obsessed with them when they came out when i was a kid. that being said, if you want stuff to be wary of in the coming years, keep an eye on the transmission if it’s not a manual. those nissan CVT transmissions were unfortunately pretty bad and were definitely prone to a lot of issues. sometimes they’re fine with routine maintenance, gentle driving, and an eye kept on the fluid, but they definitely earned their reputation. the juke engines were a bit touchy too from my understanding, keep an eye on how that’s doing too, especially if the modifications on the car extend beyond aesthetics. i don’t mean to like dash your joy with having her, but if you want to be ready for the next couple years the unfortunate reality is there’s a solid chance you’ve got a transmission repair or replacement in your future
enjoy her though! hopefully you don’t run into any major issues any time soon and can get some good trouble free years out of her. it’s not impossible for her to stay tough and reliable for a while, especially if you don’t drive her super hard and keep up with maintenance
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systemst91 · 1 year
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Open​-​Dolphin 1​.​0 - Lite version
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Here is the unfinished album for now, as a Lite version.
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merp-blerp · 1 year
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I wish Chandlmara (Heather Chandler x Heather McNamara) was a more popular ship because they're my favorite Heathers ship (no hate to any others).
To preface, I understand that a person’s reason for shipping something can be complicated. I know that some people ship things purely because the aesthetic is hot or they really only ship them in an alternate reality other than canon and that's totally okay (the Heathers fandom does this a lot, I think)! I do this myself. I'm not here to bash the other ships I mention here; I like them, in that complicated way. Just be mindful about why this ship would be toxic in canon and don't pick on other people for shipping toxic parings if you don't know the context of how they ship them.
That being said, Chandlmara would be the healthiest ship canon-wise. Chandler never picks on McNamara the way she does Duke or Veronica. Sure, in canon they rarely converse, but Mac did call Chandler her best friend right before “Lifeboat” so they must’ve been close off-screen (wish we saw more of that in their interactions, even if it's just small looks or giggling together at something stupid someone did in that bestie way).
As for Mcnamawyer, my second fav, it's fine until you remember Ronnie will probably have to lie to Mac for the rest of her life (or at least for the duration of their relationship) over the murders of her bestie and ex (Kurt in the og production). They themselves would get along fine, but there’s that factor. They are so cute though! My first Heathers OTP till I thought about Chandlmara. (Also how on earth do you say Mcnamawyer out loud???)
Duke x literally anyone in the show she canonically interacts with would be toxic. Sorry, Duke. An AU with Duke x JD (Juke?) would really interest me though. She would've been more down to murder and be his lackey I think. Toxic, but interesting. Chansaw could be really complex and often hot, but oh so toxic, lol. And we all know Jdonica is tough. More fans should consider Chandlmara.
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joemuggs · 1 month
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Future's Passed
Apropos of a conversation I was having with my mate Bashford about his design visions, I dug up a couple of ramblings about futures past, from the WIRE, one from 2015 and one from 2016. More on this theme to follow....
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👇🏻
Model 500
Digital Solutions
Metroplex LP / CD / Download
Can it be that a musician doing exactly the same as he was doing 30 years ago still sounds futuristic? Because for large sections of this album, Juan Atkins is making music that, bar a few aspects of finessing on the mixdown, could have come from the same sessions as 1985's Model 500 electro track “Night Drive (Thru Babylon)”. Though he has latterly shown he's still happy experimenting – take 2012's intensely psychedelic remix of Psychic Ills for RVNG Intl. – here, he is returning to the roots of his craft, much like his co-producer here Mike Banks, another Detroit originator who seems similarly satisfied with outsider status and immune to demands for aesthetic progression. And for large sections, it still sounds not like a capitulation but like visionary sonic fiction, and not in a kitschy way either. 
When, in 1990, the the film critic Philip French wrote that "nothing dates the past like its impressions of the future,” it was taken as a truism – and indeed by that year Atkins's early music was already starting to sound as archaic as Dr. Who in comparison to what was happening around it. I was in my mid-teens then, and to me electro as such meant the music of kids' TV soundbeds, or body-poppers in shopping arcades. With its robot voices and simple melodic hooks it sounded cute and silly, like a primitive prototype for the British rave music, the more serious-seeming and compositionally complex techno of Derrick May, or the more martial electro of Underground Resistance. The same applied when I discovered Kraftwerk and YMO soon after: in the white heat of the rave moment, they just sounded a bit rinky-dink, a bit novelty.
It took quite some time to start to understand the music's appeal. As I absorbed more of what came before and after those records – P-Funk and Throbbing Gristle, Drexciya and Wax Doctor – their place and their value became clearer. But I'd even go so far as to say that it wasn't until reading Kodwo Eshun's poetic analysis of “Night Drive” in More Brilliant than the Sun in 1998 and re-listening that I really felt the power of that track's modernity: the descriptions of “bachelormachines... rearing up on their hindquarters” and the voice as “a subliminal shadow that creeps along the skin, stalks you with its lightbreath” bringing it to life as a synaesthesic futureworld vision, not simply as a set of musical motifs or references. And once heard, that cyborg modernity couldn't be unheard: that track remains as startlingly capable of rewiring and rebooting the imagination now as ever. At that moment it became glaringly clear that the shock of the new doesn't actually have to be new. To use another popular statement, generally attributed to William Gibson, “the future's already here, it's just unevenly distributed”: and sometimes that future has to be winkled out from where it's folded into the past and present.
Since then, Detroit's 1980s electro has only become more contemporary as it is folded back in to the cultural fabric again and again from different directions: via the Glasgow hybrids spawned by the Club 69 and Rubadub hub via Rustie and the Numbers crew; via the ominpresence in 21st century culture of Daft Punk; via the electro diaspora of Miami bass, crunk, juke, jit, snap, baile funk, kuduro, hyphy, trap, club; via succeeding generations discovering the endless mysteries of Drexciya. Which leads us to a point where Atkins can deliver an album – his first in 16 years – that contains precisely no innovation, yet it can still sound like a distillation of modern elements from right across today's music, and like an elegant representation of a fast-changing technological society to boot.
Unlike Mind and Body, the last Model 500 album from 1999, which diverted into drum'n'bass and hip hop, everything from the classic Atkins sound is present and correct on every track: the robotic voices flatly intoning things about technology or consumer society (the Teutonic-sounding one on the title track being the most simultaneously hilarious and deathly serious example), the angelic vocoder voices in the background, the laser zaps and squacks as percussion, the syncopated 808 kickdrum subsonic foundation, the bulbous and shiny synth notes playing layered funk melodies in interplay with more discordant tone clusters. There are zippy tempos as on the opener “Control”, digital slow jams like “Electric Night” and “Encounter”, and one track that flicks between the two: “The Groove”, which provides the only obviously non-computerised sound of the album in the elegant prog rock guitar soloing in its half-speed sections. Rhythmically, even on the couple of tracks with a four-to-the-floor kick, it is always electro – which in fact means that it is always essentially funk.
It works not only because of its resonances in more recent musicians' work. It works because funk is still relevant to the proportions of the human body, to the speeds at which our limbs can move relative to one another. It works because a subsonic kickdrum still makes your innards tingle as it did whenever you first heard it. But it also works because that unevenly distributed future still needs visions like this for us to find it and parse it. It felt for a little while like the snowblindness of everything-available-all-at-once bitstorm information society meant that the future was on hold, and we were just immersed the infinite cultural past, and that the significance of different cultural movements was being eroded into a slew of undifferentiated nostalgia and marketing algorithm fodder. But as we barrel ever onward, precipitous inequalities and mind-frying volumes of information and all, it turns out that past visions of the future aren't so very dated at all. 
Gibson, McLuhan and the Detroit pioneers favourite Toffler can all look a bit silly, a bit naïve and jerry-rigged now – but they all can also be startlingly relevant, and you can still discover the shock of the new in them as in Atkins's music. In a time of cyborgs, drones, driverless cars and the infinite hall of mirrors of surveillance and social media, the future-shock thrill of taking a night drive through Babylon can be as bracing and ever, and so can the musical techniques for understanding what you see on that drive that were honed so long ago. While others might use vastly more complex computing power to try and musically interface with the present and future on a nano level, in fact that the simpler, clunkier, funkier patterns mapped out here might just have something even more profound to say about the fundamental relationships between us and our technological world, if you can feel and participate in their vision.
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Various Artists
Star Wars Headspace
Hollywood Records CD / Download
Space Dimension Controller
Orange Melamine
Ninja Tune 2LP / CD / Download
Bwana
Capsule’s Pride
LuckyMe LP / Download
“If we view it as a kind of sociology of the future, rather than as literature,” wrote Alvin Toffler in his 1970 book Future Shock, “science fiction has immense value as a mind-stretching force for the creation of the habit of anticipation. Our children should be studying [it], not because these writers can tell them about rocket ships and time machines but, more important, because they can lead young minds through an imaginative exploration of the jungle of political, social, psychological, and ethical issues that will confront these children as adults.” 
As is well documented – most vividly in Kodwo Eshun's conception of “sonic fiction” – music, and especially club music, can be science fiction too. Each new generation encounters the musical environment as technological-imaginative space outside the quotidian thanks to the visual/social/chemical/durational/sonic assemblage of the dancefloor and associated spaces – and that too can lead minds through exploration of past, present and possible futures. Of course there are waves and shifts in how styles and techniques facilitate this, but none completely replaces those before: past sonic fictions – past futures – retain functional value and are continually re-incorporated into the circulating library of usable forms. Always, too, from the Mothership to Metalheadz to Mumdance , there are explicit sci-fi signifiers woven into the sound and vision.
This is done in the most glaring possible way in the Rick Rubin-compiled Star Wars Headspace album. Sound design and dialogue from the Star Wars franchise are sampled liberally through 15 tracks that span a large chunk of what currently works for North American ravers, from the crassest martial trap-rap-derived beats through thumping house to subtler and more psychedelically dense grooves by Flying Lotus, Shlohmo and Bonobo. There's a conspicuous lack of the Ed Banger / dubstep-derived hyper-compressed aggro you'd have expected even two or three years ago: mainstream EDM is getting funkier and more genial. Combined with the thickly-layered chirps, whistles, animal grunts and the jaunty kitsch of the dialogue snippets, this creates a deliriously infantile playhouse of sound.
Star Wars was never about any future: it set “long ago”, and built on Saturday matinee westerns, Buck Rodgers and George Lucas's “Hero With a Thousand Faces”-derived belief in eternal narrative archetypes. And its sounds as much as its iconography have achieved a depth and breadth of penetration into the collective unconscious that goes way beyond modernism or retro: unless you have lived in extraordinary isolation for decades, noises like the chirrups of the R2-D2 droid which form motifs in this record are like Proustian keys to the fantastical. So the most fratboy-friendly rhythms here, from GTA and Baauer, take on a psychedelically transporting quality just as much as do the humid complexities of FlyLo; in this context Rustie's typically deranged “EWOK PUMPP” feels absolutely at home, even emblematic of the project. And among all this Rubin himself makes a deliciously naïve attempt at zippy techno in “NR-G7”, against all odds ending up sounding like Ozric Tentacles's rave offshoot Eat Static. It might be silly, but this album is much more than a cynical franchise tie-in: it's a explicit, deliberate opening up of 2016's most commercial rave music to mythic space.
Young Northern Irish producer Space Dimension Controller, as you'd probably guess from the name, is well versed in musical sci-fi, with Parliament, Drexciya, Jonzun Crew as standard reference points. His lo-fi Orange Melamine side-project, though, is about something far more esoteric. If the Star Wars album reaches to a collective mythic space shared by billions through decades, Orange Melamine opens up a tiny trapdoor to a cultish communal dreamworld around the turn of the millennium where internet and music culture first began to seriously create their own forms. It's the sound of third-generation copies of animes and UFO conspiracy VHS tapes (present here as sampled dialogue) arriving in the post after newsgroup discussions, of swapping obscurities by Team Doyobi, Req, Oval, MDK with strangers across the world on Audiogalaxy, of lo-res RealPlayer rips, of falling down rabbitholes on alt.culture messageboards. The braindance, illbient, outsider rap and indietronica evoked here was already humming with the broken rave nostalgia that would later be codified by Burial and hauntological thinking – as well as the shimmering dissipated data global collages of cloud rap, vaporwave and other waves of digital culture to come. Its reference points might be hyperspecific, but this too opens out into a wide imaginative world.
In the interzone between these two is Toronto techno producer Bwana's 43-minute love letter to Akira, the 1988 cyberpunk anime of psychic bikers and apocalyptic visions set in 2019 “Neo-Tokyo”. This movie sits in the midpoint between Orange Melamine's occulted cultural reference points and the near-universality of Star Wars: within club and rave culture, it's such a late-night staple that its sounds and rhythms – and the strange cadences of American actors dubbing their lines to Japanese speech rhythms – are woven into the very neurons of generations by repetition within the nightlife ritual. On this album which interpolates film dialogue and music, even the sound of the characters' names – Kay, Kaneda, Tetsuo, Akira – become incantations of, and ways into, the movie's fever-dream future. 
The music, which is realised in the highest definition, crisper and glossier even than the big-money EDM of the Star Warsalbum, has ripples of Rimini and Dusseldorf of the 1970s, Hollywood of the 1980s, London of the 2000s, Atlanta of the 2010s, but mostly it is just techno: not exactly ahistorical or from a non-place, but certainly cut loose from spatial-temporal specifics. Techno has never been about the future, it always pooled together futures past – P-Funk, Blade Runner, Toffler, Kraftwerk – to build a generalised future dreamtime into its sound: that Tofflerian “habit of anticipation” coded as rhythmic psychedelia. Techno as expressed on this album is no more retro or dated than watching Akira after a night out is rendered obsolete by Metal Gear Solid. We are now in Toffler's future – deep into the uncanny valley of laser surgery, virtual reality, gene editing, drones, machine learning, mind reading, microsecond-sensitive global trading, face transplants, our neighbouring planet being populated by robots, meme culture, Anonymous, Kanye West – and occasionally it's desirable, even essential, to revisit those old tools and “mind-stretching forces”.
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t4per3c0rder · 2 months
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Nothing special, but here’s a bunch of OC aesthetic moodboards I made on Pinterest!
Boards/characters in order:
Slide 1: Jerry Baker 📺
Slide 2: Vasily Sokolov 🪶
Slide 3: Vicki Myers 🗡️
Slide 4: Damien Richardson 📚
Slide 5: Lloyd Walker 🌾
Slide 6: Heidi Engelmann 🎻
Slide 7: Kathleen Williams 🎀
Slide 8: Casey O’Conner 🦋
Slide 9: Jukes Bakshi ✨
Slide 10: Ilse Lütz
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Luke Patterson
“That’s what I’m talking about! What that girl said in there tonight, about our music. Right? It’s like an energy. It connects us with people. They can feel us when we play. Yo, I want that connection with everybody”
- Wake Up
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avatar-state-kate · 1 year
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While Baby Driver was definitely Edgar Wrights music video movie you can really see the lessons he learned there in Last Night in Soho; this movie maximizes it’s musical motifs.
From Puppet on a string foreshadowing Sandy’s career trajectory, the perform marking the turning point from her aspirations of stardom to her reality of being a stage prop
Or Starstruck, which Ellie listens to during the dorm party foreshadowing her relationship with Sandy, at least their introduction where she is completely enraptured by the glamorous star to be- the same star stuck feelings that entrap Sandy to her manager which will kickstart Ellie’s nightmare
The downtempo cover of downtown foreshadowing that behind the shiny promises of city life lurks a dark truth- that behind the brighter lights are darker shadows
Happy house, played at the halloween party is also the only song not from the 60s, fitting in well with Ellie initial excitement at being there when she’s dancing - she’s free from the past- but also it’s sonic out of place ness setting up the turning point where the ghosts and visions appear in her waking life (as well as the lyrics itself, a sarcastic “we’re happy here in the happy house” when it is her home she seeks to escape- not happy here at all)
But really it’s the very first song, A World Without Love, which might encapsulate the expert use of juke box scoring as it sets up e sonic theme of early to mid 60s aesthetic, as well as introduces Ellie’s character, where she is now and defining her journey. “Please lock me away” - Ellie begins as a very isolated character finding it difficult to connect to her peers and her surroundings as she is stuck in the past. “For I don’t want to live in a world without love” in the end, Ellie’s arc and the film is about love, her love for Sandy triumphing over all of the fears and horrors she faces
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