#sega-bass-kissing | Explore Tumblr Posts and Blogs

magicalgirlsandcerulean · 3 years

Text

Boueibu characters as 3 random Spotify genres

(Notes before you begin:

See the list of genres here - note genres may not actually fit characters in sound, since I assigned them based on the name of the genre.

Inspired by this HypMic version.

If I don’t know if it should be capitalised, I’ve left it uncapitalised. Same with punctuation.

If you can’t find a genre on the Every Noise at Once page, Ctrl + F/Cmd + F.)

LOVE!/LOVE! LOVE!:

Yumoto: denpa-kei | hyper pop | German cloud rap

En: bedroom pop | lo-fi emo | water

Atsushi: sega | anime | doujin

Io: Hamilton on indie | nerdcore | mellow gold

Ryuu: Shibuya-kei | karaoke | girl group

Kinshiro: diy emo | power blues-rock | deep delta blues

Arima: sound | accordion | world

Akoya: coral gospel | pony | ethereal gothic

Akihiko/Haruhiko: gay chorus | anthem worship | skweee

Wombat/Tawarayama: Australian rockabilly | hopebeat | ghoststep

Kinosaki/Tazawa/Hireashi: Japanese jazztronica | vintage jazz | psychedelic jazz fusion

Goura: industrial | focus | J-rap

Zundar/Dadacha: Greenlandic pop | Disney | brostep

Happy Kiss:

Kyoutarou: sleep | bath indie | shush

Ryoma: southern soul blues | chillwave | lo-fi cover

Wakura: tropical house | deep tropical house | no wave

Manza: deathgrass | geek folk | coldwave

Dougo: hi-nrg | scream rap | Japanoise

Karurusu: Japanese Disney | musical advocacy | kawaii future bass

Ata: rock in opposition | German worship | grave wave

Taiju: college a capella | vapor twitch | minimal wave

Maasa: pixie | queens hip hop | shimmer psych

Furanui: Chihuahua indie | animal singing | slayer

19 notes · View notes

popfizzles · 1 year

Text

Style Two Sketch Chibi for @sega-bass-kissing 💗

×××

[Ko-Fi] || [Etsy] || [Commission Prices]

#Commission #Commissions #fizzles draws #sega-bass-kissing #thank you!!

84 notes · View notes

doomedandstoned · 5 years

Text

Meet Corey G. Lewis, The Dude Who’s Bringing Grunge Back

~By Jamie LaRose~

Art by Ben House

With the new album sinking into our consciousness, 'Deathspiration' (2018) by The Misery Men invokes the necessity to dig a bit deeper into the creative processes behind its craft. I had the chance to follow-up with Corey G. Lewis, mastermind of the music, and take a glimpse at the band's evolution as portrayed by sound. Deathspiration was recorded and mixed by Steve Jones of Ancient Warlocks at Big Sound Productions in Seattle, and features Jones as drummer.

Deathspiration by The Misery Men

The intro track is reminiscent of reflections, leading into a blasting presence of a second track. This album seems to tell a diverse story, can you explain some of the inspiration behind Deathspiration?

Well the intro track is sort of an homage to Neil Young’s Dead Man soundtrack. I’m also really into Dylan Carlson and EARTH. Before I discovered Earth, I’d always described The Misery Men as, Western Doom Noir. That’s evolved into me describing it as Stone Drone. Nevertheless it’s reminiscent of the space between the notes, and the chaos that occurs. The song Sughrue is about C.W. Sughrue, a character from the book Last Good Kiss by the late great James Crumley, also an old friend. Sughrue is a Private Dick that goes off looking for missing woman. “Like a train” barreling down the highway, from Montana to Mexico.

Oh, most importantly, the inspiration behind Deathspiration is the evolution of me as a human. The cathartic shedding of skin. "Harnessing the Darkness" and riding the waves. Sometimes I feel we might be desperate to reach death, to know the truths, while we attempt to be inspired to live life, as we pass through all the adversity, and perspiring blood, sweat, and tears in these moments of our existence.

Deathspiration by The Misery Men

Do you have any secrets of sound to share? What types of techniques present The Misery Men persona?

My secret sound really is simplicity, and the ghost of Leo Fender haunting my amp. I run a 70’s Music Man 112 RP 65-watt amp with an EV bass speaker, through a 2x12 THD Cab, with a phaser pedal, and a Little Big Muff. A wall of fuzz, that is grizzly, meaty, and punchy. I don’t really try to be the tone guy, but I get more compliments about my tone than anything else.

Deathspiration by The Misery Men

"Night Creeps In" presents itself to me as the vertex of the Deathspiration story, it feels ritualistic and defining. Are there any rituals you perform while in the writing process?

This song in particular was written after a girl I was dating for only a week, told me she was going to kill herself. It was pretty heavy, and at the time she texted me, I was walking past Lone Fir Cemetery and wrote her, “sometimes the night creeps in, looking wretched weak and thin. Smiling with its meathook grin.” It was a very heavy experience. When I wrote this song about seven years ago, I was just really getting deep into Dax Riggs of Acid Bath. He’s definitely had a big impact on my music writing since moving to Portland.

Deathspiration by The Misery Men

Aside from the release of Deathspiration, are there any other exciting current happenings with The Misery Men?

We played at Dante’s not long ago with Chris Newman Deluxe Combo. Chris is quintessential to the Portland rock scene and to the whole Pacific Northwest in general. He is famous for his band Napalm Beach, who released their first album in 1981. Without Napalm Beach, The Wipers, and Dead Moon, well Seattle “Grunge” just wouldn’t sound the same. We might all still be playing Hair Metal!

Officially, Deathspiration has been out since last December, but this week it will launch on all digital platforms worldwide. This fall around September or October, expect a new two-part album to drop digitally, recorded by Witch Mountain and The Skull’s own Rob Wrong! It’ll feature 3-4 different local bass players and a couple local drummers, all guitars and vocals have been recorded, and bass/drums will be done by July/August. So far, we've got interest from bass players Billy Anderson (yes, the famous Sleep producer), Matt Howl (Mammoth Salmon), Wayne Boucher (Troll), and Jaden Mcginiss (Legendary Peavy owner, Doorman, Boudicca). All of this will be recorded in Rob’s basement, the same basement Elliott Smith practiced in.

I decided that my second album needed to be done sooner than later, after the 1st was seven years in the making. Deathspiration was recorded in Seattle with Ancient Warlocks drummer Steve Jones, I’m very happy with the way it turned out, it was analog with no filters, no frills, just my raw intensity. The second though I feel needs to be done here in Portland, it is after all according to Greg Sage, DoomTown. Unlike the first one, it’ll be all digital, but still raw and real, capturing my live performance sound. I’m also likely going to have a variety of drummers on the album playing different songs, perhaps even some legendary Portland drummers!

This week I begin practicing with a new drummer for two upcoming gigs. On Saturday, July 6th, we'll be playing with Chronoclops and Stereo Creeps from Seattle at Misdemeanor Meadows in Portland. It's a free show. Then on Friday, July 26th, The Misery Men will be rocking Gil's Speakeasy for a $5 show that includes The Sleer and Breath. I'm Working on gigs for August on through the Fall.

Do you have any memories of childhood that are notably similar to your current state of mind? What type of things about your childhood self were spot-on about who you become? What was your favorite toy?

I knew I’d always wanted to be a Rock n’ Roller or an actor in films. Like pretty much as long as I could remember. I dressed up almost every Halloween as a Punk Rocker in the '80s. My first concert of grand scale was Poison and Warrant 1989, in Bozeman, Montana -- I was in 5th grade. That show changed my life. I also dug rocks in my grandparent’s backyard, but not for pleasure -- my grandfather took advantage of child labor! I’m a rocker through and through. I think I’ve followed my dreams pretty spot on.

Favorite toys were probably GI Joe’s, Star Wars, or my SEGA Genesis. I also built wood swords from fence posts and painted them with finger nail polish as a kid. Think I may have accidentally got high!

What was the moment when you could feel music has become a part of your life? How has writing music helped you, and those around you?

Well, ever since I could remember music was a part of my life. Listening to my mom’s old tapes and records as a kid really impacted me. I was always surrounded by music, my grandparents owned a Rock n’ Roll bar I’m the ‘60s, '70s, and '80s, called The Wrangler Bar in Livingston, MT. It’s featured in the film Rancho Deluxe about some wild young cattle rustlers, starring Jeff Bridges, and Sam Waterson. There’s a scene with Jimmy Buffett playing "Livingston Saturday Night" while Jeff and Sam play Pong. I’ve played that same machine as a kid! There was always a jukebox, I loved playing Jefferson Starship's "We Built This City," Joan Jett's "I Love Rock n’ Roll," Ozzy's "Bark at the Moon," Pat Benatar's "Hit Me With Your Best Shot" and "Hell Is For Children," and Billy Squire's "The Stroke"!

In 7th and 8th grades, I really was into The Doors, The Beatles, Hendrix, and I was in a English class for kids who couldn’t really focus on reading Lord Of The Rings. In this class our teacher would have us listen to our favorite music at home, then with the feelings we got, write our own poetry. I often listened to Hendrix, especially Axis: Bold As Love and Electric LadyLand, so there were plenty of references to fantasy in my early lyrics. This really helped me learn to become a lyricist, and take an interest in poetry. Most importantly, it gave me an outlet. Around the same time, I got heavy into Henry Rollins. When I saw the video for "Liar" with Hank all painted red, I thought, “I wanna be that guy!” I bought Get in The Van and it became my Bible. All the while I was into Nirvana, Alice In Chains, and Soundgarden.

Is there a way to describe when you feel most productive or most relaxed? How is your state of mind best explained while writing music?

I’m most productive when I feel inspired. Or when the Sun is out and I’m well rested. I like the Sun, except in extreme heat, then I wanna murder the Sun. I was born at night, so I’m a Moon child. I definitely get more inspired and productive writing at night. A few years ago when I was reworking an old song that turned out to be Harness The Darkness, I took a wee bit of LSD or mushrooms -- I’m more of a microdose kind of guy -- found myself going down some deep wormholes to connect a lot of dots that would go on to make up the six verses of the song, that I eventually dropped into four, because it was the most exhausting song to play! I’m a Beatnik kid. I got into the Beat style of writing early on. So, letting the stream of consciousness come flowing out seems to work well for me. I can keep a pretty decent rhyme or off rhyme too.

What is the most peculiar thing that anyone has ever said to you?

Hmmmm. Can you keep a secret? From experience, always tell them no, because sometimes people will lay some heavy shit on you, and maybe you didn’t want to be that person to carry their burden. I’m not a Priest, or a therapist, sometimes it’s fine to listen to friends, but there’s some things you can’t unhear or unsee!

Do you have a message for the universe?

I call it the "Megaverse," as coined by quantum physicist Leonard Susskind -- but my message is to be real, be compassionate, be loving, be forgiving, be understanding, be courageous, be ever evolving, and in the words of E.T.: “Beeeeee Gooooooddd.”

The Great Misery Men Giveaway!

Don't miss your chance to add the gritty album Deathspiration to your library! Grab one of the Bandcamp codes below (first come, first served) and redeem it right here.

v6y9-y7df u25k-xkab fgz3-6rj4 cmm9-6mg7 rxnu-76X9 8p78-6ykb vyiy-5288 6yuk-bjxa mv8t-jyuw l225-kl9a eb8z-y6rv a4av-vkmt ukwg-hpmk 6tgn-7d7n

Follow The Band

Get Their Music

#D&S Interviews #The Misery Men #Corey G. Lewis #Portland #Oregon #Doom #Grunge #Metal #Jamie LaRose #Stoner Art #Ben House #Week of Wonders #Doomed & Stoned

6 notes · View notes

blazehedgehog · 7 years

Note

Does Sonic Team really onw the original theme song of Green Hill Zone? I heard many times that ST had to pay tot he real owners of the song to be allowed to remix it like in the case of Generations, but when they don't pay they usually just rip the music from Sonic 1 like it was the case in Smash Bros Brawl. If this true?

Sega has never officially commented on this, so we don’t know for certain.

The only evidence to suggest Sega does not own the rights to the music from Sonic 1 and Sonic 2 is a story that got told way back in the day regarding Sonic Spinball. As you may or may not know, there are actually two versions of Sonic Spinball that were sold in stores.

The first version, and one that was only available in limited quantities, uses a remixed version of the Sonic 1 and Sonic 2 title screen music.

youtube

The far more common version (and the one on all retro game collections) contains an original tune on the title screen

youtube

As the story goes, Sonic Spinball was done, cartridges were made, the game was being shipped to stores when suddenly word came down from Japan: they had to change the theme song. Sega did not own the rights to that music, nor did they apparently pay to license it.

Panic ensued, and within hours the composer (Howard Drossin) wrote up the new title song. As such, a limited selection of first-run cartridges (the ones that left the shipping facility and couldn’t be recalled) contain the original Sonic theme music and all future releases contain Drossin’s replacement song.

The composer for Sonic 1 and 2 was Masato Nakamura. Nakamura was a celebrity in Japan, as he was the bass player for the pop music trio “Dreams Come True.” It’s been pointed out a few times that some of Dreams Come True’s more popular songs bear resemblance to music contained in Sonic 1 (their song ”Million Kisses” apparently has instrumentation that resembles Starlight Zone, for instance). This is where, to illustrate that point, I’d link to some of Dreams Come True’s songs that have been uploaded to Youtube, but as it turns out, none of them have been, officially or otherwise.

Hmmm.

As another story goes, Nakamura charges Sega titanic licensing fees for using any of the music he composed for Sonic 1 and 2. Japan is very serious about its music licensing, even for game music. This is the driving reason behind Konami’s Ninja Turtles games not getting re-released very often – and the last time we saw either arcade game, they had their soundtracks replaced with new music. Sega has never confirmed or denied whether Masato Nakamura charges huge licensing fees, but it’s worth mentioning that they brought him out when they announced Sonic Generations, given that game is full of his music. They wouldn’t make a big deal about his presence unless it was... well, actually a big deal, financially speaking.

There’s also the Youtube connection. Dreams Come True seems to be specifically blocking their music from being uploaded to Youtube, something you also see with other bands like The Beatles (who also notoriously charge HUGE licensing fees). Prince did the same thing.

Additionally, all Sonic games after Sonic 2 use different, original theme music created by in-house Sega composers (Jun Senoue, etc.) Whenever a Sonic game wants to reference classic themes, they often reference the Sonic 3 versions (think about all the modern Sonic games still riffing on Sonic 3′s act clear music).

It seems very likely that Sega does not, or at least did not own the rights to any of the music in Sonic 1 or Sonic 2. Whether or not they own those rights now is a different story – I’d imagine something like Sonic Mania would have been impossible if it demanded a huge music licensing budget. I do wonder if maybe Sega struck a deal with him (Nakamura) at some point.

There are theories as to why some Sonic 1 and 2 songs turned up in games before Generations.

Sega doesn’t have to re-license the music as long as its presented in its original format. Nakamura submitted his music on tape using MIDI synthesizer instruments which was then translated by Sega’s sound technicians to work with the Genesis sound hardware. It’s thought that Sega owns the licensing rights to the Genesis sound versions of all of this music. As long as its presented as such, there’s no fee (or the fee is reduced).

The company just pays Nakamura’s licensing fees because while high, they aren’t actually that high. That would explain why usually it’s only one or two songs, like Green Hill Zone in Sonic Adventure 2 and Brawl. It could just be that Sega is cheap.

None of this is true and it’s just the same madness that infected Sonic Team and their obsession with never doing nostalgia right.

But my money is definitely on Sega not owning the rights to the music from Sonic 1 and Sonic 2. That’s the kind of dumb stuff that happened back then (and still technically happens today; see what happened to Super Meat Boy’s soundtrack)

#questions #sonic the hedgehog #masato nakamura #music #jun senoue #sega #sonic team #licensing #sonic generations #green hill zone #Anonymous

26 notes · View notes

posthumanwanderings · 7 years

Photo

[DJ Mute City - Vaykay @ The VResort]

https://www.mixcloud.com/zedra-c-hybrid/dj-mute-city-vaykay-the-vresort/

recorded live July 2017

Tracklist:

1. Billy Ocean - Love Zone 2. Rick Braun - Kiss of Life 3. Shabba Ranks - Housecall 4. Sega Bass Fishing Duel - Data Book 5. Tekken 4 - Authenic Sky 6. Groove Theory - Tell Me 7. Baby Colby - Cruising FM 8. Technictix - Bossa Antique 9. Kandi - Don't Think I'm Not 10. DJ Andi K - True 11. INOJ - Let Me Love You Down 12. Dan Curtin - Through the Nexus 13. Ian Pooley - Lite Juice 14. Wetrix - Practice Mode 15. Wetrix - Challenge Mode 16. Beatmania - Wanna Party 17. Perfume - Chocolate Disco 18. Happy Make Weekend Mission 19. Dead Rising - Mall Music 4 20. Fayray - Sun of Gravity 21. Demetrius Perry - Are You Lonely 22. Mtume - Sugar Free 23. Aaliyah - At Your Best

#dj mute city #my mixes #2017 memories #R&B #vgm #hotel vibes

44 notes · View notes

downfallofi · 7 years

Note

Aurora, Boo

Aurora: So, okay, when I was in sixth to eighth grade my best friend was my neighbor, named Tiffany. I used to go over her house after school cause our brothers hung out a lot and they smoked weed, and I smoked weed a few times with her, but mostly we watched Tv and played Sega and that was alright. I didn't think anything of it or her because she was my friend, and she registered to me as a tomboy. But she I guess liked me. She one time when we were sitting on the couch leaned over to me and kissed me full on the lips, without me noticing any hints or warning. I was so flustered I didn't know what to do. I ended up making up an excuse to go home and do homework. Our relationship got awkward after that and there was a little bit of like I finally started to see her as a cute girl that I could have something with. But my dad ended up intervening because her brothers were local hooligans and told me and Michael if we ever hung out with them again he would beat the shit out of us. That sadly ended me and Tiffany's "thing", whatever it could have been. Boo: My brother, no question was my hero growing up. The only non fictional hero I had. He was smart, popular, good with girls, he was a two sport athlete in school, he could play bass... like he had it all. And he always stuck up for me when kids bullied me at school. I had stars in my eyes for Michael. He was like a Superman to me. I didn't see that he was sometimes creepy and manipulative until re-examining some of his advice and the stuff he would teach me until much later in life. But dad was a single parent and had to work a shit ton when I was young, so Michael was almost a second father figure.Christ no wonder I'm fucked up.

2 notes · View notes

tinymixtapes · 6 years

Text

Music Review: Sega Bodega - SS (2017)

Sega Bodega SS (2017) [NUXXE; 2017] Rating: 3.5/5 The practice of reimagining film scores poses a slippery hermeneutic problem for artists and critics alike. Adding modern scores to silent films can feel like an insertion of the subject into the object, while rescoring films that already have original scores can feel like a removal of something essential from the object. The former is often portrayed as an inherently narcissistic venture in which the original film acts as nothing more than a fertile canvas for the ego of the artist (or the affectations of several competing artists, as with the many rescores of Carl Dreyer’s La Passion de Jeanne d’Arc). And the latter approach was brought to public attention when Zane Lowe curated an alternative score for Nicolas Winding Refn’s Drive back in 2014. After a great deal of quibbling about “the director’s intentions” ensued to a choir of furiously jerking knees, the gatekeepers of our culture ultimately deemed the film too sacred for the grubby money fingers of Eric Prydz and Bring Me the Horizon. The latest mixtape from UK producer Sega Bodega, SS (2017), endeavors to reimagine film scores with a more honest approach, one that carefully balances a true respect for the object with a constructive assertion of the subject. The concept is fairly simple: each track condenses the vibe of a specific film into a new score for its commercial trailer. As such, the record manifests as both an exercise in structural limitation and an expression of artistic identity. While tightly chained to the visual demands of the trailers in question (in terms of timing, context, pacing, and mood), Sega Bodega remains free to explore new sounds and technologies according to his own creative whims. And most importantly, he manages this in ways that do not disrupt the aesthetic established in his previous work. Since moving from Glasgow to London, it’s clear that Sega Bodega has adapted to the filth and smog of the capital and its increasingly gritty club scene. Earlier releases were much in the vein of his Glaswegian contemporaries at Warp Records: tunes of the “quintessential banger” variety that politely say nah to form and genre through grinning teeth (see: 2013’s “Konerak” and 2014’s “Stay Nervous”). But more recently with tracks like “CC” and “Bacardi” he has started boiling those peppy highs down to their narcotic essence. Your tolerance has peaked, and those sticky hooks have lost their sexy pure-white allure. Like, it’s a real problem now. You’re huffing bass lines so addictive that you spend weeks excavating their remnants from your nostrils, with euphoric builds so acidic that they flip your stomach and plunge you into an immediate comedown. These disorienting scenes of hedonistic decline continue throughout SS in ways that both translate and elevate the films being rescored. “Requiem” captures the feelings and trappings of addiction in carnivalesque melodies that melt and churn and *bleugh* their way through a fucked-up, coke-fueled, balloon-huffing haze. Even at this kinda drowsy, kinda waltzy, kinda lazy tempo, there is no hint of rest. Instead, the track stings and aches and burns as it tries to break out of this unbearable agitation, only to sink deeper and deeper into it with every, single, desperate, lurch — it conjures the bodily action of standard dance music without the same old liberating teleology. Shygirl drawls through her trademark voice-inside-your-head monotone with enough nonchalance to make us do very bad things, to ourselves, to others, and then before you know it, you’re bursting through limbo, back into your sweaty PJs. SS (2017) by Sega Bodega The track speaks for a deeper understanding of its source material, an understanding often manifest in the meticulous choice of sounds throughout SS. Of course, electronic music producers have sampled archetypes from classic cinema to the point of making a cliché out of a cliché, but Sega Bodega gives them a little more than a quick kiss on the cheek. He handles these archetypes with studious care, generously scattering them over the mixtape like deft comments in the margins of an exhausted book. “Dogtooth” is a plucky movement of nylon that stirs up familiar sentiments, as each instrument piles up one by one: slightly tense, slightly playful, and utterly conventional. “Pi” skims the filmic language of tension in an echo chamber sparsely decorated with blunt drones and rusty strings, almost as if a tune is trying to assemble itself from disparate elements as they slowly and infinitely drift away from each other. The pianos and marimbas on “Tree of Life” play ball with some mysterious arpeggios on a comfy bed of orchestral flourishes, fit for previews at a mid-afternoon screening of Casablanca. Obviously nostalgia has a lot to it, and this can be heard pretty clearly on certain tracks. “Begotten” is a gorgeous cut of retro-synth magic that yawns so wide that it tears open new galaxies in the process; you can just about feel those legato strokes of heat every time a star collapses in the distance. As the track pulsates in time with the flickering cellulite misery of its corresponding trailer, you’ve got these proper lush chords, omg those chords, casting a dim light over the twisted bodies, devastating yet somehow optimistic. A similar sense of nostalgia has undeniably made up a crucial part of Sega Bodega’s aesthetic on previous releases, one that yearns for unfelt feelings among the night tubes and housing estates of London circa 2007. However, nostalgia misleads our collective memory toward a fiction: an endearing snapshot of the past distorted through time and reframed in the misty dreams of a disenchanted society. That we are inclined to think about the objects of our nostalgia as “things as they truly were in the past and should now be in the present” only sets us up for further disillusionment. In order to open up this liminal space between subject and object (where truth and imagination lock hands in an eternal dalliance), we must deceive ourselves. By embracing the active role of the present in our conception of the past, it’s clear that Sega Bodega has no misconceptions about the deceptive nature of our nostalgia. Rather than simply fossilizing these films in a checklist of clichés and tropes, he treats them as living works shaped by the ongoing engagement of both artists and critics. That is, he endearingly suspends their essence in a wistful memory before dragging that essence into modern software and piping it out through subwoofer cones. “Aliens” takes an unrelenting onslaught of horror film tropes — chilling droplets of atonal pizzicato rain down on animalistic growls and howls, screaming strings drill a tinnitus buzz into your eardrums — and sets it against a thorny dancehall rhythm so raw that it would probably make Drake plunge a microphone into his forehead. Sega Bodega has always had the knack for making the kind of straight-up murderous dance music that corrupts our innocent and supple youth, but when he does his worst on an actual horror film, it really makes those blood splatters pop! outta the screen. Likewise, “Stalker” accurately channels its corresponding film in the sense that it’s pretty desolate. But then the paranoid tones of sirens and bells succumb to a Jersey club kick pattern, which pounds out for like 40 seconds before remembering that maybe a post-apocalyptic Soviet film is not the best setting for a house party. Okay, okay, the track “X” definitely shouldn’t work. It shouldn’t work. Industrial drum loops launch a nuclear assault on every single frequency that your brain can register, crunching and scraping and grinding with enough force to satisfy your repressed aggression for about nine years. At the same time, precious angels beam down dramatic Zimmeresque string harmonies as they ride atop blooming mushroom clouds. It really shouldn’t work. But after a while ,you begin to tune out the differences between these two timbral surfaces and appreciate their similarities: how they twist and turn like barbed wire around a majestic sequoia, unraveling with the familiar pacing and coloring of a movie trailer while remaining completely alien to us. Still, it shouldn’t work at all. And yet there you are, having a little moment, rashing up with goosebumps as the fragile abyss between past and present collapses more with every scratch and bruise. In these more discordant (and somewhat absurd) tracks, the internal logic of nostalgia is laid bare. Sega Bodega reorients these films using sounds and structures that are both anachronistic and archetypal to the source in question — a sense of space and time that is romantic yet wildly distorted. The tracks on SS (2017) don’t attempt to critically examine the original films being rescored, nor to hold their original contexts up against present-day ironies, nor to sabotage them entirely for a quick applause and a decent blurb in fucking Time Out. While many artists have done as such with varying degrees of success, this record comes across as something way more authentic: a sincere paean to cinema and its rich musical vocabulary. http://j.mp/2z6wRfv

0 notes